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Calls for Nominations
Trainings and Conferences
Opportunities For Africans
Home Call for Applications Call for Applications: Building Capacity for Early Career Humanities Scholars in Africa
Call for Applications: Building Capacity for Early Career Humanities Scholars in Africa
Application Deadline: June 14th, 2019.
Building Capacity for Early Career Humanities Scholars (BECHS-Africa) is a partnership involving four universities: University of Ghana, American University in Cairo, Stellenbosch University and Washington University in St. Louis, with University of Ghana as the lead Institution. Funded by The Andrew W. Mellon Foundation, it is a three-year transnational programme, which seeks to enhance research capacity for early career scholars in the humanities in Africa. The programme will fund the travel, housing and other related costs of selected early career humanities scholars from the four institutions to spend four to six months at one of the other partner institutions.
The aim of the project is to create a space for scholars in the humanities to enhance their research agenda in their early career years. The period of stay (four to six months) in the collaborating institution will allow for targeted mentorship and guidance for the selected scholars by identified senior scholars who share their research interests, while also providing an avenue for interaction and the sharing of research ideas and methodologies with peers. The project is unique in many respects as, unlike some existing initiatives, it seeks to create avenues for early career scholars to have the opportunity of residency in a region of Africa other than their own or in a global north institution.
The Project provides a four to six-month attachment to any of the four collaborating institutions. Support comprises the following:
An economy return flight
A monthly stipend to cover transport, meals, entertainment and other incidentals
Access to library facilities at the host university
Funds to organize a research-focused workshop at the host University
Mentoring from senior faculty at the host institution
Successful applicants are expected to:
Be in residence at the host institution for four to six months
Attend local presentations, conferences and workshops organized by the host institution that are of relevance to the scholar's research
Attend grant writing and publication workshops offered by the host university
Organize a workshop based on her/his research topic, through which the scholar will receive detailed feedback from leading academics in the field
Fulfill the research and publication goals set out in the original application
Provide a final report
Acknowledge The Andrew W. Mellon Foundation support in any subsequent publications and provide BECHS-Africa with all citations to publications resulting from the residency.
To be eligible an applicant must:
Be in a full-time permanent post in the humanities in any of the four collaborating institutions
Be an early career scholar with a record of research and academic publishing
Have a PhD that was obtained within the last ten years (2009 or later)
Have a scholarly record of publications commensurate with career stage or years from degree
Collaborating Institutions
The institutions involved in BECHS-Africa have been selected to provide opportunities for fellows to carry out their residency across three regions of Africa: western, southern and northern Africa, as well as at one institution in the United States. The institutions are all highly ranked in the Times Higher Educational Rankings of Universities, are active in research in the humanities and social sciences and have demonstrated high research output. The selection has also been informed by the availability of mentors and adequate library facilities to support a robust and dynamic academic environment. They are:
University of Ghana (lead institution)
Washington University in Saint Louis
Submission of Applications
Eligible candidates should complete the project application coversheet, which can be downloaded here. The completed form must be signed, dated, endorsed and submitted together with the following documents, combined into a single PDF. Full applications should be submitted electronically via email to [email protected].
A cover letter of not more than one-page in length. The letter should include a brief intellectual autobiography or description of the applicant's academic career, detailing the experiences that have shaped his or her intellectual work.
A statement of not more than one-page in length outlining research and publication plans for the residency period. Please be specific, including the number and types of publications expected.
A current curriculum vitae
One or two recent writing samples (articles or book chapters)
In addition, the applicant should arrange for a detailed academic letter of reference from a senior colleague familiar with her/his research and career trajectory to be submitted separately to b[email protected].
Complete applications must be received by 1700 GMT on June 14th, 2019. Selection will be made by August 5th, 2019. Scholars should be in residence at their host institutions by January/February 2020.
For further information, please contact the representative at your institution:
University of Ghana: Samuel Agyei-Mensah, [email protected]
American University of Cairo: Syed Maswood, [email protected]
Stellenbosch University: Anthony Leysens, [email protected]
Washington University in Saint Louis: Jean Allman, [email protected]
Visit the Official Webpage of the Building Capacity for Early Career Humanities Scholars
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Axson Technologies, specialising in the formulation and manufacture of epoxy and polyurethane resins, is opening a new production plant in China for the dielectrics and wind turbine market moving closer to PSA, Nissan, Valeo and Schneider.
''This new plant will see us triple and even quadruple our production compared to our facilities already in Shanghai. We are also hoping to open a new site in India by end 2011,'' explains Lionel Puget, CEO of AXSON Technologies.
This opening is part of the company's international development strategy launched in 1994 when the company was acquired through an LBO. With six R&D centres throughout the world, six production units in France, Slovakia, Mexico, the United States, Japan, China and soon India complemented by a network of subsidiaries and exclusive distributors in over thirty countries, Axson Technologies has invested in the world's industries for 15 years and is today present on every continent. ''No industrial customer should be further than 500km from an Axson unit. With around 300 people in our group, we have successfully positioned ourselves throughout the world and generate around 80% of sales in export with exponential growth on the Asian markets,'' he adds.
''The first concern for companies establishing an overseas presence is consistent product quality,'' underlines Lionel Puget. AXSON Technologies assists customers on an international level managing their technology transfers. ''We are developing our resins in close cooperation with customers to meet their requirements in Europe, the US and Japan and we then adapt the formula locally on our production site. As an example, our structure means we can develop products in Europe then transfer them to Asia for production using the country's raw material resources,'' he continues.


Hamas militants have renewed rocket fire into Israel after three-day ceasefire ended in the Gaza Strip on Friday.
TEL AVIV, August 8 (RIA Novosti) – Hamas militants have renewed rocket fire into Israel after three-day ceasefire ended in the Gaza Strip on Friday.
At 8:00 a.m. (05:00 GMT) rocket-warning sirens sounded in Israel's southern city of Ashkelon and villages along the border with the Gaza Strip.
"More than 10 rockets were fired on Israel. At least one was intercepted above Ashkelon, while the others hit open areas in southern part of the country," the Israel Defense Forces reported. Two more rockets were launched at night, hours before the end of the ceasefire, according to the Israeli military.
The Voice of Palestine radio station reported that thousands of Palestinians are leaving their homes in the border areas to return to shelters set up in schools by the UN.
"The ceasefire is over. Palestinian factions haven't agreed to extend it but negotiations are still underway," Hamas spokesman Sami Abu Zuhri said.
Hamas says it refused to extend the 72-hour ceasefire because Egyptian-mediated talks in Cairo on a new border deal for the coastal strip hit a deadlock. The Palestinians wanted Israel to agree to demands that include the lifting of a blockade on the Gaza Strip.
"We are ready to start the battle again and wage war of attrition for many months," a representative from the militant wing of Hamas said.
On July 8, Israel launched a military operation in the Gaza Strip, known as Operation Protective Edge, aiming to combat Hamas and other rival Palestinian forces. The operation involved air raids and a ground offensive. An Egypt-brokered ceasefire between Israel and Hamas started Tuesday morning was the longest lull in the fighting since the beginning of the conflict. Israeli troops are reported to have significantly withdrawn from Gaza.
The operation resulted in the deaths of at least 1,800 Palestinians, most of them civilians, 64 Israeli soldiers, two Israeli civilians and one Thai national.


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Q: Javascript script not executed when included in a page through LI of a UL list I have a dynamic menu where pages are included according to this javacript code:
<script src="http://code.jquery.com/jquery-1.4.min.js" type="text/javascript"></script>

<script type="text/javascript">
$(document).ready(function(){
   $("#accueil").click(function(){
    $('#main').load('/Infocentre/accueil.php');
   });

#main is the central part of my site, where all the pages are displayed.
When I include a page (in my case a JustGage graph) this way, the javascript in the target page is not executed.
<script type="text/javascript">
document.addEventListener("DOMContentLoaded", function(event)
 {var g1 = new JustGage({

Nevertheless, if I launch this page directly the graph is displayed perfectly.
What am I doing wrong?

A: The DOM Loaded event fires when the HTML document has finished parsing.
When that happens the event handler you registered with $() fires and the click event is registered.
When the click event fires, the load() function is called. This makes a request for /Infocentre/accueil.php injects the HTML into the page and executes the JS in it.
That JS binds a DOM Loaded event handler.
It does run successfully.
The problem is that the DOM Loaded event has been and gone, so the new event handler is never triggered.
$() binds a function to run on DOM Loaded or now if the event has already fired.  Use $() instead of document.addEventListener("DOMContentLoaded",.

redpajama_set_name: RedPajamaStackExchange


text:
namespace Domain
{
    public enum ImageSizes
    {
        Small = 0,
        Medium,
        Default,
    }
}

