The latest residential housing price figures confirm what buyers and sellers have known for some time: the drop in housing prices is continuing without any real sign of a bottom being reached. This fall, as with the housing boom, is most pronounced in Sydney and Melbourne. This has seen an improvement in housing affordability but it remains above the pre-boom levels.
Over the course of 2018 house prices across the capital cities fell 5.1% – the biggest 12-month fall ever recorded by the residential price index, which dates back to 2002.
And while the average of the capital cities is dominated by Sydney and Melbourne, the falls are seen across the entire country.
So it is rather tough to argue there is a "soft landing" occurring in Sydney – prices are falling faster than they have in the recent past and they are also coming off one of the biggest booms of recent times.
And the bust has occurred for both established houses and for attached dwellings such as apartments and flats.
And while the house price drop in Melbourne has been slightly less pronounced than in Sydney, that city is seeing a greater recalibration of prices. Generally house and apartment prices move in synch, but in Melbourne after 2012 the price of established houses surged well beyond that of apartments.
But Sydney remains the most expensive place to buy a house.
Generally the average earnings of those in Sydney are higher than in other states – average full-time male weekly earnings in New South Wales are $1,808 compared with $1,264 in South Australia – but the difference is not enough to overcome the massive difference in house prices.
A couple earning the average full-time male earnings in NSW and half of the average women full-time earnings would have an annual income of $133,000. Using this measure the median Sydney house price is the equivalent of 6.8 years of annual household income.
And while this has fallen from a peak of 8.3 years in 2017, it remains well above the 5.6 years in Melbourne and 4.0 years in Adelaide.
So where are things going from here? Well, unless the Reserve Bank gets involved and cuts rates soon, house prices will continue to fall for some time.
Right now the market is pricing in a cut in interest rates by August with a big chance of a cut to 1% within the next 12 months.
In the past, such house price falls have seen the RBA act, and in 2011 it also saw the start of a price boom. Whether any cuts now would set off such price rises is harder to gauge, but it does seem that the central bank will be less likely to sit by and watch while house price continue to fall at the current rate. A rate cut during the election campaign must be a big chance now.


Kansas Wheat Alliance's (KWA) varieties are developed by K-State researchers to best meet the needs of Great Plains Farmers. KWA is proud to introduce this season's genetically superior varieties that perform in every environment.
To learn more about which K-State varieties work best for your region, visit our new interactive map by clicking on the picture, or clicking here.


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Netflix Netherlands Today All New Releases Get American Netflix
How to watch The Ides of March (2011) on Netflix Netherlands!
Sorry, The Ides of March is not available on Dutch Netflix, but you can unlock it right now in the Netherlands and start watching! With a few simple steps you can change your Netflix region to a country like Pakistan and start watching Pakistani Netflix, which includes The Ides of March.
We'll keep checking Netflix Netherlands for The Ides of March, and this page will be updated with any changes.
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The Ides of March is not available in Netherlands BUT it can be unlocked and viewed!
Dramas, US Movies, Thrillers, Political Dramas, Political Thrillers
Director(s): George Clooney
Dirty tricks stand to soil an ambitious young press spokesman's idealism in a cutthroat presidential campaign where "victory" is relative. This young upstart needs to learn the lesson that strong character and moral fortitude are handicaps in politics.
Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, Jeffrey Wright, Max Minghella, Jennifer Ehle, Gregory Itzin, Michael Mantell
Watch "The Ides of March" on Netflix in the Netherlands
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Lady in the Water
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Love the Coopers
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redpajama_set_name: RedPajamaCommonCrawl


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CFLPA Ratifies Memorandum of Agreement to Make it Possible for Game Play in 2021
Toronto - The CFLPA is pleased to announce that it has ratified a memorandum of agreement (MOA) with the CFL on amendments to the existing collective bargaining agreement (CBA) that will make it possible for games to be played in 2021.
The CFL Board of Governors must now vote on the ratified MOA on Monday, June 14. The CFLPA Bargaining Committee, including members of the executive, counsel and various player reps, have been actively meeting and negotiating with the CFL for the past four months to amend the existing CBA with an aim to play as many games as possible in 2021. On Wednesday, June 9, the CFLPA Bargaining Committee presented a memorandum of agreement to CFLPA player representatives who reviewed and ratified the agreement in accordance with the CFLPA constitution.
The CFLPA has provided frequent and regular updates to the entire membership throughout the pandemic, including during MOA negotiations. As recently as last Friday, the CFLPA detailed critical dates for members should the season begin August 5 - which includes a scenario where a 7-day home quarantine would start for all CFLPA members on June 25 and training camps could begin on July 10. These plans are contingent upon the CFL Board of Governors voting on Monday, June 14 to commence the 2021 season.
"We've done everything we can as a union and as players to lay the groundwork needed for us to play a safe 2021 season and now the CFL Board of Governors has an opportunity to do their part. I would like to thank our bargaining committee and the player representatives, as well as the CFL, for working hard to get us to a point where we believe we have a good and fair agreement in place for the players and for the game."
Solomon Elimimian, President of the CFLPA (member of the CFLPA Bargaining Committee)
"The memorandum of understanding that was presented to the player representatives was endorsed by our bargaining committee and is a fair agreement that represents the direction and needs of the CFLPA membership. We eagerly anticipate the CFL now making the right decision to get the season going while maintaining the highest player safety standards. The entire CFLPA bargaining committee has worked very hard to get us to this point and presented an agreement to the player representatives that has the very best interest of the players in mind. The pandemic hasn't been easy for anyone in the CFL - and I can tell you that it has been especially hard on the players and their families. This MOA represents another big step toward getting us all back to work so that we can safely get back on the field this season."
Brian Ramsay, Executive Director of the CFLPA (Vice-Chair of the CFLPA Bargaining Committee)
About the CFLPA:
The Canadian Football League Players' Association (CFLPA) is the union for professional football players in the Canadian Football League (CFL). Since 1965, the Association has worked to establish fair and reasonable working conditions while protecting the rights of all CFL players. In addition to negotiating and enforcing the terms of the Collective Bargaining Agreement (CBA), the CFLPA provides a variety of member services, builds corporate and community partnerships and works diligently for the betterment of its membership. Find us online at cflpa.com.
Jason Langvee, CFLPA Office, j.langvee@cflpa.com, 1-800-616-6865
Copyright © 2020 CANADIAN FOOTBALL LEAGUE PLAYERS' ASSOCIATION All rights reserved.
Canadian Football League Players' Association
6205 B Airport Road, Suite 208


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Marathon Runners and Heart Problems
If you're just a weekend runner, better think twice about signing up for that grueling race.
Researchers say that full marathons (26.2 miles) may significantly raise concentrations of several biomarkers of stress in the heart.
The study appeared in Circulation, Journal of the American Heart Association.
The strain on the heart muscle is much greater after a full marathon.
For their investigation, researchers in Spain tested levels of the cardiac biomarkers in 21 groups of three amateur runners each. Each individual ran a marathon, a half marathon (13.1 miles) and a 10K (6.2 miles) as part of the study. The investigators compared levels of two of the cardiac biomarkers, including troponin I and troponin T after each person ran each race.
The conclusion: the strain on the heart muscle, as measured by the biomarker levels, was much greater after a full marathon.
The incidence of cardiac arrests in marathoners is only about 1 in 50,000 runners who compete in races, but a high proportion of all exercise-induced cardiac events occur during marathons, especially in men 35 years of age and older.
The number of subjects in the study was not large enough to accurately assess differences in 10-year cardiovascular risk, but the researchers are planning to examine this in a larger group of runners, said lead investigator Juan Del Coso, Ph.D., director of the exercise physiology laboratory at Camilo José Cela University, in Madrid, Spain.
"We typically assume that marathon runners are healthy individuals, without risk factors that might predispose them to a cardiac event during or after a race. But with the growing popularity of long-endurance races, the exponential increase in the number of participants, and the lack of appropriate training in some cohorts of amateur runners, our findings suggest that running shorter endurance races might reduce the strain imposed on the myocardium during running competition," Del Coso said.


Water officials say that, added up, the impact of private irrigation wells may be significant in Florida. Lack of data keeps them from knowing for sure, and may be skewing the state's rosy water-conservation numbers.
In the Turnberry Lake development near Jonesville, private irrigation wells are a familiar sight in the backyards of many homes. When prospective residents come to view the neighborhood, they are given the option to add an irrigation well to their home site, alongside options like low-flow shower heads and LED light fixtures.
Turnberry Lake, known for its sandy soil and grassy landscapes, consumed the most water out of 28 neighborhoods surveyed in the 2014 Envision Alachua report. While it's landscaped with drought-tolerant Zoysia grass and many native plants and trees, a single-family Turnberry home averaged 538 gallons per day; that's 73 percent higher than the county average of 308 gallons per day.
With high water consumption comes higher water bills from the local utility — a factor that prompts some homeowners to seek alternatives for landscape irrigation. Private irrigation wells are one option. But water officials are beginning to worry about the impact private wells may have on water resources. Every well drilled into the Floridan Aquifer is like poking another straw into a drink; scientists say the cumulative sips contribute to the decline of the region's springs and rivers.
"If you have a really high water bill, but you still really want that green lawn, one alternative you have is to put in an irrigation well," said Stacie Greco, Alachua County water conservation coordinator.
Floridians use about 6.4 billion gallons of freshwater every day, according to the U.S. Geological Survey, a number that has dropped in recent years amid increasing efficiency, awareness and prices. In the city of Gainesville, water use has dropped 22 percent since 2007 despite population growth.


Logline Ígor [9 years old] is the only human volunteer at the CERROPRO- Center for the Reception and Recovery of Problematic Animals – a secret society founded by an octopus, a wolf, a cat and a pig with the goal of rescuing animal who have developed weird habits as they lived with their owners. Helping the "patients" reconnecting with their "inner animals", Igor will develop his more humane side.
In each episode a problematic animal is rescued by CERROPRO and brought back to the mansion where the Secret Society is based in order to receive treatment, as they lost touch with their "inner animals". As they assimilate typically human neurosis, originally from their owners, the animals have adopted incompatible behavior with their animal nature.


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The 'Worst Type' Of Man To Date, According To Emily Ratajkowski
By Kylie McCreary/Jan. 25, 2023 12:43 pm EST
After recently divorcing her husband, Sebastian Bear-McClard, Emily Ratajkowoski has taken to the dating scene, Glamour reports. Enjoying flings with celebs like Brad Pitt and Pete Davidson, finding someone to date doesn't seem to be a challenge (via US Weekly). However, in an interview with Harper's Bazaar, Ratajkowski mentioned that she's currently taking a new approach to date than she had in the past.
"To use the TikTok phrase, I was a bit of a 'pick-me girl' in the sense that I wasn't very good at deciding what I liked. I really wanted to be chosen," she told the magazine. She went on to say, "Now it's really fun to go to dinner with someone and be like, 'Cool. I really enjoyed these parts of them. I really didn't like these other parts."
Ratajkowski is taking a much more selective approach to who she dates, spotting red flags and taking notes. With good reason, she's being ruthless. In a recent episode of her podcast HighLow she revealed that finding a man she is compatible with is a challenge, saying, "I feel like I attract the worst men."
Men who struggle with her success
Dia Dipasupil/Getty Images
A model, actress, cultural critic, influencer, business owner, author, podcaster, and mother; these are all titles you can call Emily Ratajkowski. To put it succinctly, she's an absolute powerhouse. But being a powerhouse has evidently made dating men more frustrating for her. Speaking with influencer Olivia Ponton in her recent HighLow episode, she says, "They're like, 'Okay, yes, you're special. You['re independent].' And they love it and love it, and then slowly they get emasculated and ... don't know what to do with those feelings, and then they resent you." According to psychologists, there's a reason that many men can act this way.
In a review published by the Psychology of Men & Masculinity, researchers at the University of South Florida explain that men have been conditioned to feel that "manhood" must be earned. This implies it can be lost and isn't inherent. Because of this, men can feel threatened when they don't fit masculine stereotypes like someone will revoke their "manhood" or societal approval.
Cultural stereotypes expect men in heterosexual relationships to be the "breadwinners" or the "protector." So when they aren't, they can feel anxiety and even heightened aggression, says the source. This seems to pinpoint precisely what Ratajkowski is struggling with. Her confidence and success have come head-to-head with men struggling to feel secure in themselves.