redpajama_set_name: RedPajamaGithub


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Terrorism trial of Jamil Alilabaki in Uganda reads like a horror story, and will only increase resistance: CAGE Africa
CAGE Africa2018-05-29T14:29:33+00:00May 29th, 2018|CAGE Africa, Detention, Press Release, Torture|
Johannesburg – The trial of Jamil Alilabaki in Uganda displays the hallmarks of an anti-Muslim witch hunt, in which the tenets of a fair trial appear to be being ignored and, among other breaches, evidence gathered under torture is being used.
The trial is taking place in a country where anti-Muslim hatred has been fanned to extremes by the current government of Yuweri Museveni, who since 1994 has destroyed dozens of mosques, and killed, incarcerated and tortured hundreds of innocent Muslims, including pregnant women, under the guise of the 'War on Terror'.
To resist this horror, Alilabaki, a Roman Catholic revert to Islam, helped found the Allied Democratic Forces (ADF), a resistance organisation based in neighbouring DRC. The organisation was quickly declared a 'terrorist' group.
Alilabaki is now accused of multiple counts of murder, including the murder of Shia leader Sheikh Abdul Kadir Muwaya in 2015. There have been a string of murders of religious leaders in Uganda, and all of them are allegedly linked to the ADF, despite little concrete evidence being presented to back up these accusations.
CAGE Africa highlights the following issues that have violated the rule of law in his case:
Alilabaki has consistently declared his innocence and his lawyers have described the charges against him as "erroneous". Little attention is given to these claims either by the judicial system or the press. As a result, Alilabaki has been treated as guilty from the start, in violation of his rights to be considered innocent until proven otherwise in a fair trial.
Alilabaki was arrested in Tanzania in 2015 for immigration irregularities. Upon hearing of this, then Inspector of Police in Uganda Kale Kayihura, ordered the torture of several Muslim prisoners, forcing them to admit to belonging to the ADF and to say that Alilabaki ordered them to commit the murders. A small number complied but the vast majority refused.
Alilabaki was extradited on this flimsy evidence to Uganda from Tanzania in July 2015 illegally, since assurances from Ugandan Attorney-General Frederick Ruhindi that he would undergo a fair trial and that he would not be tortured or tried for political crimes, have already been violated.
Alilabaki was incarcerated and tortured upon his arrival in Uganda. CAGE Africa has documented testimony that this torture took place at the notorious Luzira Prison and at various police stations around the country. It included hanging a brick on his testicles, hammering a nail into his knee cap, beatings, breaking his teeth, being submerged in water, forced to consume pork and wine, and security officer Francis Olugu tearing out a page from the Holy Quran and wiping his buttocks with it.
"The treatment of Jamil Alilabaki reads like a horror story. His case serves to bring to light the utterly inhumane treatment of Muslim political leaders, activists and ordinary people by the Ugandan security services and complicit members of the judiciary and government. This state of play cannot continue."
"The amount of hype generated around this trial casts Alilabaki as the arch enemy of the Ugandan people, when the evidence linking him to the crimes he is charged of is weak. Despite this, the media and security services have created an environment where they have attempted to turn Muslims against one another, and any reasonable opposing view to Alilabaki's foregone status as a 'terrorist' is drowned out in a tide of anti-Muslim bias."
"The rule of law and the principles of a fair trial are violated when torture is involved. Evidence gleaned through torture is universally regarded as unacceptable and inadmissible. We call on all right-thinking people in the region to urgently demand an investigation into this case and how it has been conducted, and to demand that the perpetrators of the abuse of Alilabaki and other prisoners be held accountable."
press@cageuk.org

redpajama_set_name: RedPajamaCommonCrawl


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50 Rare Omega Speedmasters Are Coming to Auction at Sotheby's
The "To the Moon and Back" sale takes place on the eve of the 50th anniversary of the moon landing.
By Victoria Gomelsky	 on July 13, 2019
Courtesy of Sotheby's
The hoopla over this month's 50th anniversary of the moon landing is about to reach full tilt. On July 19, the day before the big day, Sotheby's is holding a sale, "Omega Speedmaster: To the Moon and Back – Celebrating 50 years Since Apollo 11," featuring a tightly edited selection of rare Speedmasters, the wristwatch of choice for NASA astronauts since 1965.
Worn on all six lunar landings, the Speedmaster, aka the "Moonwatch," is an icon of 20th century watchmaking.
Among the highlights of the sale are two examples of Reference 2915-1, the first model in the Speedmaster series, distinguished by a unique dial configuration, a tachymeter scale engraved into the metal bezel, a lack of crown guards, an applied Omega logo and large "broad arrow" hour hands, powered by the famed caliber 321.
Another sale highlight is an Alaska III Prototype, a Speedmaster created in 1978 for NASA's Space Shuttle program, designed with anti-reflective crystal and an easily legible black dial with luminous tritium and radial counters.
"We are very excited to offer a vast selection of vintage Speedmasters in our sale on the 19th, ranging from the reference 2915, introduced in 1957, to a modern example from 2008," says Nate Borgelt, head of sale for Sotheby's Watch Department in New York. "This broad spectrum of watches shows that the core Speedmaster was nearly perfected over 60 years ago when it was first introduced, as it has not changed tremendously in the decades since. A truly timeless classic, the varied selection on offer features examples for both the established collector as well as those just getting started."
The 50 pieces on offer—spanning 50 years, from 1958 through 2008—will be displayed during a public exhibition beginning July 15 at Sotheby's New York headquarters, alongside its Space Exploration auction, which takes place July 20.
The curated selection of watches, all vetted by Omega, is a window into the birth of the sports watch category.
"When the Speedmaster Reference 2915 was released in 1957, 'sports' watches were a small segment of the larger watch market," Borgelt says. "The Speedmaster helped propel the segment into mainstream use. It redefined the chronograph wristwatch, and created a template that is used today—made for actual, practical use."
"From a mechanical standpoint, the watch's original utilitarian design was accompanied by one of the most celebrated movements in horological history, the caliber 321, which Omega re-introduced this year after 50 years," he adds.
Bids for the July 19 Speedmaster sale can now be placed online.


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HomeNew ReleasesOut TODAY: George Harrison's All Things Must Pass turns FIFTY!
Out TODAY: George Harrison's All Things Must Pass turns FIFTY!
August 6, 2021 Laura Stoneman New Releases 0
All Things Must Pass: 50th Anniversary Edition
DELUXE 3-CD SET // 5CD + BLU-RAY
BLACK VINYL 3-LP SET // GREEN & BLACK SPLATTERED 3-LP SET
5-LP VINYL SET // 8-LP VINYL SET
In celebration of the 50th Anniversary, George Harrison's All Things Must Pass, is being celebrated with a suite of new releases highlighted by a stunning new mix of the classic album by Grammy Award-winning mixer/engineer Paul Hicks, overseen by executive producer Dhani Harrison. The 5LP (180g) Deluxe Edition contains an all-new remix by Paul Hicks. Spread across 5 LPs, the first 3 LPs feature the main album followed by 2 LPs containing 17 tracks of demo recordings, session outtakes and studio jams. Includes 8-page insert with photos and notes from Dhani Harrison and Paul Hicks on remixing the album.
Discover more George Harrison here plus see what else has just arrived below…
George Harrison - The Vinyl Collection - Sealed - UK - vinyl box set - £499.99, $679.99, €599.99 (New Item) (arrived 18-Jan-2022 16:46)
on January 19, 2022 at 5:00 am
GEORGE HARRISON The Vinyl Collection (2017 UK limited edition remastered vinyl LP box set comprising all 12 of George's original studio albums, plus his classic Live In Japan and 2 additional 12" picture discs. The albums are pressed on 180-gram Heavyweight Vinyl and housed inside a deluxe two-piece rigid slip-case box with a lenticular image front cover. This incredible set remains brand new & unplayed, still inside its original cardboard shipping carton with foam spacerinserts. Out-of-print!)
George Harrison - Early Takes Volume 1 - 180gm Vinyl - US - vinyl LP - £24.99, $33.99, €29.99 (New Item) (arrived 21-Dec-2021 15:32)
GEORGE HARRISON Early Takes Volume 1 (2012 US limited edition 12-track LP pressed on Audiophile quality 180gram Heavyweight Vinyl, compilation album of outtakes and demo recordings which appeared in Martin Scorsese's 2011 documentary film 'George Harrison: Living in the Material World', with the majority of these tracks dating from the sessions for his 1970 triple album 'All Things Must Pass'. The picture sleeve shows a little light shelfwear to the edge but the vinyl looks barely played)
George Harrison - Thirty Three & 1/3 - UK - vinyl LP - £30.00, $40.80, €36.00 (New Item) (arrived 13-Dec-2021 12:54)
GEORGE HARRISON Thirty Three & 1/3 (1976 UK 10-track vinyl LP, his seventh studio album and the first to be released on his Dark Horse label, including the singles This Song, True Love and It's What You Value. Complete with its lyric inner whichhas a little shelfwear, the gatefold picture sleeve and the vinyl remain in excellent condition K56319)
George Harrison - Somewhere In England - Hype stickered sleeve - UK - vinyl LP - £20.00, $27.20, €24.00 (New Item) (arrived 15-Dec-2021 15:52)
GEORGE HARRISON Somewhere In England (1981 UK 10-track vinyl LP including the hit single All Those Years Ago, housed in a song hype stickered picture sleeve with illustrated lyric inner. The sleeve shows a little edgewear, whilst the vinyl looksbarely played K56870)
George Harrison - Gone Troppo - EX - UK - vinyl LP - £15.00, $20.40, €18.00 (New Item) (arrived 16-Dec-2021 09:02)
GEORGE HARRISON Gone Troppo (1982 UK 10-track vinyl LP featuring Harrison's last album before a five year break, including the single Wake Up My Love and Circles which was originally composed & demoed for the White Album. The glossy picture sleeve has a little shelfwear to the edges but comes complete with the lyric inner and the vinyl remains in EX condition with minimal signs of play)
You can explore all the latest new release & reissue arrivals in stock at eil.com HERE or perhaps treat yourself to something in our new August sale.
eil.com – the world's best online store for rare, collectable & out of print Vinyl Records, CDs & Music memorabilia since 1987
#180gramvinyl
#50thanniversary
#allthingsmustpass
#audiophile
#beatles
#fiveCDs
#georgeharrison
#multidiscset
#multiformat
#splatteredvinyl
Fly, Omega Man, Rawhead Rex and more rare and collectable soundtracks now in stock
Legendary Miles Davis 1991 Paris concert to be released
NWA came Straight Outta Compton 29 years ago today
August 8, 2017 Glen Bushell Music News 0
"You are now about to witness the strength of street knowledge…" 29 years ago today, NWA blew apart not just the rap world, but th entire music industry with their groundbreaking debut album, Straight Outta Compton. […]
Rolling Stones Big Hits – super rare German mail order 1976 Vinyl LP
August 29, 2015 Cathryn Draper Buying - Sell to Us, Collecting Advice, eil.com News, Music Memorabilia, Rare & Vintage Vinyl & CDs, Record Collecting News 0
ROLLING STONES Big Hits Rare 1976 German 14-track mail order only book club vinyl LP issued in association with German publishing company Fono-Ring in Christophorus-Verlag, Freiburg, unique picture sleeve. The sleeve is unique to this […]
Latest rare and collectable '90s vinyl in stock, including Red Hot Chili Peppers, Alanis Morissette and more
November 1, 2018 Glen Bushell Rare & Vintage Vinyl & CDs 0
For better or worse, the '90s will be remembered for a lot of iconic moments, but mostly it will be for the music. There was the rise of Brit Pop and the battle between Oasis […]