What Emily Ratajkowski wants in the men she dates
lev radin/Shutterstock
In the same podcast episode, Ratajkowski expands on how men with fragile egos impact her heterosexual dating life, saying, "strength and the power is associated with the masculine, and once a woman has that, a man doesn't know what else he has." Additionally, she points out that there are many traits she wishes men would focus on. She groans, "I'm like, 'How about you just be better at expressing your emotions and being there emotionally?' That would be great."
According to Princeton University's wellness resource Umatter, research shows that most men disagree with the stereotype that they shouldn't show their emotions. However, many follow their gender role expectations out of fear that their peers will disapprove of them.
To have a long-lasting relationship, communication and respect are essential. Neither can be achieved if men continue to believe they have to fit in such a narrow box for masculinity. Emily Ratajkowski isn't only addressing her dating pet peeves but also a larger cultural issue that affects both men and women negatively.


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Obituaries — Jan. 23, 2019
Wednesday, January 23, 2019 1:30am
Seth Roderick Taylor
December 23, 1988 – January 13, 2019
Seth Roderick Taylor was born on December 23, 1988, in Port Angeles, to Craig K. and Cindy Roderick Taylor. He later moved to Sequim and attended school in Sequim. He passed away January 13, 2019, in Port Angeles.
Seth had a great love for the outdoors. He enjoyed fishing and spending time in the woods. Born with a natural leadership ability and a heart of gold, Seth cared about people in the purest way and loved them for who they were. He was a sweet, tender-hearted man who loved to be there for others. Whenever someone was going through a tough time, or striving to do better, he was an inspiration and a source of encouragement to them. He was also known and loved for his quick wit, his infectious smile and his compassion for others.
Seth's true loves were his children. A dedicated and protective parent; very passionate and loving. He will be deeply missed and held in the hearts of those who loved him.
Seth was preceded in death by his aunt, Amy Roderick Lingvall; and grandfather, Ken Clark.
He is survived by girlfriend, Rhea Jo Moore; daughters, Bayle and Ayla; son, Myles; mother, Cindy (Mark) Frederick; and Craig (Sandy) Taylor; sisters, Tricia (Sid) Vandiver, Tami Frederick; brothers, Sean (Andrea) Taylor, Jacob Frederick; grandparents, Tom and Carol Taylor, Ed and Virginia Porter, Gerald and Cynthia Roderick, Brenda Clark; and many aunts, uncles, cousins, nieces, and nephews.
A Celebration of Life will be held Saturday, January 26, 2019, at 1:00 PM, by the Dungeness River, in honor of Seth's love of the outdoors. Please dress comfortably and casually as Seth would have liked. For more information and directions, please call 360-477-8650 or 360-461-6973.
Memorial contributions may be made in Seth's name to the Boys and Girls Club of the Olympic Peninsula.
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Category Archives: Crime
Bleeder (1999) Review
Kim Bodnia as Leo
Mads Mikkelsen as Lenny
Rikke Louise Andersson as Louise
Levino Jensen as Louis
Liv Corfixen as Lea
Hard-drinking Leo (Kim Bodnia) likes to hit the bars and watch gory films with his introverted pal, Lenny (Mads Mikkelsen). His girlfriend, Louise (Rikke Louise Andersson), tends to stay in at the couple's Copenhagen apartment. Despite their differences, Leo and Louise have maintained a relationship for a long time; however, when Louise tells Leo that she's pregnant, he senses that his lifestyle will have to change, and his long-hidden hatred of his girlfriend violently erupts.
Bleeder was the last film by Nicolas Winding Refn I had left to catch up on, it was particularly hard to find but I got access to a copy eventually. I didn't know anything about the movie except its one of the directors earliest films and had the main trio of actors from his first film Pusher. While I wouldn't call it one of Refn's best by any means, I thought it was a solid early film from him.
Bleeder is a dark and raw drama, that really focuses more on the drama than crime compared to Refn's last film Pusher. The plot consist of two storylines, each of them following two people who are friends. One of them is of Leo, a soon to be father. The other is Lenny, an awkward film nerd who works at a video store and struggles with women. Leo's story is the dramatic aspect of the film. It's dark, filled with tension, and uncomfortable to watch. Essentially this storyline is a domestic drama between Leo, his wife Louise, and her brother Louis. It's basically a character study of a man afraid of his impending fatherhood. Strangely I wanted to see more of Lenny's story. Even though it didn't seem to be moving towards anything, it is fun to watch his story play out, and at the very least it's a nice break from the intensity of the Leo story. The stories are connected by the two lead characters being friends but tonally they're very different. It's a weird mix that I still enjoyed. The are some great comedic moments (mainly with Lenny), and the atmosphere is still bleak, ugly and there's a feeling of hopelessness which only increases as the film progresses. The last 30 minutes are particularly sad, violent and intense. The movie is definitely slowly paced and doesn't seem to have a drive to it, but it didn't bother me too much.
The acting is one of the best parts of the movies, it's great. As I said it has the main cast of the Pusher trilogy (and the main actors of each of the Pusher movies) with Kim Bodnia, Mads Mikkelsen and Zlatko Buric, all of them are really good in their parts. The best performance in the movie is probably from Kim Bodnia. He was great in Pusher, but he is even stronger here. His character starts off relatively calm but goes down a dark path over the course of the film as we see and learn more about him. The other main character is Lenny played by Mads Mikkelsen, a relatively quiet man who talks about movies and directors a lot, who's clearly a representation of Nicolas Winding Refn himself. There's even a joke in his first scene where he lists of a long list of directors which establishes his character very well. Mikkelsen is effortlessly watchable and likable in his part.
Nicolas Winding Refn directs Bleeder very well, and it is stylistically comparable to the Pusher trilogy. The use of handheld camerawork is effective, the visuals are dark and gritty but more polished than the first Pusher. The sound design was great too, when gunshots happen you really hear it, and the ambient soundtrack is hypnotic.
Bleeder is a bit of an odd movie with some of the writing decisions made, especially with how it mixes the two storylines together. However it is good on the whole, I was invested in the stories, the performances were good, and I liked Nicolas Winding Refn's work as a director here. I'm very much aware that it's very difficult to access the movie, but if you like Refn's other movies, I do think it is worth checking out at the very least.
This entry was posted in Crime, Drama and tagged 1999, 1999 movies, Bleeder, Kim Bodnia, Levino Jensen, Liv Corfixen, Mads Mikkelsen, Nicolas Winding Refn, Rikke Louise Andersson on January 11, 2022 by thecinemacritic.
Pusher III: I'm the Angel of Death (2005) Review
Zlatko Burić as Milo
Marinela Dekić as Milena
Ilyas Agac as Muhammed
Slavko Labović as Radovan
Milo (Zlatko Buric) is a drug dealer and recovering addict who's slowly coming unraveled. While trying to prepare for his daughter Milena's (Marinela Dekic) birthday party, he discovers the shipment of heroin he was expecting is actually Ecstasy. Milo gives the pills to small-fry dealer Mohammed (Ilyas Agac) and, as the party begins, starts using narcotics again. Things go from bad to worse when Mohammad doesn't return, and Milo's Albanian connection demands payment for the Ecstasy.
I have been gradually getting through Nicolas Winding Refn's Pusher trilogy. The first movie was a solid standalone crime thriller, with the other two films being unintended sequels which only came as a result of Refn's Fear X flopping. It's strange then that both sequels manage to be overall stronger films than the first movie. Pusher III is another distinct entry for the trilogy, dark, compelling and visually stunning, it's truly great.
Pusher III acts as a finale to the trilogy with the protagonist role this time being filled by Milo, who was in a major supporting role as a known drug lord, appearing in Pusher I in a major supporting role, and appearing in Pusher II in a cameo part. The film is set over one day and focuses on Milo as he tries to juggle his business with his daughter's birthday party. He is constantly busy trying to keep his business alive while also having to be there for his family. First of all, I really like how the film explores this character and made him compelling. At the start we see him trying to better himself considering his circumstances and work, but over time we see his surroundings pull himself back to his old self again. Also we see how tough the criminal underworld really is, in the previous two movies we see Milo the drug lord being so calm and in control, but in the third movie it really shows that he's constantly struggling to stay alive. The film does retain the style of the previous two Pusher movies but also moves at a slower pace, with more of a focus on the lead character over the general sleaze. The youthful angst and energy of the first two movies are gone, and its just about one night of chaos, stress, anxiety, and an undercurrent of sadness. Despite how the movie is for the first half, Pusher III overall is the most depressing and bleakest movie in the trilogy. It gets to some particularly grim parts, mostly towards the end.
The acting is good from everyone, but the main player here is Zlatko Buric as lead character Milo. Much is riding on Buric, as his character is key to the whole movie working and he more than delivers. His performance is complex, and he adds more depth to the character, who was already the most intriguing character from the first film. Refn and Buric do well to make Milo a somewhat likable character all things considering. In contrast to the previous two Pusher protagonists, he's older, wiser, more rational, and has a more stable life. Zlatko was very compelling to watch as he was portraying everything that Milo goes through over the course of this one night. It is mostly the Zlakto Buric show in terms of acting, but if there was a supporting actor that is a highlight, it is Slavko Labovic, who appears in the last act and is great in his screentime.
Nicolas Winding Refn's direction was as fantastic as I expected it to be. It might not reach the stylistic heights of Pusher II, but the more realistic and subdued look works better for the character of Milo. There's some great cinematography with some fantastic use of colour, and the sound design and score really fitted the film. Despite it being less of an overt thriller compared to the first two Pusher movies, Refn still does a good job at building up tension in an effective way. For the most part Pusher III isn't as violent as Refn's other movies including the previous two movies… until it gets to the climax, which has by far the most gruesome and graphic scenes that he's directed. There is a lot of blood and gore at the end, however it works for the tone of the movie.
It is interesting to see the second and third Pusher movies end up being better than the first one, despite it being an unintended trilogy. While I still think that Pusher II is the best of the trilogy, I think Pusher III is still truly great. A dark and bleak character focused crime drama, that's fantastically directed and led by an excellent performance from Zlatko Buric. If you watched the previous Pusher movies or even just other Refn movies, I highly recommend checking it out.
This entry was posted in Crime, Drama, Thriller and tagged 2005, 2005 movies, Nicolas Winding Refn, Zlatko Burić, Marinela Dekić, Ilyas Agac on January 9, 2022 by thecinemacritic.
House of Gucci (2021) Review
Age Rating: Violence, offensive language & sex scenes
Lady Gaga as Patrizia Reggiani
Adam Driver as Maurizio Gucci
Jared Leto as Paolo Gucci
Jeremy Irons as Rodolfo Gucci
Salma Hayek as Giuseppina "Pina" Auriemma
Al Pacino as Aldo Gucci
Jack Huston as Domenico De Sole
When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge — and ultimately murder.
House of Gucci was one of my most anticipated films of 2021. It would be one of two Ridley Scott films coming that year (this and The Last Duel), it would have a large and talented cast with the likes of Lady Gaga, Adam Driver, and Al Pacino, and it would be about the Gucci family, which was something I didn't know much about. It certainly had the potential to be one of Scott's best, and while I wouldn't go so far to call it that, I do think it's quite good.
The story was intriguing, I didn't know where it would go outside of some key moments. Essentially its about a rich family at war with itself, and it was interesting seeing the scale and progression of everything. Something you will have to know early on is that the movie is definitely campy and silly, its over the top and occasionally leans into soap opera and melodrama. This joyful campiness might not work for everyone, but I thought that it made the movie more fun to watch. I do feel like it couldn't seem to fully decide whether it was going to be a serious drama or a campy comedy, and it mostly jumps between the two throughout. I think that the movie would've been better served by leaning more into the camp elements (like many of the performances do, mainly Gaga's and Leto's). It is a very long movie at 2 hours and 40 minutes and honestly I think it would've been better if it was longer, I am hoping for an extended/director's cut from Ridley Scott in the future (since he's known for them). The pacing is definitely steady and slow, there is a lot to cover (literal decades) and it builds up gradually over time. Sometimes the focus on particular elements was a little messy. It feels like it skips over some very important moments that would've helped to make the story make more sense. I did need to look up online about the real story so that I could get some context and understand some things. It also felt surprisingly very abrupt at the end, especially with how slow the film takes its time. It definitely would've benefitted by the third act being at least 20 minutes longer.