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Home Arts + Culture
MOVIE ROUND-UP: This Week's New Film Releases, Fri Dec 9-Thu Dec 15
Mike Davies
Snowden (15) On Jun 5, 2013, in an article written by reporters Glenn Greenwald and Edward McAskill, The Guardian newspaper published a headline claiming that the Obama administration had forced telecoms giant Verizon to hand over the phone records of millions of Americans. It was the first of a series of revelations unmasking the covert surveillance of communications being carried out by the US government on its allies, other countries and its own citizens. On June 10, it revealed the identity of the whistleblower, Edward Snowden, a computer expert, former CIA intelligence officer and employee of defence contractor Booz Allen. In an interview, he said he was revealing the classified information about surveillance programmes (mostly from the NSA), some 10,000 documents in all, because "I don't want to live in a society that does these sort of things… I do not want to live in a world where everything I do and say is recorded … My sole motive is to inform the public as to that which is done in their name and that which is done against them."
The political fallout was, if anything, even greater than WikiLeaks and Snowden was, inevitably, declared a traitor by the US government. Others, of course, saw him a hero fighting to expose a Big Brother system. Oliver Stone is one such. In his most politically overt film since Nixon, he tells what led Snowden (played superbly and meticulously by Joseph Gordon-Levitt) to make his life changing decision as, initially an enthusiastic, straitlaced (no drinks, no drugs) and basically politically conservative computer geek looking to serve his country, to what he and his colleagues (not all of them with the same reservations) were being asked to do.
The characters are a mix of fact and fiction. Zachary Quinto and Tom Wilkinson are Greenwald and McAskill, who were contacted to meet Snowden in Hong Kong, while Melissa Leo plays Laura Poitras, the filmmaker who recorded Snowden's revelations and convinced him to appear on camera, eventually releasing her Oscar winning documentary, Citizenfour, in 2014. Likewise, Shailene Woodley plays Lindsay Mills, Snowden's real life liberal-minded pole-dancing performance artist girlfriend (they meet through computer dating) and a hefty chunk of the film focuses on how being unable to talk about his top secret work impacted on their relationship.
On the other hand, Corbin O'Brien (Rhys Ifans), the high ranking CIA official who becomes his mentor, training him up as his top cyberspace warrior, Nicholas Cage's disillusioned Agency veteran put to grass, the CIA hacker dude (Ben Schnetzer) who shows him the program that can hack into anyone and everyone's lives, the Geneva agent (Timothy Olyphant) whose turning of a contact first pricks Snowden's conscience and his various NSA colleagues (Scott Eastwood among them) are fictionalised amalgams
Adopting a procedural approach, often nodding to espionage thriller tropes, the film cuts back and forth between the hotel room interview and events leading up, while, following the publication and outing, and Snowden's flight to, ultimately, Russia, sees Stone incorporate both newsreel footage and, for a recreation of the televised interview with Alan Rusbridger, the real Edward Snowden playing himself. It is dense with technical jargon, but never to extent of being unfathomable and, rather like the news articles, it reveals the extent of the US government's surveillance bit by bit, letting you gradually take in the enormity of what you are seeing and the way in which those behind it not only accept it, but treat it as a bit of a laugh.
The pros and cons of surveillance in a terror-ridden world are open to debate, and, while the film is clearly on Snowden's side, it does offer enough of the counter arguments to fuel the debate. In a Trump-climate America, it perhaps rather inevitably floundered at the box office, but, arguably the most important film of the year, it will hopefully prove a far greater draw here. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Showcase Walsall; Vue Star City
The Birth of a Nation (15)
Another politically-charged affair, Nate Parker's film about Nat Turner, the Baptist preacher slave who, in 1831, led a bloody uprising of slaves and free Blacks against white plantation owners in Southampton County, Virginia, has been somewhat overshadowed by the controversy over actor-writer-director Parker's trial and acquittal of rape in his college years. However, disregarding that and focusing on the actual film, still leaves it wanting, despite its Sundance awards. Reclaiming the title from the 1915 racist silent epic is a bold move, but, while the production is impressive, first time director Parker falls short of DW Griffiths in technical mastery, much feeling heavy handed (an ear of corn leaking blood), portentously strained (flashbacks of prophecy and supernatural-hued dream sequences), mechanical (young Nate playing happily with the plantation owner's white son), incongruous (a candlelit topless scene between Turner and his new bride, Cherry, played by Aja Naomi King) or simply cheesy as in his visions of her as a black angel complete with white robes and wings.
Parker is undeniably impressive as Nat who, as the film shows, learns to read with the help of his owner's wife (Penelope Ann Miller), albeit only from The Bible, and grows up to become the plantation's preacher, a gift which, taking him out of the cotton-picking fields, sees him hiked around the country by Samuel Turner (Arnie Hammer), the kid whose now the plantation's new financially but (until he's challenged) ostensibly benevolent strapped owner, to deliver sermons exhorting restless slaves to obey their masters.
Ultimately, of course, seeing one too many instances of graphically shown brutality, he turns his preaching to exhort rage eventually smashing an axe into Samuel and leading the brief but bloody rebellion (which, some argue, led the spark that led to the Civil War) that took the lives of 60 white men, women, and children, before being cut down in an attack on the armoury, the savage reprisals and his eventual hanging.
However, while Parker is a charismatic – if slightly dramatically limited presence, the other characters (save for the Jackie Early Harley's leering loathsome slave catcher who rapes and batters Cherry) feel flat and underwritten. Turner says he took Braveheart as one of his templates, but his film never rises to the level of either that or recent American slavery outings, Django Unchained and 12 Years A Slave. There is a stunning blood-chilling moment as the camera pans back to shows the hanged bodies of slaves, men and women, while Nina Simone's version of Strange Fruit plays. If only the rest of the film could have had that same power. (Cineworld 5 Ways, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza; Vue Star City
The Incident (15)
Making her feature debut, writer-director Jane Linfoot delivers a British psychological drama about a successful young couple whose comfortable lives are disrupted and their relationship unravels when troubled teenage girl Lily sets off a chain of events that challenges them to examine who they really are. (Sun-Tue: MAC)
Office Christmas Party (15)
Although the development of 'the internet of things" means the revelatory breakthrough that restores order to chaos and facilitates everyone's happy ending is about three years out of date, there's much fun to be had in this festive-themed ensemble comedy about an office party that gets seriously out of hand when the uptight HR director (Kate McKinnon) inadvertently drops a bag of cocaine into the snow machine.
So, how does it get to that point? The Chicago branch of internet technology company Zenotek is struggling to turn a profit, Or at least the sort of profit demanded by acting CEO, Carol Vanstone (Jennifer Aniston), a brittle numbers cruncher who turns up to tell her happy go lucky, fun-loving brother Clay (T.J. Miller) that, not only is he not holding his planned Christmas bash and all bonuses are cancelled, but that she's going to fire most of the employees and, if that's not enough, shut the branch down. It seems she all resentful of the fact that Clay was daddy's favourite and left him he Chicago branch, which he managed, as an inheritance. Now she's makes the Grinch look like the life and soul of the party.
However, family friend and chief technical officer, Josh Parker (Jason Bateman) has a solution. If they can land a major contract with a potential big leagues client, then she'll keep the branch open and everyone's jobs will be safe. However, when Clay, Josh and his co-worker (and simmering romantic interest) Tracey Hughes (Olivia Munn) pitch to Walter (Courtney B Vance), the company's rep with her not yet quite resolved new interconnectivity idea, he passes. The only thing to do is to defy Carol, stage the most lavish office party, invite Walter and, with Clay playing Santa, impress him with Zenotek's family culture. Naturally, chaos ensues.
Adopting a similar approach to The Hangover (though not quite as crude), it threads together a variety of characters with their own sub-plots, among them the love-hate relationship between Mary (a woman with some dark secrets) and permanently angry Custom Relations manager Jeremy (Rob Corddry), Nate (Deadpool's Karan Soni), the ineffectual manager who desperately hires a sexy escort (Abbey Lee) to pose as the imaginary hot girlfriend his sceptical underlings rightly don't believe he has, and single mom Allison (Vanessa Bayer) who doesn't make the wisest choice of colleague for a little r&r in the daycare centre. Then, as an added comic attraction, there's a very funny turns by Jillian Bell as Trina, Nate's escort's deranged pimp and Joy Randolph as the taser-wielding security guard,
However, it's Miller, McKinnon, Munn, Bateman and Aniston who lead the comedic charge, with Bateman providing the bemused centre of calm (and some fine deadpan lines) and Aniston relishing her opportunity to play the bitch, most notably in an airport lounge scene as she ruins one little girl's Christmas. It's a bit slow to get going and the script, with six credited writers, keeps leaving the party mayhem for a different film where Josh, Carol, Tracey and Mary have to rescue Clay (and the $300,000 strapped to his body) from Trina and save Chicago from an internet meltdown. However, there's also a slyness to it that sets up teasers for scenarios that never actually happen, such as the Rottweiler wife from whom Josh is finally divorced in the opening scenes or the urn Clay has containing dad's ashes. Or maybe they just got forgotten in the frenzy. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Showcase Walsall; Vue Star City)
The Accountant (15)
Following box office misfire Jane Got A Gun, director Gavin O'Connor is back on solid ground with this cool thriller about a high functioning autistic numbers cruncher with OCR tics and a sideline as a tooled-up emotionally blank vigilante for hire with a female voice on the other end of the connection acting as go-between. Think A Beautiful Mind with high calibre bullets.
Opening with an extended prologue in which outgoing Treasury Dept. investigator Ray King (J.K. Simmons) coerces Marybeth Medina (Cynthia Addai-Robinson), a young analyst with an undeclared past, to identify the mystery figure known as the Accountant who's been managing the finances for a variety of shady underworld figures and whom he once encountered and lived to tell the tale.
We first meet the man in question, Christian Wolff (Ben Affleck), helping an elderly couple stick it to the taxman and he's subsequently hired to looking into possible financial irregularities at Living Robotics, a high-tech company run by Lamar Black (John Lithgow),where he's assigned the help of Dana Cummings (Anna Kendrick playing suitably bemused), the perky company accountant who stumbled across the apparent discrepancy.
Suffice to say that what she chanced upon and which he breaks down into specific detail leads to them both being marked for elimination as he uncharacteristically seeks to protect her.
Punctuating this is a series of flashbacks, both to Wollf's childhood as the son of a tough love army officer who puts both him and his brother through brutal martial arts training to equip them to survive whatever life throws their way, and to prison scenes between adult Wolff bonds and a former mob accountant (Jeffrey Tambor), while a parallel narrative involves Brax (Jon Bernthal), the equally ruthless assassin on his and Cummings' trail. It's a complex and convoluted puzzle, although the final twists and reveals shouldn't come as a surprise to anyone who's been paying attention.
Gradually unfolding as an action movie, until the final shoot out it largely tends to keep things as lethally matter of fact as Wolff when he calmly shoots people in the head without a flicker of expression, to which end Affleck delivers a compelling low key and unruffled performance as the threads gradually come together. The note of redemption in the final scenes somewhat strains the character plausibility, but it remains a hugely enjoyable and well crafted thriller which promises to see a solid return on investment. (Odeon Broadway Plaza; Vue Star City)
Allied (12A)
Director Robert Zemeckis turns his hand to old fashioned wartime melodrama for Steven Knight's love story cum espionage thriller to solid effect, so it's unfortunate that it's more likely to be remembered as the film that put an end to Brangelina on account of Brad Pitt's alleged (and denied) affair with co-star Marion Cotillard star. Pitt is Max Vatan, a Canadian pilot and intelligence officer who's dispatched to Casablanca to link up with French spy Marianne Beauséjour (Cottilard), who's got herself cosy with high up collaborationists in the Vichy government, posing as her Parisian husband as they plan the assassination of the German ambassador.
The mission turns out to a sort of foreplay and, once the job's done, he arranges for her to come to London where they get married and have a daughter, born, rather dramatically, in the middle of the Blitz. All's bliss until Max is summoned to see his commanding officer (Jared Harris) and finds himself face to face with an unnamed spook (Simon McBurney) from the Special Operations Executive who informs him that his wife is suspected of being a Nazi spy and, if that turns out to be true, he has to execute her himself or face being hung as a traitor himself.
Although Marianne's words, "I keep the emotions real. That's why it works", come back to haunt him, he refuses to believe she's not who she says she is and, disobeying orders, armed with her wedding photo, duly sets out to disprove the accusation, a quest that takes him to a French lock up and a run in with bunch of German soldiers.
It would, of course, be wrong to reveal more and the film cleverly keeps you guessing; however, suffice to say, as per the Casablanca set up, the film has much to do with what is and what is not true, both as regards faked relationships and the people involved. Like their characters, Pitt and Cottilard have persuasive chemistry, enhanced no little by the glowing cinematography, as the film slips between domestic bliss (including a picnic in their leafy suburb next to a downed German bomber), domestic tension (she susses something's up when sex gets angry) and tense action before a dramatic climax that, while it doesn't somehow quite have the punch it should, won't leave audiences feeling cheated and will probably give Jolie a sense of vicarious satisfaction too. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Everyman; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
Almost Christmas (12A)
The dysfunctional family Christmas get together comedy has become a staple of the festive season, and this African-American one won't deliver anything you don't expect, but is amusing and warming in all the right places, nonetheless. A year on since his wife's death, retired auto-shop owner Walter Meyers (Danny Glover) is having family and friends over to his house for five days. But without Grace and her famous pies to broker disagreements, can having everyone together under one roof possibly go smoothly?
Among those due to gather round the dinner table are daughter Rachel (Gabrielle Union), now a recently divorced mum trying to pay her way through law school; her overachieving big sister Cheryl (Kimberly Elise) and her former pro basketball player slacker husband Lonnie (JB Smoove); Aunt May (Mo'Nique), a brash and blousy former backup singer with a fondness for a drink and habit of saying what she thinks; Walter's assorted grandkids; and, destined to spice things up, Malachi (Omar Epps), the now grown-up kid from next door who had a thing for Rachel, and Jasmine, the supermarket assistant she's wickedly invited who's been having an affair with Lonnie. Sparks inevitably fly, pies are inevitably burned, long-delayed romance inevitably blossoms and flashbacks to happier times inevitably punctuate proceedings. Naturally, it wouldn't be a family Christmas movie without a seasonal decoration going haywire, here an electric Santa sculpture, and the obligatory huggy ending. But the fact that you know what's inside the wrapping, doesn't make the gift less enjoyable. (Odeon Broadway Plaza)
Arrival (12A)
It's been almost twenty years since the last thoughtful and intellectually serious film about first contact (that being Jodie Foster is Robert Zemeckis' Contact), but, following up Sicario, director Denis Villeneuve has delivered a masterful contribution to the genre that is up there with both that and Close Encounters, and which, like them, is more focused on its human characters than its aliens.
When a dozen elliptical black obelisks suddenly appear over different sites around the world, England, Russia, India, China and the US among them, and just hover there doing nothing (media hysteria and public panic inevitably grow. Meanwhile, US Army Colonel Weber (Forest Whitaker) enlists top linguist Dr. Louise Banks (Amy Adams) to join a multinational team, along with maverick theoretical physicist Ian Donnelly (Jeremy Renner), and help decipher the language, essentially noises, they have recorded from the occupants, dubbed heptapods on account of their squid-like appearance with seven tentacle limbs at the base of their towering bodies.
Before all this, however, a prologue reveals that Banks has suffered tragedy, her marriage having fallen apart and having seen her baby daughter Hannah grow up only to die young of cancer, flashbacks of which regularly enter her mind when she's trying to communicate with the two aliens, whom she and Ian dub Abbott and Costello, as they seek to decipher the inky swirl hieroglyphs that are their written language. As you might assume, those flashbacks have a significant role to play. Meanwhile, as she and Donnelly seek to uncover the purpose of the aliens' visit, some countries, headed up by China and Russia, are getting edgy and, on the basis of their own linguists' interpretations of the aliens use of the term 'weapon', are moving towards military confrontation, their CIA liaison wants to shut operations down and the clock is ticking.
As with the best sci fi, the film isn't about aliens but humanity and the big questions of life as the screenplay addresses themes of love, loss, time, communication and perception in serious-minded, but never heavy-handed fashion. Relying on audiences' familiarity with screen narrative conventions, the film cleverly harbours an M Night Shyamalan-like twist that, although the hints do gather in the final stretch, is virtually impossible to see coming and which delivers a breathtakingly audacious and heartfelt emotion-laded resolution.
Although effective enough Renner and Whittaker are, to a large extent, peripheral and the film is very much anchored by a terrific internalised, restrained and ultimately deeply moving performance from Adams that should safely see her among next year's Oscar nominations. (Cineworld 5 Ways, NEC; Empire Great Park; MAC; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
Bad Santa 2 (15)
Thirteen years after Terry Zwigoff brought a welcome breath of foul air to the annual festive sentimentality, director Mark Waters reintroduces the dissolute, depraved and generally drunk Willie Soke (Billy Bob Thornton) who, after the shot of redemption at the end of the first film, is back at rock bottom, living in a dump and so depressed he decides to end it all by sticking his head in the oven. Unfortunately, it's electric. Then, midway through trying to hang himself, enter Thurman Merman (Brett Kelly), the now grown up pudgy kid from the first film who has clung to him as surrogate family over the years. More importantly, he's also reunited former accomplice Marcus (Tony Cox), who, despite trying to stitch him up last time, has another surefire job lined up, in Chicago, with a far higher payday.