One of the things most known about House of Gucci are the big names involved, and they are all good in their parts. Lady Gaga is great in the lead part of Patrizia Reggiani, she really gets into her role and shows a wide range of emotions throughout the whole film. She gets plenty of opportunities to chew the scenery and shines in all her scenes. Adam Driver is reliably good and relatively restrained, Al Pacino is great, Jeremy Irons is in less scenes than many of the other actors, but he's really good in his scenes. The most divisive performance is probably going to be that of Jared Leto. He is sporting a lot of prosthetics to make himself unrecognisable, and has a very over the top Italian accent. He is very much the comic relief of the film, and in a way his ridiculous performance really works for the campy nature of film. The scenes between him and Pacino were particularly great. Other actors like Jack Huston and Salma Hayek also bring it to their respective parts.
The direction by Ridley Scott is reliably great, and he provides the style that this film needs. It's fantastically shot, and the production design and costumes are incredible as to be expected. The score from Harry Gregson-Williams and the soundtrack choices were great.
The reaction to House of Gucci has certainly shown the movie as being divisive amongst a lot of people. It does have its issues, it could've been longer to flesh out some elements, and the movie would've benefitted from leaning further into the campier elements. On the whole though, I was engaged with the story, Ridley's direction was solid, and the performances were great. So I think it is at least worth checking out.
This entry was posted in Crime, Drama and tagged Ridley Scott, Jared Leto, Al Pacino, Adam Driver, Jeremy Irons, Salma Hayek, 2021, 2021 movies, Lady Gaga, Jack Huston, House of Gucci on January 5, 2022 by thecinemacritic.
Hawkeye (2021) TV Review
Jeremy Renner as Clint Barton/Hawkeye
Hailee Steinfeld as Kate Bishop
Tony Dalton as Jack Duquesne
Fra Fee as Kazimierz "Kazi" Kazimierczak
Brian d'Arcy James as Derek Bishop
Aleks Paunovic as Ivan
Piotr Adamczyk as Tomas
Linda Cardellini as Laura Barton
Simon Callow as Armand Duquesne III
Vera Farmiga as Eleanor Bishop
Alaqua Cox as Maya Lopez
Zahn McClarnon as William Lopez
Florence Pugh as Yelena Belova
Vincent D'Onofrio as Wilson Fisk/Kingpin
Creator: Jonathan Igla
Clint Barton and Kate Bishop shoot a few arrows and try to avoid becoming the target themselves.
Hawkeye is the latest series of the MCU put on Disney+. It looked fun and deliberately Christmas themed as it was ending just before Christmas Day. It did have many flaws but I'm prepared to say that I liked it.
Right out of the gate I quite liked this refreshing approach for an MCU series. It felt very small scale and grounded, and its essentially a heartfelt buddy comedy between its two lead characters. The plot is definitely predictable, but I think that's fine for this sort of show. There are even disposable and low level threat villains called the Tracksuit Mafia which are definitely meant to be absurd and lower threat, and I think that it fitted the lower stakes of the show. The humour is mostly funny and I really liked the quieter moments between characters, which were usually the best moments oof the show. There are definitely some dramatic elements, the main part being with Clint's PTSD, him potentially missing Christmas with his family, and especially feeling the lasting effects of being Ronin after The Snap before Endgame starts. I do like that they address all that, although I feel like it is a little out of place in this show tonally, and Clint does get off pretty lightly considering he pretty much went on a global killing spree as a vigilante. Around halfway through or two thirds through the show I was enjoying it as a light show that didn't need to do much. However over time it just brings in too much characters and storylines that almost could've fitted in other shows. By the time it brings in Yelena and introduces the show's "mystery man", it just feels too much. Speaking of the mystery man, literally every live action MCU tv show had some reveal of a villainous character near the end, and Loki so far has been the only one which has pulled it off. Ultimately, I feel the show might've benefited being without him. Not to mention that the reveal is left way too late without any development, and he almost feels like a last minute and tact on addition. Somehow Loki is also the only Disney+ show that got the length of the season right. Wandavision was a bit too long while The Falcon and the Winter Soldier wasn't not long enough, and Hawkeye is on the 'not long enough' side of it. 6 episodes should be long enough for a light hearted show like this. However it introduces so many notable plotlines and characters (which they don't really need) that it doesn't have enough time to resolve their stories in a satisfying way. It felt like at least 2 episodes were cut from this thing. As for credit scenes, there is one for the finale, but its really not worth checking out.
Jeremy Renner reprises his role of Hawkeye/Clint Barton and for what its worth, this is his best appearance as the character, mainly because of the attention and material given to him. He's very witty and more fun to watch, while still giving an emotional performance especially as he shows regret over the events from Avengers: Endgame. One of the notable additions from this show is the co-lead in Hailee Steinfeld as Kate Bishop and she's a great addition. She's really energetic, charming, likable yet vulnerable in the role and stole all the scenes she was in. I'm looking forward to seeing her in more MCU projects. The dynamic between Kate and Clint are the heart of the show and they share believable chemistry.
Alaqua Cox is a secondary antagonist of sorts as Maya Lopez/Echo, the deaf commander of the Tracksuit Mafia who is really good in her part. Definitely noteworthy is the fact that she'll be getting her own show. She definitely has a good amount of build-up at the beginning but by the end of the show, her character doesn't have much to do. Just as well this isn't the last time we'll be seeing her but her ending in this show just felt rushed. It doesn't help that there is a good amount of her arc which could've been handled in her own show with more attention, but it was shoved into the finale here. After her introduction in Black Widow, Florence Pugh returns as Yelena Belova as she is hunting Clint Barton. She is funny and entertaining yet ruthless and she is one of the highlights of the show. She particularly shares great chemistry with Steinfeld in their scenes together. With that being said, her whole revenge arc could've been done in another show or movie, in Hawkeye it felt rather stuffed and shoved in. Thankfully Pugh's performance made up for it. Now about this show's 'mystery man' villain, skip to the next paragraph if you don't want to see it. However the character is Vincent D'Onofrio reprising his role as Wilson Fisk/Kingpin after playing him in Netflix's Daredevil, and I was happy to see him again. Now as expected he's a bit different here compared to Daredevil, not nearly as dark or menacing. However my main issues stem from his very inclusion just feeling pointless. If the point was to establish that Kingpin is in the MCU, they could've had him appear as a cameo rather than the supposed person behind everything. While I'm sure we'll see him again despite his final scene, he did feel kind of wasted here.
On the whole the show was directed quite well. The cinematography was pretty good, its all well shot, and the visual effects and other technical aspects were on point. The action doesn't rank among the best of the MCU by any means and it ranges between middling to actually exciting, but I had fun with it, they particularly do a lot with arrows. The song choices and score were great too. The show does very well at having a Christmas feel and atmosphere to it.
Hawkeye is by far the worst live action MCU show but I still had fun with it. I think Jeremy Renner's Hawkeye definitely benefited from this show, Hailee Steinfeld shines as Kate Bishop and it's a nice light hearted low stakes story. The problem is that it keeps bringing in new characters and plotlines that this short light hearted show can't maintain them all, and leaves them quite unresolved. So by the finale it just feels disappointing. That aside, I do think that the show is decent and worth checking out.
This entry was posted in Action, Adventure, Crime, TV and tagged 2021, Aleks Paunovic, Brian d'Arcy James, Florence Pugh, Fra Fee, Hailee Steinfeld, Jeremy Renner, Jonathan Igla, Linda Cardellini, Piotr Adamczyk, Simon Callow, Tony Dalton, Vera Farmiga, Vincent D'Onofrio, Zahn McClarnon on January 1, 2022 by thecinemacritic.
Red Notice (2021) Review
Dwayne Johnson as John Hartley
Ryan Reynolds as Nolan Booth
Gal Gadot as The Bishop
Chris Diamantopoulos as Sotto Voce
Ritu Arya as Urvashi Das
Director: Rawson Marshall Thurber
When an Interpol-issued Red Notice the highest level warrant to hunt and capture the world's most wanted goes out, the FBI's top profiler John Hartley (Dwayne Johnson) is on the case. His global pursuit finds him smack dab in the middle of a daring heist where he's forced to partner with the world's greatest art thief Nolan Booth (Ryan Reynolds) in order to catch the world's most wanted art thief, "The Bishop" (Gal Gadot). The high-flying adventure that ensues takes the trio around the world, across the dance floor, trapped in a secluded prison, into the jungle and, worst of all for them, constantly into each other's company.
I heard of Red Notice leading up to its release, a Netflix action comedy starring Dwayne Johnson, Ryan Reynolds and Gal Gadot. I wasn't expecting much from it, the trailers certainly made it look generic but I was hoping that it would be somewhat entertaining. While I wouldn't say it's outright bad it's not good either.
Red Notice has a very weak script. It has a very thin plot about artefact chasing that the movie or characters don't seem to care about. It's a heist and adventure film, a very generic one at that, which takes a lot from far better movies but does nothing with them. The film definitely tries to have a lot of comedy but fails most of the time. The quippy banter got repetitive, probably because it's really the only thing going for the movie. It's fully of cliches and has very few actual surprises. With that said there are some twists especially one near the end, but it's the kind of twist where it would likely fall apart in logic if you thought about it in depth. Red Notice isn't even memorably bad, its lacking in creativity and feels rather low effort. Honestly I think if it was closer to 90 minutes in length I might've enjoyed it a little more, but it is 2 hours long and so it drags in parts.
The first thing you'll probably know about this movie is that Dwayne Johnson, Ryan Reynolds and Gal Gadot are in it. Unfortunately, they aren't quite enough to carry the movie. Dwayne Johnson and Ryan Reynolds are the main leads of this movie, and both of them are basically on autopilot, playing variations of themselves yet again. While Johnson has been basically playing himself for the past years, there's something about him that's especially lazy here. As for Reynolds, you get the feeling that his character was written with Ryan Reynolds as the sole personality trait. Not that his snark never works but it works better in a movie like Deadpool than here. One aspect that's strange is that his character is shown as being capable, can fight and does parkour in some scenes but in other scenes he's conveniently a klutz who gets beat up a lot whenever the movie wants Reynolds to be funny. I wouldn't say that Johnson and Reynolds have no chemistry, but the writing really underserved them. Strangely Gal Gadot fared a lot better, probably partly because she seemed to be enjoying playing the part, especially as it's more of an antagonist sort of role. Still, all three feel more like celebrities appearing for late night comedy skits than actually playing characters in a movie. In terms of other actors, there is an Interpol agent who hunts the main characters played by Ritu Arya, and there's an arms dealer played by Chris Diamantopoulos who has a ridiculous voice which reminded me of Eddie Redmayne in Jupiter Ascending.
Rawson Marshall Thurber is the director for Red Notice, and he has done some decent work. He had previously collaborated with Dwayne Johnson, Central Intelligence was a fun comedy, and Skyscraper is an entertaining if derivative Die Hard knock off. Red Notice is easily their worst collaboration however. It has a $200 million budget and the movie looks certainly expensive, however I'm sure that most of it went towards the main three actors. After sitting through it all, the movie really could've been made a decade ago with less than half the budget. The action scenes are a bit lifeless and forgettable but for what it's worth they are one of the more entertaining parts of the film. The visual effects could be rather poor at times, there are so many noticeable CGI backdrops and green screen, the prime example being a scene involving a bull.
If we are just looking at Red Notice by itself, it's functional. It's a generic action comedy that had some entertaining moments, and the main actors aren't good but at least go through the motions. Still, there was something disappointing about watching the movie despite not expecting much, so much with the acting, writing and directing just felt so autopilot and low effort. I wouldn't recommend Red Notice but if you really wanted to see its main three actors in a movie together, then you'll certainly get that here.
This entry was posted in Action, Comedy, Crime and tagged 2021, 2021 movies, Chris Diamantopoulos, Dwayne Johnson, Gal Gadot, Rawson Marshall Thurber, Red Notice, Ritu Arya, Ryan Reynolds on November 28, 2021 by thecinemacritic.
Funny Games (1997) Review
Susanne Lothar as Anna
Ulrich Mühe as Georg
Stefan Clapczynski as Georg Jr. (Georgie)
Arno Frisch as Paul
Frank Giering as Peter
Director: Michael Haneke
An idyllic lakeside vacation home is terrorized by Paul (Arno Frisch) and Peter (Frank Giering), a pair of deeply disturbed young men. When the fearful Anna (Susanne Lothar) is home alone, the two men drop by for a visit that quickly turns violent and terrifying. Husband Georg (Ulrich Mühe) comes to her rescue, but Paul and Peter take the family hostage and subject them to nightmarish abuse and humiliation.