However, much to Willie's horror, the mastermind turns out to be his long estranged criminal mother, Sunny (Kathy Bates). She's brought him in to crack the safe at the homeless charity she's working at, where, on Christmas Eve, while everyone's watching the children's concert, she plans to make off with the $2million or so from its Santa collections which crooked charity boss Regent (Ryan Hansen) is intending to skim for himself.
After much crude name calling, Willie agrees to go along with the robbery , though this will mean them having to relieve the sex-mad receptionist of the key to the office, a task for which Marcus happily volunteers, and, as things turn out, Willie, back in the red suit and beard again, screwing Regent's neglected recovering alcoholic wife, Diane (Christina Hendricks). On top of which, the blissfully innocent Thurman has come to Chicago to spend Christmas with Willie.
There's rather less of the first film's satire on Christmas commercialism and rather more references to anal sex, not to mention jokes about child abuse, disability, race, autism, the list goes on, But, behind the vulgarity and political incorrectness, the film is also about loneliness, the fear of connection that drives nihilistic self-destruction and, just when you least expect it, a poignant emotional epiphany. Of course, mostly though it's about booze and sex. Bates is particularly game and scabrously funny as the monstrous, heavily-tattooed mother from hell, while Kelly is a treat as the film's blissfully unaware angel of light and unconditional love. It is, though a grizzled Thornton who, even in Willie's most debased moments, is the film's backbone, finding the soft heart beating behind the bile. If you feel you'll scream if you have to sit through It's A Wonderful Life again, get yourself on the naughty list and go sit on this Santa's lap. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
Bleed For This (15)
Even if you're not a boxing fan, you'll probably be familiar with Muhammad Ali, Mike Tyson, George Foreman and Joe Frazier. But Vinny Pazienza? Probably not. Dubbed the Pazmanian Devil, he was an Italian American boxer from Rhode Island who held three world titles at different weights in the 80s and early 90s, but doesn't even figure on the Google list of top names in boxing history. All of which suggests there may not be a huge audience for this biopic by Boiler Room director Ben Younger, even if it does feature another terrific performance from Whiplash star Miles Teller.
Like the best boxing movies, the story here is more about what happens outside of the ring and details how Paz, as he later renamed himself, made arguably the greatest comeback in boxing history when, shortly after winning after the junior middleweight world title in 1991, he suffered a broken neck in a car crash and was told he might not even walk again, let alone box. However, he elected to have halo surgery, whereby a circular metal neck brace was quite literally bolted to his skull for three months, During this time, with the help of his trainer, Kevin Rooney, unbeknownst to his family and against doctors' orders, he began a workout regime, going on to take the world Super Middleweight Title by beating Robert Duran in 1994.
All this is dutifully addressed in the film with a charismatic Teller solidly delivering both Vinny's early flash swagger and subsequent refusal to accept what everyone told him and putting himself through a punishing regime which, with one misstep could have left him paralysed, in order to return to the ring. He's bolstered by two other effective turns by Ciaran Hinds as his gym-owning high pressure father, and Aaron Eckhart as the balding, hard drinking Rooney finding is own redemption through training Vinny.
It's an inspirational story of one man's spirit against the odds, but it never quite lands the knockout blow. The other figures in Paz's life, his devout Catholic mother (Katey Sagal) who can't bring herself to watch her son's matches, brash sister Doreen (Amanda Clayton), promoter Lou Duva (Ted Levine) who, then his manager, announced Vinny's retirement following defeat to Roger Mayweather, without consulting him, and the anonymous girlfriends are all just loosely sketched.
The film also compresses and skips events. Although it presents the Duran match as Paz's comeback, in reality he'd already made that in 1992, and had won a further three fights before meeting Duran. There's also the problem in that the ringside action is all rather underwhelming and the final fight feels somewhat of an anticlimax. The film has some fancy footwork and lands several solid blows, but it's always a contender never a champ. (Cineworld NEC; Empire Great Park; Odeon Broadway Plaza; Showcase Walsall; Vue Star City)
Doctor Strange (12A)
One of the Marvel Universe's biggest box office hits, this sees Benedict Cumberbatch perfectly cast as Stephen Strange, a brilliant but arrogant and egotistical New York neurosurgeon who, his hands crippled in a car accident, sets off to Tibet in search of a mysterious order than he believes can heal him, eventually being taken in and mentored by the so called Ancient One (a shaven-headed Tilda Swinton) and her disciple, Mordo (Chiwetel Ejiofor) in the mystic arts. Initial skepticism quickly giving way to a driven desire to amass as much knowledge as possible, Strange's first challenge comes when Kaecilius (Mads Mikkelsen), a disciple turned rogue who stole a forbidden spell, returns to destroy the three sanctums protecting this world, thereby allowing the dark dimension, ruled by Dormammu, to gain access and domination.
The occult arts are, of course, a licence to let the special effects run riot and the film doesn't stint, characters creating warp holes with their special rings, both the Ancient One and Kaecilius using spells to make reality – as in the streets and buildings of New York – fold in on itself like some living kaleidoscopic Escher nightmare, everyone wielding mystical weapons and Strange, equipped with the Eye of Agamotto and his iconic sentient red cloak, able to move time back and forth.
However, as with all the Marvel Universe films, it's about more than visual spectacle with the cast and screenplay bringing philosophical, psychological and emotional depth to proceedings, one scene in particular managing to be simultaneously funny, thrilling and dramatic, as Strange has to fight not only against those bent on destroying the world, but also his own insecurities and damaged sense of self-worth. Indeed, with his line in flippant humour, Cumberbatch's Strange is cut from similar cloth to Tony Stark.
Unlike the comics, here Wong (Benedict Wong) is the keeper of the Ancient One's library and protector of the Hong Kong sanctum as opposed to Strange's valet, while the romantic interest is provided not by fellow mystic Clea, but by fellow surgeon Christine Palmer (Rachel McAdams), a name Marvel fans will recall from the short-lived Night Nurse and Nightcrawler comics. And while Ejiofor may feel somewhat underused this time round, his role as Strange's nemesis in the comic, ensures he'll have much more to do in the inevitable sequel while the obligatory end credit scenes reveal that, before then, Strange will be casting a spell over the upcoming Thor: Ragnorak. (Empire Great Park; Odeon Birmingham, Broadway Plaza; Reel; Showcase Walsall; Vue Star City)
The Edge of Seventeen (15)
Just turned twenty, Hailee Steinfield drops a few years to play troubled, self-pitying Pacific Northwest high schooler Nadine Byrd, first seen bursting in on her laid back history teacher, Mr. Bruner (a droll Woody Harrelson), to tell him she's going to commit suicide. What follows covers the events leading up to this drama queen outburst and how things are eventually resolved.
Flashback to her childhood in which a petulantly sulky young school misfit and outsider Nadine (Lina Renna) is pissed off that her over-achieving nice guy older brother Darian gets all the attention, especially from mom Moma (Kyra Sedgwick). Things look up whenshe finally makes a friend in kindred spirit Krista (Ava Grace Cooper) and the two become inseperable. Then, when Nadine's thirteen, tragedy hits as her father suddenly dies. Things get worse when, one drunken night, Krista (Hayley Lu Richardson), sleeps with Darian (Blake Jenner) and then becomes his girlfriend. Feeling betrayed, Nadine cuts them both out of her life.
To fill the gap, she becomes friends with shy Korean-American classmate Erwin (Hayden Szeto), but, while it's patently obvious he has a crush on her, she's still fantasising over bad boy Nick (Alexander Calvert), to whom she sends a rather rash and explicit text about what she like to do to him and he to her that precipitates the opening scene.
Very much in the tradition of John Hughes; high school movies, Nadine's the prototypical teenager who has to come to realise her self-worth and true beauty, much like Molly Ringwald in Pretty In Pink, while the film also has echoes of such similar offerings as Heathers, Clueless and The Perks of Being a Wallflower.
Although writer-director Kelly Fremon Craig handles the world of teenage relationships and fragile emotions with a knowing but light hand, it's the scenes and sarcastic banter between Nadine and Mr. Bruner (who's not the apathetic sad sack she takes him for) that are arguably the strongest and sharpest. A sharply observed witty comedy with a real sense of depth and a protagonist who can be as infuriating as she is engaging, this is Steinfield's best work yet and a high school movie well worthy of joining the ranks of Sixteen Candles and The Breakfast Club. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park; Odeon Birmingham, Broadway Plaza; Showcase Walsall; Vue Star City)
Fantastic Beasts and Where to Find Them (12A)
J.K. Rowling makes a dazzling screenwriting debut as, with David Yates directing, she returns to the wizarding world for the first of five films based around the Hogwarts textbook of the title written by magizoologist and former student Newt Scamander (a superb Eddie Redmayne).
Expelled from Hogwarts over an incident regarding one such beast, at that time regarded as dangerous and feared by the wizarding community, the freckle-faced, tweed-jacketed and slightly clumsy Newt arrives in Prohibition-era New York carrying a suitcase containing a whole menagerie of creatures that he is trying to keep safe. Unfortunately, a faulty lock sees one of them, a Niffler (a sort of cross between a mole and a duck billed platypus with a penchant for collecting shiny objects) escapes and Newt's search to recover it leads him to cross paths with Jacob Kowalski (a charming Dan Fogler), a portly No-Maj (as Muggles are called in America) factory worker with dreams of opening a bakery, with whom he accidentally switched cases. Soon there's even more beasts on the loose and Newt is arrested by Porpentina Goldstein (Katherine Waterston), a former aura with the Macusa (the US equivalent of the Ministry of Magic) trying to get back in its good books after an incident saw her demoted to clerical work.
With a dark wizard by the name of Grindelward waging a magical war on humans, things are edgy in America where the Macusa, headed by female president Seraphina Picquery (Carmen Ejogo), have outlawed all beasts and are doing everything to prevent their wizarding kind becoming known. Meanwhile, the puritanical Mary Lou Barebone (Samantha Morton), with her legion of adopted children, among them Credence (Ezra Miller) and his 'sisters' Modesty (Faith-Wood Blagrove) and Chastity (Jenn Murray), is crusading to expose the witches she claims to be threatening the American way of life, calling for a Second Salem.
Unbeknownst to her, Credence is having secret meetings with Percival Grace (Colin Farrell), a power-hungry senior aura looking to get his hands on the unidentified child host of the Obscurial (a swirling elemental force of dark magic) that is causing swathes of destruction throughout the city.
Now, joined by Joe, who he was unable to obliviate, Tina and her mind-reading sister Queenie (Alison Sudol), who takes a fancy to their Mo-Maj accomplice, Newt has to both recapture all the escaped creatures (one of whom just happens to be invisible) and prevent Grace from carrying out his hidden agenda.
The film keeps Newt's backstory limited to just a few hints, allowing for more to develop over the course of the series, and keeps the focus very much on the central narrative, although it does find time for some stupendous diversions, such as the bank chase, a journey inside the suitcase to where the creatures are kept – one of whom, a sort of giant rhino, develops an unfortunate desire to mate with Joe – a magical dinner at Tina's place and a visit to a wizarding speakeasy to get some vital info from low life goblin Gnarlack (Ron Perlman).
Barebone's witch-hunt clearly serves as a political allegory for the fear and bigotry abroad in Trump's America, providing for some very dark moments that include the murder of the Senator son of newspaper magnate Henry Shaw (Jon Voight) and the beatings of Credence by his 'mother'. But, there's much fun too and the breathtaking visuals mean there's so much going on in the background you'll need – and want – to see this over and over.
The closing reveal sets things up for the ongoing Potter/Voldermort styled battle between Scamander and Grindleward (a late Johnny Depp cameo), but, like the Potter movies, this is also a fully self-contained, toweringly spectacular adventure, and, dare I say it, even better than its Hogwarts predecessors. (Cineworld 5 Ways, NEC, Solihull; Electric; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
Gimme Danger (15)
Jim Jarmusch's documentary about The Stooges, the pioneering American punk outfit led by James Osterberg, aka Iggy Pop, that revolutionised rock music in the counterculture 60s, featuring new interviews with Pop, the only surviving original member, and James Williamson as well as archive interviews with the late Ron and Scott Asheton alongside vintage clips and live footage. (Sat/Sun: Electric)
The Girl on the Train (15)
One of the year's most eagerly anticipated films, directed by Tate Taylor and relocated from London, this adaptation of Paula Hawkins' bestseller remains firmly in the second class carriage, but does make occasional rewarding visits to the buffet bar. A secret alcoholic, divorced and miserable Rachel (Emily Blunt) makes the regular commute from the leafy suburb where she's dossing with her friend Cathy (Laura Prepon, vanishing from the plot midway) to New York. Along the way, usually in an alcoholic haze from the vodka she sips from her water bottle, she stares at the row of houses where she used to live with ex-husband Tom (Justin Theroux) until, a mix of her drinking and subsequent blackouts and an inability to get pregnant saw him have an affair with and subsequently marry Anna (Rebecca Ferguson) who, a stay at home mom, now shares the house with him and their baby daughter. Mentally unstable, Rachel keeps harassing them with anonymous phone calls and there was also an incident when Anna found Rachel in their back yard with the baby.
A few doors down lives Megan (Haley Bennett), a former art gallery employee now working as Anna's nanny, and husband Scott (Luke Evans), who, although she's never met them and doesn't even know their names, Rachel fantasises as the perfect couple of her broken dreams.
So when, one day, she sees Megan snogging someone else on their balcony she's takes it as a personal outrage and, one evening, in a particularly drunken state, gets off the train and stumbles to where Megan jogs to give her a piece of her mind. Which, when she wakes up, covered in blood, is all she can recall. And, when the cops, in the form of detective Riley (a criminally underused Allison Janney) turn up saying Megan's gone missing, intimating that she might be a suspect, Rachel, struggling to remember things, embarks on her own investigation, leading her to visit Scott to tell him what she saw and then, discovering the mystery man was his wife's shrink, Dr. Abdic (Édgar Ramírez), tracking him down too.
Nodding to both Victorian melodrama Gaslight and Hitchcock's Rear Window, with the latter's same voyeuristic constituents, told in disjointed flashbacks it offer glimpses into the lives of the three women and their relationships as a means of explaining their personalities and actions, all three being variously linked by infertility, pregnancy and infidelity.
Rachel is an effective unreliable narrator, her perceptions and memories clouded by alcohol, just as the film plays with the gulf between appearance and reality with everyone hiding some sort of secret, in particular Scott who is actually something of an abusive thug.
Unfortunately, to crank up the thrills, the film is also an unreliable narrator, misdirecting the audience with Rachel's memories, such as the drunken outburst at his boss's wife that got him fired, designed to frame her as an unintentional killer. Inevitably, however, as is typical of the genre, it's where and at whom the film doesn't make you look that the truth lies.
Blunt is very good as the troubled, self-doubting alcoholic, plagued by memory loss, but convinced she holds the key to Megan's disappearance, as is Bennett as the no less damaged and complex Megan, but the others are all rather cardboard, one-dimensional figures and, although the film works to make Rachel sympathetic, they're all rather ugly characters. Riddled with implausibility and the less persuasive the more it goes on, it's a reasonable enough female victimisation thriller, but it's no Gone Girl. (Vue Star City)
Jack Reacher: Never Go Back (12A)
Despite the iffy reviews and indifference which met the first film, Cruise seems determined to turn the Len Wise character into a franchise. However, perfunctorily directed by Edward Zwick, who seems to have no idea of or flair for action movies, this lacks anything resembling visual or technical style, while the moth-eaten plot is riddled with holes and the 'terse' dialogue wouldn't pass muster in an amateur screenwriting contest.
It opens promisingly enough with an extended version of the trailer, although this has nothing to do with what follows other than to set up the connection between Reacher, no longer a major in the Military Police, and his replacement, Maj. Susan Turner (Cobie Smulders). Eventually turning up in Washington, he finds she's been arrested on espionage charges, immediately sussing a set-up and setting out to find out what's going on. It seems that two of her officers were shot in Afghanistan while investing sales of army weapons to insurgents, and now those responsible want her out of the picture too.
So, he busts her out before they can kill her and the pair take off to uncover who's behind the conspiracy and prove her innocence. Matters get complicated with the introduction of Samantha (Danika Yarosh), a 15-year-old whose mother has lodged a paternity claim alleging Reacher's the father. Naturally, the bad guys, who work for the obligatory corrupt arms suppliers, decide to use her to get to Reacher once he sticks his nose into their business.
So, now we have three of them on the run from both the usual array of fixated hitman (Patrick Heusinger), ineffectual henchmen, the military and the cops in a chase that eventually climaxes in New Orleans, the only time the lumbering and repetitive film shows any sense of life.
Yarosh does the best she can with a character the script requires to be and act differently depending on where she is in the plot and Smolders is far better than the film warrants. However, even for a character whose feelings are kept hidden, Cruise seems unusually limited here, registering his emotions by either narrowing his eyes or clenching his jaw, and even the fight scenes, while decidedly violent, lack the excitement of a Mission Impossible. Firmly in the B-movie leagues, it brainlessly whiles away and hour or so, but Cruise really should take the title to heart if he's contemplating a third installment. (Vue Star City)
Moana (PG)
The latest in Disney's line of empowered princesses, Moana (Auli'i Cravalho) is the daughter of Sina (Nicole Scherzinger) and Tui (Temuera Morrison), the chief of her Polynesian tribe, who live on the Pacific island of Motunui. It's paradise, everyone happily living off coconuts and fish and content with the way things are. Well, not everyone. Moana is drawn to the ocean and wants to know what lies out there. However, haunted by a past tragedy, dad firmly insists that no one ever venture beyond the reef and that Moana should focus her attention on preparing to take her place as his successor. She's encouraged, however, by her eccentric gran, Gramma Tala (Rachel House) who reveals to Moana the secret of the tribe's past that has been long kept hidden.
She's also the one who, in the opening scenes, is telling toddler Moana (Louise Bush) and the other kids, about how shape-shifting demigod Maui (Dwayne Johnson) stole the jade-coloured heart of Te Fiti, the island goddess, unleashing lava monster Te Ka, who knocked him from the skies, sending his magical fishhook, the source of his powers, into the water. It is, of course, all just myth. Or so Moana thinks until, one day by the water's edge, a wave comes to life and deposits a shiny green stone in her path. Which is when dad turns up and spoils everything.
Fast forward several years and things aren't looking so good. The coconut trees are dying and there's no fish. According to Gramma, the only way the curse can be lifted is if Maui returns the heart he stole. Fortunately, she's been holding on to it all this time, waiting for the moment when Moana is ready to embrace her destiny as the ocean's chosen one.
And so, telling no one, accompanied by her stowaway cross-eyed chicken Heihei (clucked by Alan Tudyk) and assisted by a helpful wave, she duly sets off to find the macho Maui, the film becoming a reluctant mismatched buddies quest as she learns to be who she is and he learns humility, of sorts. Marrying Disney's staple have the courage to be who you are meant to be message with a cautionary ecological tale, it draws on Samoan, Tahitian and Fijian oral traditions to engaging effect. It is also self-aware enough to poke fun at the Disney clichés, such that when Moana protests she's no princess, Maui quips "If you wear a dress and have an animal sidekick, you're a princess" while, later he warns her against bursting into song.
Cravhalo brings a lively spark to Moana, while, his character sporting animated tattoos, including a Mini-Maui which serves as his conscience, Johnson is a self-mocking joy, providing the bulk of the film's laughs, but also serving to explore nature of being a hero and the power of friendship. The film also comes with a couple of terrific set pieces, one involving the pair being attacked by an armada of diminutive pirates in coconut shells and the other a giant crab (Jemaine Clement) version of Gollum that collects pretty shiny things, Maui's fishhook among them. And, to balance the new agey spirituality, there's also some gags about peeing in the water.
The songs may not have the mass appeal of Let It Go, but nevertheless girl power anthem How Far I'll Go is a belter and Clement's Bowie-channelling Shiny another highlight. Whether it has the innovation to challenge Zootopia, also written by Jared Bush, for the animation Oscar remains to be seen, but it certainly knocks Finding Dory out of the water. (Cineworld 5 Ways, NEC, Solihull; Empire Great Park, Sutton Coldfield; Everyman; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
A Moving Image (n/a)
Another writer-director feature debut, featuring both dramatisation and real life interviews, Shola Amoo's winning multimedia film follows Nina, a young artist who returns to Brixton determined to unite her divided community through the creation of a piece of art only to find herself tarred as a symbol of gentrification. (Wed: MAC)
Ouija – Origin of Evil (15)
Despite being a thoroughly forgettable horror, the original movie made enough money to warrant this prequel, one to which Before I Wake director and co-writer Mike Flanagan brings a little more meat and style as well as something resembling emotional depth. Set in 1967 L.A., 50 years before Ouija, it provides a backstory for Paulina Zander (Annalise Basso) who, along with her younger sister Doris (Lulu Wilson), helps mom Alice (Elizabeth Reaser) run a spiritualist con from their home, duping the locals that she can communicate with the dead. Looking to add a little extra, Doris introduces an Ouija board, one which does actually seem to forge a connection with the other side. And one which sees the kid possessed by a dark, mouthless entity which could possibly be the spirit of her dead father, thereby requiring the help of local priest Father Tom (Henry Thomas. At the end of the day, it doesn't offer much by way of anything new to the genre, but its acting is sufficiently strong and the scares sufficiently masterly handled to make it one of the year's better horrors. (Odeon Broadway Plaza; Vue Star City)
Paterson (15)
It's fair to say that you have to have a hefty degree of patience to watch a Jim Jarmusch film, but the end results are well worth it. His latest is a slow burn meditation on life character piece set over the course of a week in which almost nothing happens, but which is peppered with insightful observations, small epiphanies and a sizeable helping of eccentricity.
Adam Driver is Paterson, a bus driver named for the New Jersey town in which he lives, the birthplace of, among others, Lou Costello, Dave Prater (from Sam & Dave) , Allen Ginsberg and the celebrated poet William Carlos Williams, author of the five volume poem Paterson. Paterson too is an aspiring poet, regularly jotting down lines in his notebook (handwritten on screen as he composes them), the first about a brand of matches. They are, pretty much exclusively, minimalist love poems to his wife Laura (Golshifteh Farahani) who is forever urging him to get them published or, at least, to make copies. She has a thing about white on black, whether in redecorating the house, her clothes, the cupcakes she makes or the harlequin guitar she buys to follow her latest dream of becoming a country singer. She's a tad flaky, but Paterson adores her. They also share their home with Marvin, a bulldog who will play a crucial role in the last act, while, when not at home, Paterson is either observing his passengers (an unlikely percentage of whom are twins) or the folk who hang out at the local bar run by the world weary Doc (Barry Shabaka Henley). Early in the week he meets a young girl who reads him a poem she's written, while, on Saturday, feeling dejected and sitting in his favourite spot, he's joined by a mysterious Japanese man (Masatoshi Nagase) who's reading William Carlos Williams. They talk about poetry and the man gives him an empty notebook. That's pretty much it.
Playful but, anchored by a subtly, soulfully melancholic turn from Driver, also quietly sad, essentially it's about finding poetry in the everyday and often random minutiae of life, but also about the need to escape from the stasis into which we can so easily fall mistaking it for contentment (it's not hard to imagine another film about the marriage falling apart) and a reminder that life is a blank page waiting for us to write upon it.(Electric)
Storks (U)
There have been several animated films this year that could well find themselves with an Oscar nomination. This won't be one of them. Written and co-directed by Nicholas Stoller, the man behind the likes of Bad Neighbours, Zoolander 2 and Get Him To The Greek, it is every bit as brash and noisy as those, apparently none of the cast able to deliver their lines in anything less than a shout, the entire film the visual and aural equivalent of a serious case of over-caffeination. And let's not even get into the havoc it's going to play with parents explaining the facts of life to their kids.
Back in the day, storks delivered babies, but, following an incident in which one of the birds (Danny Trejo) tried to keep the tot for himself, breaking her, quite literal, homing beacon in the process, they got out of the baby business and now deliver parcels from their Cornerstore HQ on Storm Mountain.
Top of the delivery tables is Junior (Andy Samberg) who is thrilled to be told by Hunter (Kelsey Grammar), the big boss who uses little birds as golfballs, that he's going to be promoted to take over from him at the upcoming StorkCon shareholders meeting. But first, he has to fire Tulip (Katie Crown), who, the baby that never got delivered, still lives with them. Now that she's 18th (and also because she tends to cause all kinds of chaos), Hunter says it's time she became part of the human world. However, faced with telling her, Junior just can't get the words out and, instead, tells her she's been given a job in the letter sorting office. Which she should never leave. Given that nobody writes asking for babies any more, she's bored out of her head and spends the time talking to herself, at frenetic speed, acting out (with the help of a pliable hairdo) different personas, each of them excruciating annoying.
Meanwhile, out in people land, his real estate parents (Ty Burell and Jennifer Aniston) always too busy to spend any time with him, young Nate decides he'd like a baby brother, one with ninja skills. Mom and dad dismiss the idea, but, finding an old leaflet about the stork service, he writes a letter which duly winds up in Tulip's hands and, before Junior can stop her, goes into and reactivates the baby making machine. Now they find themselves with an unexpected tot to deliver, before the meeting and before Hunter finds out. Junior, however, has injured his wing, but, fortunately, Tulip's cobbled together a makeshift plane.
Without prolonging the agony of explaining things, suffice to say that Tulip's maternal instincts mean the mission doesn't go as planned, leaving the trio being pursued by wolves and, thanks to the aptly named Pigeon Toady, quite possibly the most annoying animated character ever, their secret is revealed to Hunter. And to top it all, Jasper, the stork who tried to abduct Tulip in the first place, also turns up, determined to rectify his screw up. All of which somehow manages to end up with Nate's intended sibling in the custody of Hunter's penguins and the baby machine churning them out like rabbits.
There are some good, imaginative moments (almost all of them involving Alpha and Beta, the two wolves who fall for the cute pink-haired infant, and the way the pack is forever forming itself into things like a van, plane or submarine), but they're mostly overwhelmed by the unrelenting screech elsewhere. Undemanding kids may be entertained, but, unfunny, relentless and charmless, the best thing to be said is that it's not as bad as the profoundly tedious The Master: a Lego Ninjago Short that precedes it. A bundle of joy it is not. (Odeon Broadway Plaza; Vue Star City)
A Street Cat Named Bob (12A)
Directed by Roger Spottiswood and based on the bestselling autobiography and subsequent series of books, this is a heartwarming tale about someone turning their life around with the help of a loyal friend. In this case, a cat.
It's 2007 and James Bowen (Luke Treadaway) is a recovering heroin addict on a methadone programme, earning spare change as a London busker (courtesy of songs by former Noah and the Whale frontman Charlie Fink). Thanks to his supportive case worker (Joanne Froggatt), James gets one last chance when he's allocated a social housing flat into which, one night, comes a stray ginger tom. When attempts to find its owner prove fruitless, James decides to keep him (or vice versa), which, in turn, introduces him to Betty (Ruta Gedmintas), his vegan neighbour with her own past drugs-related tragedy, who informs him that the animal wants to be called Bob and has come to James for a reason.
And so it would appear as, taking him out busking, Bob's soon attracting hitherto unknown crowds and turning the pair into a YouTube phenomenon and, when an incident has James banned from busking, joins him selling the Big Issue, perched on his shoulder outside Angel tube station in Islington with people asking to have a selfie taken with him. His life gradually turning around, James seeks to reunite with his estranged father (Anthony Head), but, while there's a general lightness of tone and often playful humour, there will still be darker passages to navigate before the happy ending.
The tone's uneven, but, steering clear of mawkishness, while minor, it's an appealingly and very British feelgood film about choosing life and the redemptive power of friendship that's well served by its central two legged cast, although it will come as no surprise to learn that, mostly playing himself, the real star here is Bob who makes Pudsy look like a rank amateur. (Vue Star City)
Trolls (U)
Created in Denmark in 1959, the soft plastic troll dolls with their big eyes, big grins and various shades of furry upcombed hair, known as Gonks in the UK, were a huge fad in both the 60s and at different times from the 70s to the 90s. Now they're back, making their feature film starring debut in this animated Day-Glo musical adventure from the various creators of Shrek and Kung Fu Panda that's aimed very firmly at the under-7s.
A felt scrapbook prologue introduces the Trolls as "the happiest creatures the world had ever known", always ready to burst into a song or dance and hugging every hour. They once lived in a tree in the middle of the town, but their neighbours, the ogre-like Bergens, led by King Gristle (John Cleese), had no idea what happiness was. They were the most miserable creatures in the world. Seeing how happy the Trolls were, they thought that they could feel that happiness too – if they ate a Troll. And so began the annual ritual of Trollstice, during which the Bergen Chef (Christine Baranski) would pluck Trolls from the tree and serve them up. Until the day came for Prince Gristle (Christopher Mintz-Plasse) to have his first taste of Troll and it was found that the Trolls had all escaped, leaving the Prince in tears and Chef in exile.
Twenty years later, after being led to freedom by King Peppy (Jeffrey Tambor), the Trolls live safely hidden in the forest, enjoying a life that is all rainbows, under the uber-enthusiasm of the brightly pink Princess Poppy (Anna Kendrick). To commemorate their escape from the cooking pot, she's planning to hold the biggest, brightest and loudest party ever. Something that Branch (Justin Timberlake), who, coloured a drab grey, is, for reasons we discover later, the world's only unhappy troll, warns will give their location away.
And, so it is that, in the midst of their celebrations, along comes Chef who scoops up a bagful of Trolls, including blue Biggie (James Cordon), the giraffe-like Cooper, hippie-philosopher Creek (Russell Brand), fashion twins Satin & Chenille (Icona Pop) and Sparky who, to the delight of the youngsters, farts glitter dust.
And so, Poppy resolves to rescue them, a quest in which she's reluctantly joined by Branch and which will involve them joining forces with scullery maid, Bridget (Zooey Deschanel), who's secretly in love with Prince Gristle, giving her a Cinderella-styled rainbow hairdo makeover, complete with discarded skating boot in place of a glass slipper. And, inevitably, any number of mostly disco-driven songs, the soundtrack featuring both new Timberlake numbers and old hits like True Colors and I'm Coming Out.
Although there's some sly references, there's very little here for the grown-ups. However, as well as a subtle anti-drugs caution about pill-popping to feel good, the message about how true happiness lies within you has no age limits and, while the film's relentless energy may be exhausting, it's also infectious with such various inspired and funny moments as the talking Cloud Guy. Anyone older than their shoe size may find it annoying, but it's still hard not to leave without a smile on your face. (Empire Great Park, Sutton Coldfield; Odeon Birmingham, Broadway Plaza, West Brom; Reel; Showcase Walsall; Vue Star City)
A United Kingdom (12A)
In 1947, insurance clerk Ruth Williams (Rosamund Pike) met Oxford graduate and law student Seretse Khama (David Oyelowo) at a London Missionary Society dance. Despite the objections of her ultra-conservative shopkeeper father (Nicholas Lyndhurst) and sneering British diplomat Alistair Canning (Jack Davenport), a year later the pair married and looked to face life ahead. This, however, had rather more problems than racism in the streets of London. Seretse was, in fact, heir to the throne of the Bamangwato people of Bechuanaland (now Botswana), a British protectorate, and his intention for them to return home and take up his position, with Ruth as his queen, did not sit well with either his tradition-minded uncle Tshekedi (Vusi Kunene), who'd been acting as regent, or the powers that be in Whitehall, caricatured by both Canning and even more obnoxious civil servant Rufus Lancaster (Tom Felton), as it would threaten Great Britain's relationship with South Africa in the light of its new apartheid policies. Indeed, things went so far as for the post-war Labour Government to have Khama exiled back to the UK, leaving his wife behind in Africa for several years before she was allowed to join him, his cause championed by the likes of young Leftist politician Tony Benn (Jack Lowden).
Arriving in Africa, Ruth also has her own battle for acceptance from the locals, as embodied in her sister-in-law Naledi (Terry Pheto), but knuckling down and a couple of stirring she's my wife speeches from Seretse soon seem to smooth all that over.
As written by Guy Hibbert and directed by Amma Asante, it's more a romantic against the odds fairy-tale than political commentary, oversimplifying events (particularly the importance of finding diamonds in the country) to some extent and unsubtly balancing the noble-hearted couple against the weaselly politicians manipulating the marriage for their own ends. The need to deliver exposition often gives a clunky feel to the dialogue, but, delivering well modulated performances, there's a genuine chemistry between Pike and Oyelowo and, while his is the more charismatic figure, Ruth has determined British get on with it resolve in her blood too. Nonetheless, considerably less impressive than Asante's previous Belle, which also dealt with themes of colour, society and outsider status, and feeling longer than its two hours, it never really rises above its soft and politely styled melodrama. (Cineworld 5 Ways, Solihull; Empire Great Park; Odeon Broadway Plaza; Reel; Vue Star City)
Cineworld 5 Ways – 181 Broad St, 0871 200 2000
Cineworld NEC – NEC 0871 200 2000
Cineworld Solihull – Mill Ln, Solihull 0871 200 2000
The Electric Cinema – 47–49 Station Street, 0121 643 7879
Empire – Great Park, Rubery, 0871 471 4714
Empire Sutton Coldfield – Maney Corner, Sutton Coldfield
The Everyman – The Mailbox 0871 906 9060
MAC – Cannon Hill Park
Odeon Birmingham -Birmingham, 0871 224 4007
Odeon Broadway Plaza – Ladywood Middleway, 0333 006 7777
Odeon West Bromwich – Cronehills Linkway, West Bromwich 0333 006 7777
Reel – Hagley Rd, Quinton Halesowen 0121 421 5316
Showcase Walsall – Bentley Mill Way, Walsall 0871 220 1000
Vue Star City – Watson Road, 08712 240 240
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Our Bus Ministry is led by one of our Deacons Couple Misilei and Dacia Sosene. It is one of a challenging Ministry in the Church due to a lot of commitment that is required to operate this Ministry, but this couple has offered their time to serve God in our Bus Ministry and are willing to pick up anyone that is need of a ride to the Church. God Bless you all.
It is a focus and goal of this ministry to be able to reach out to those that are in need of transportation to bring them to the Church or whatever functions that we have in order for them to be a part or participate in our activities or gatherings. We believe that sometimes transportation are not always available at home, so this the reason our bus ministry are standing by to answer that need if it is requested and needed.
It is available for those who are in need to come to service or church functions and also available to drop them off home. The bus ministry is not for our personal use but God has blessed us with a Ministry vehicle to be able to help others who do not have transportation to Church or any ministry function.
It is the responsibility of the rider to contact the Bus Ministry Director if the need rises for a ride to any church functions or gatherings. We will have all the contact information for all ministry Directors available. It is also the responsibility of the rider to make sure the Bus Ministry Director is informed ahead of time for a ride.
Every person regardless of the background or ethnicity is welcome to request for a ride if the need rises. It is our purpose and focus in this ministry to reach out if a transportation is needed.
If by any means you become a member of this Church Ministry and you want to be a part of the Bus Ministry then you are welcome to be a part of it. Just let the Director of the Ministry know your desire and he/she will accommodate you.
We believe when we are born again in the Lord we become one family in Christ, it is our desire as a Ministry to keep the peace and to make sure that everyone gets along, but unfortunately sometimes even in the Christian world sometimes it is hard, so we encourage all our bus riders to get along as they ride along with each other on the Bus.
As the Bus Ministry, we are standing by to help. For everyone that do not have transportation or ride to any of our Church functions or activity, we are here to serve you. God Bless..
Deacon Misi and Dacia Sosene.