I heard about both Funny Games movies (original and remake), and had been meaning to watch them for some time. All I knew was the main plot of both movies, and that they were both home invasion movies. I checked out the original and while I can't say that I loved it, it's certainly an impactful and well-made movie.
The plot is simple enough, family of three is held hostage by two young men and tormented. Funny Games is a pretty dark home invasion horror thriller that is certainly more on the psychological side and doesn't rely on a lot of graphic violence. While the movie can contain some realistic and hard hitting violence, those moments are deliberately shown offscreen. It's more awkward than violent if anything. The movie is meant to be a commentary on violence, especially violence in the media. There's some notable fourth wall breaking scenes, especially involving Arno Frisch's character, which I guess are done to really involve the viewer in what's happening. It asks about whether the viewers play a role in the violence that occurs. The atmosphere is quite tense and there's a real sense of dread throughout. It's a very cold movie, which is intentional and meant to be that way, however that did end up affecting the movie in a negative way somewhat. The movie is 109 minutes long and admittedly it did lose me 2 thirds of the way through. It became a bit tiring to watch, and while I think that might've been the intention, it's not in the "super disturbed and wanting the movie to end" way. That coldness mentioned earlier played a part too, I just wondered what the point of watching was, no doubt the intention. Not to mention the movie did feel dragged out. And also to just put it bluntly, it's not a movie that you enjoy watching, even before the movie sort of lost me. I can't exactly say that this is a criticism since it was no doubt its goal, but I thought I should mention that.
One of the strongest parts of the movie was the acting, which was great from everyone involved. The family are played by Susanne Lothar, Ulric Muhe and Stefan Clapczynski, and the two young men who are invading them are played by Arno Frisch and Frank Giering. They do feel very natural and so that made the performances feel all the more real. We really don't get any character development or learn about these characters, though I'm assuming that was another deliberate choice from Haneke.
Funny Games is directed well by Michael Haneke, a lot of the decisions made were definitely very deliberate and purposeful, the previously mentioned decision of not showing the violence on screen being an example. The technical aspects are great, giving an uneasy atmosphere throughout. There are a lot of long single-take shots to bring in an unsettling vibe, and there are some images which really stick with you. The isolated location also helps to make it more unnerving and also feel more real.
Funny Games is not for everyone, it's a bit cold and tough to sit through. I'll say that it's worth a watch for those interested in it though, with the great direction and acting, and it was somewhat fascinating to watch if nothing else. I heard the American remake by Haneke is pretty much a shot by shot remake of this film, so it'll be interesting to see if there are any differences at all between the two versions outside of one being in English.
This entry was posted in Crime, Drama, Thriller and tagged 1997, 1997 movies, Arno Frisch, Michael Haneke, Stefan Clapczynski, Susanne Lothar, Ulrich Mühe on November 4, 2021 by thecinemacritic.
Malignant (2021) Review
Annabelle Wallis as Madison Mitchell
Maddie Hasson as Sydney Lake
George Young as Kekoa Shaw
Michole Briana White as Regina Moss
Jacqueline McKenzie as Dr. Florence Weaver
Director: James Wan
Madison (Annabelle Wallis), a young woman, is terrified by visions of the murders of strangers. Later, Madison decides to find and save the victims.
I was quite interested in Malignant, not only was it director James Wan's newest film, but it also his first original horror movie in a while (the last instance being The Conjuring in 2013). I also found the initial reactions to the movie to be quite intriguing, with some people having no idea what they just watched. Honestly, I wish I had the chance to watch the movie in cinemas to hear the reactions, because it was quite an experience.
It's unsurprising that the trailers didn't sell the movie that well considering how weird the concept sounds on paper. This is James Wan's craziest film to date, and that's saying a lot. There are some over the top moments and even comedy throughout the film, yet it somehow all fits together, managing to not ruin the grounded and dramatic moments. It is definitely an absurd movie, but it is self-aware of what it is, while still taking itself somewhat seriously. You can feel a mix of other horror directors' influences, including Dario Argento, David Cronenberg and Sam Raimi, it feels like a perfect mixture of different horror subgenres. However, it is still all James Wan, while feeling so totally different from what he has done in the past. You could probably see elements of Saw, Insidious and The Conjuring, but Malignant still has its own distinct tone and feel. The first two acts build mystery around lead character Madison, intriguing you and locking you into the central mystery as she sees a lot of murders being committed by a mysterious killer. However, it is really the big reveal and the whole third act which is the point where you'll realise whether you're on board with the movie or not. Even if you've predicted the twist beforehand, the details surrounding the twist are so nutty that they have to be seen to be believed. I for one didn't quite expect it, the third act was surprising, fun and satisfying and I had a blast with it.
Annabelle Wallis is really good in the lead role and puts a lot into her performance. The rest of the cast aren't bad, but they are serviceable. A lot of them act very odd at times especially with how they deliver their dialogue. However, it does work well for the movie's campy feel at least. Ray Chase is also superb as the voice of the main antagonist of the film.
This is a James Wan movie and as usual his work is really fantastic. This movie is visually beautiful to watch. There is also a great atmosphere throughout, greatly helped by the slick camera work as well as the sound design. It really should be said that this is by far James Wan's goriest movie yet. Without going into the details of the scenes, there are some set pieces that are truly a sight to behold, especially in the insane third act. Everything from the choreography, the blood, the camerawork, everything in that last 30 minutes just turns everything to 11. The design and presentation of the main killer in the story is creative and truly memorable. The soundtrack from Joseph Bishara is great too. There's particularly a piece of music that sounds like Where is My Mind by The Pixies, and it actually works as the main theme of the movie so well.
Malignant definitely won't be for everyone but I found it to be quite a satisfying and surprising horror film, with plenty of thrills, bloody and fantastic set pieces, and is absolutely bonkers. I'd go so far to say that it is one of James Wan's best films. If you like horror movies, I do highly recommend watching it. Go into it blind, and if you find yourself not feeling it within the first 20 minutes, I recommend at least getting to the third act because it is worth watching the film for that alone.