text:
LAMBERTO LOSANI. THE THREAD OF THE STORY
English, Events
PAMELA MCCOURT FRANCESCONE
A passion for beauty, for quality and for precious yarns. A punctiliousness which translates into the highest levels of Italian design and production, based on the traditions of quality knitwear and of long years of experience, handed down from generation to generation. This is the precious heritage of Paola Losani, a young businesswoman who runs a knitwear factory in the delightfully-named Villa Case Sparse (Villa of the Scattered Houses), a hamlet close to the little town of Magione on Lake Trasimeno in Umbria, an area with a strong industrial vocation, and the most important in Italy for the production of knitwear.
From this smiling and happy Green Heart of Italy the production of Lamberto Losani passes through their showroom in Milan?s fashion hub, Via della Spiga, and into the most prestigious luxury boutiques and stores in Europe, the United States and Asia.
The story of the Losani family began in 1940 when, in Perugia, Paola?s grandfather Giovanni Losani began to produce socks and knitwear in wool and angora, two yarns which were produced locally. ?Then it was my father, Lamberto, who launched the first fashion line with our own label, giving the company a new lease of life,? says Paola a smiling thirty-year-old who underlines that ?everything, quite simply, starts with a thread.?
No longer those simple woollen threads which Nonno Giovanni used to work with, but precious yarns like the softest Mongolian cashmere, wonderful silks, and Egyptian and Peruvian cottons which are often blended with less traditional and noble yarns like viscose and elastem because, as Paola explains, ?the Losani philosophy is that there is no luxury without comfort, and no comfort without quality.? And so we find elasticised linen, cashmere which becomes even more impalpable thanks to the addition of the finest cotton, and viscose which is so soft that it gently moulds and swathes the body. ?Because the first things that count are a beautiful form and a garment which is easy and comfortable to wear. Which means feeling totally at ease wearing a jumper, a dress, a pair of trousers or a skirt which also enhance one?s personality.?
Behind the two collections Paola Losani produces each year there are long months of research and studies on new designs and blends of materials, new styles and trends, but the bottom line is always comfort, which means clothes that give total freedom of movement. The collections are the result of the teamwork of a group of researchers who work with Paola and stylists in countries around the world where the name Losani is synonymous with luxury knitwear. ?Today it is very difficult to propose styles, as tastes and trends are constantly changing everywhere. But a thing of beauty is a thing of beauty the world over. And so, by varying details like colours, necklines, lengths and, of course, the choice and blend of yarns ? because we also have to take into account the different climates in the different parts of the world ? we have carved out a niche and have a demanding clientele who wants only the highest quality materials, although obviously the styles are also of paramount importance. What people want today are new ideas, and this is probably the element which requires the most commitment on our side, because it is vital to be up-to-the-minute. And this can depend on minor details like a collar, a split in a skirt, or a new stitch. But without ever forgetting comfort and elegance. It?s really a question of finding the perfect balance.?
Italian designer knitwear is an artisan heritage which has become a veritable art. An art to be defended and one which, thanks to companies like Lamberto Losani, makes Italy the country to which the rest of the world turns for inspiration. Although nobody is foolish enough to harbour any doubts that it is impossible to aspire to the levels of beauty that Italy, and only Italy, knows how to create.
LAMBERTO LOSANI S.r:l.
Villa Case Sparse, 48/G
06063 MAGIONE ( PG )
www.lambertolosani.com
info@lambertolosani.com


You do not need to wait to be rich anymore!
These days, you do not need to be rich to have a real portrait.https://www.intive.com/en/blog/articles/thomas-sabo-creates-unique-digital-shopping-experience-with-intive – www.intive.com/en/blog/articles/thomas-sabo-creates-unique-digital-shopping-experience-with-intive -They are rather affordable, consequently, not limited just for very most rich people – www. Another good news is – it is very easy to get. There are tons of various companies which do it online thus you do not need to even leave your apartment! Forget about sitting still in front of the painter for hours! Presently, it is all about custom oil paintings. Namely – a painter does not paint you. He still creates a hand drawn portraits. Nevertheless, these days he does it from pics. It becomes far more convenient if you wanna have a portrait of your child or a animal. Otherwise, it could be simply impossible to convince small kid or a lively animal to stay still for hours!
All you need to do is to find a business that can provide such service. It should not be a problem because there are many companies advertised online. Thereafter, you need to submit a picture you want to have portrayed. Then, you can choose specific style (as for example hand drawn portraits) or size. After that, artist begin his work.
The timing hugely depends on the specific methods. For instance, custom oil paintings look marvellous, but oil art might take a little bit longer. So, it may be worth to wait a bit, so you can have a portrait which is so perfect as you wished for it to be. Once it is finished and approved by you, the portrait is framed and deliver to you. And itt is all.
You need to admit that it sounds wonderful, doesn't it?
To conclude, nowadays it is extremely easy to get amazing portrait. It does not cost much – neither effort or time. Most likely this is the reason, why it is so popular.


Their base surrounded by Taliban fighters, a group of British troops fight for their lives to repel wave after wave of suicidal attacks.
This dramatic film footage of a bloody battle in Afghanistan was shot by a soldier on a mobile phone, who wanted to capture the bravery of UK troops.
With journalists largely kept away on the front line, the recording - released to the BBC - gives the first glimpse of how ferocious the fighting has become.
One of the grainy images shows a soldier with bare arms frantically loading a mortar as he throws everything he can at the attacking militants.
Another shows the troops from the 3rd Battalion, The Parachute Regiment, leaning against a wall in trench as bombs fall around them.
In this firefight in the town of Sangin, in the Helmand Province, the lightly armed British soldiers called in air strikes to drop bombs on Taliban fighters approaching the front gate of their base.
The pictures underline the extreme dangers facing soldiers in Helmand, where British commanders claim they are facing the most intense fighting in the past 50 years.
There were 44 separate Taliban attacks on troops in Sangin alone last month, in which 125 of their fighters were killed.
Since June, British soldiers have fired an incredible 300,000 rounds of ammunition in Southern Afghanistan.
The soldiers who shot this footage said they released it because they did not want the bravery of the Paras in Afghanistan to go unnoticed at home.
The death toll among British forces in the country since 2001 stands at 40, including 19 since last Friday.
They include Corporal Bryan Budd, a paratrooper from the 3rd Battalion, who died during a firefight Sangin in August.
The soldier from Ripon, North Yorkshire, had a two-year-old daughter and his wife is expecting their second child this month.
His commanding officer, Lieutenant Colonel Stuart Tootal, was hailed by his commanders as softly spoken but a 'natural leader'.
He said: "Bryan died leading his men from the front, where he always was."


With Halloween right around the corner, InStyle turned to costume connoisseur Katy Perry to get her amazing tips on rocking an over-the-top look. From sacrificing sitting for the sake of a dress (i.e. the carousel shown here) or finding the perfect red lipstick to top off an outfit, click "See the Photos" to learn the secrets behind Katy Perry's notorious candyland couture.
Halloween 2011: Costume Ideas, Celebrity Outfits, and More!


text:
Q: Flash[:notice] works in webrick but not in apache + passenger This seems really strange and I'm at a loss to explain it.
flash[:notice] = "You must sign in before making a purchase."
return redirect_to new_user_session_path

This works fine in webrick development mode, and production mode. When I switch to apache no notices appears on the page, but the page loads find and there are no errors in the logs. I've been googling and some people suggested in similar questions that perhaps apache is redirecting twice, but the logs don't support this. Also, I tried flash.keep[:notice] just in case and that did not work either.
Any help would be most appreciated.

Update: Flash.now works fine (without the redirect of course). I believe at this point it's a permissions issue with apache / passenger not being able to store sessions correctly. I'll keep exploring this rabbit hole and report back.

A: I ended up fixing the problem by using the Active Record Session Store gem.