This entry was posted in Crime, Horror, Mystery and tagged 2021, 2021 movies, Annabelle Wallis, Jacqueline McKenzie, James Wan, Malignant, Michole Briana White on October 3, 2021 by thecinemacritic.
Kate (2021) Review
Mary Elizabeth Winstead as Kate
Miku Martineau as Ani
Woody Harrelson as Varrick
Slipped a fatal poison on her final job, a ruthless Tokyo assassin (Mary Elizabeth Winstead) has less than 24 hours to find out who ordered the hit and exact revenge.
I heard about Kate leading up to its release. I knew that it was going to be an action thriller starring Mary Elizabeth Winstead which was going to be released on Netflix. Despite being sceptical of action movies with known actors put on streaming services, I was somewhat interested in this one, I thought it looked pretty good from the trailers. Kate is yet another serviceable assassin centred action thriller which has its issues, but was better than expected.
As expected, the writing is the worst part of the movie. The story is by the numbers, and it is very familiar and formulaic. It has its fair share of tropes and plot devices you've seen countless times. It's also quite predictable, even some of the main reveals are easy to see coming. With that being said, it is thankfully paced fast enough and with enough urgency, especially given that the premise is about the main character only having a day left to live. The dialogue isn't the best and it can be awkward, especially whenever the movie tries to throw in the odd moment of humour. The story to a degree had some depth, the main characters have backstories to them, and it feels like some effort was put into them. Unfortunately, the drama and emotion aren't quite as well executed as they could've been. Some plot beats that should resonate feel undercooked. A big part of the movie is a relationship between Kate and a girl she's trying to protect named Ani. This is meant to be the heart of the film, but their relationship isn't given enough time or development. The third act gets even more formulaic and feels a little rushed as it races towards a climax, despite being entertaining for what it was. I enjoyed Kate for its 1 hour and 46-minute runtime, but I think it could've been a bit better if it was around 90 minutes long.
If you need only one reason to check out Kate, it is Mary Elizabeth Winstead. In the lead role, she pretty much carries the whole movie. The writing for the character is pretty thin, but MEW makes the part great, delivering a commanding central performance and being such an on screen presence. She even gave more than the character needed, conveying a certain vulnerability, urgency and sadness I didn't expect. And of course, there's the action scenes where she is particularly impressive, she uses pretty much anything as a weapon and the stunts are very convincing. At the same time, she is also shown to be vulnerable, she doesn't come out of these fight scenes and gun battles unscathed. The rest of the supporting cast are a bit of a mixed bag. One notable character is that of Ani, the child that Kate has to protect throughout much of the movie, played by Miku Martineau. I mentioned that the relationship between the two doesn't work well enough, but there's issues even on her as a character alone. Ani is grating and annoying to watch, and while I get that she's intentionally annoying, her character doesn't seem to learn or change at all. It's a shame considering that her character is what ultimately gives Kate a significant purpose, so it's unfortunate that this key character wasn't exactly handled the best. There are also some solid supporting turns from Woody Harrelson and Jun Kunimura. Speaking of Harrelson, he is good here, but his character feels very much like a copy of others seen before. He gets very little screentime and the role could've been played by any character actor.
Cedric Nicolas-Troyan is the director, and for the most part I liked his work here. Much of the visuals and action are taken from the likes of John Wick and Atomic Blonde, but I still liked what was here. I really enjoyed the style and the visuals, especially the use of colour and neon. The cinematography and lighting also added a lot to the fight scenes. Speaking of which, the action scenes are part of the reason why the movie works. The action is striking and intense, it's brutal and gory and doesn't hold back at all. The choreography is solid, and some scenes are genuinely impressive. The only action scene that wasn't that good was a bad looking CGI car sequence early on, aside from that I was quite entertained by the action set pieces.
Kate isn't anything special and it has its issues. The story and writing are very familiar and derivative, and some of its drama and emotional aspects are a bit undercooked and needed more work for it to resonate. With that said, it was visually stunning, the action is intense and great to watch, and Mary Elizabeth Winstead is fantastic in the lead role, making this movie worth checking out. I really enjoyed it.
This entry was posted in Action, Adventure, Crime, Thriller on September 27, 2021 by thecinemacritic.
The Protégé (2021) Review
Maggie Q as Anna Dutton
Samuel L. Jackson as Moody Dutton
Michael Keaton as Michael Rembrandt
Director: Martin Campbell
Rescued as a child by the legendary assassin Moody (Samuel L. Jackson), Anna (Maggie Q) is the world's most skilled contract killer. However, when Moody is brutally killed, she vows revenge for the man who taught her everything she knows. As Anna becomes entangled with an enigmatic killer (Michael Keaton), their confrontation turns deadly, and the loose ends of a life spent killing weave themselves ever tighter.
I was interested in The Protégé. Along with it having a main cast consisting of Maggie Q, Michael Keaton and Samuel L. Jackson, it is directed by Martin Campbell, who made Casino Royale and The Mask of Zorro. The premise on paper looked very familiar, but I was hoping for a decent action movie at the very least. For the most part, The Protégé was indeed an enjoyable action flick, but does have some flaws holding it back from being better.
The writing is the worst part of the movie, and the script really is at odds with Martin Campbell's strengths. The story is not very original, it's generic and we've seen many of these plots in plenty of other better spy and revenge thrillers. The story and characters aren't that interesting, there aren't any stakes or emotional payoffs, and the few twists it has are rather predictable. Not only that but the plot could get unnecessarily complicated at times. It was incoherent, and by the end I was still wondering what it was even about. It is also very tonally inconsistent, mainly with the attempts at humour which never really landed for me. The dialogue is to blame for this, it is honestly terrible at times. By the time it reaches the last third of the film, it starts to lose steam. Not only that but it starts to try to be about something, and if anything that brought the movie down for me. Up to that point it was just a B-level schlocky action flick that I was having fun with. The ending itself was quite abrupt and it felt like something was missing. The story felt unfinished, there's lots of loose ends and I didn't understand why certain things happened, or why certain characters chose to make certain choices. I still enjoyed the movie, but the ending left me feeling cold, and not in a good way. The movie is just under 2 hours at 109 minutes, I think it could've been a little shorter than that.
The characters aren't that interesting and are rather one note. However, the main three actors at the centre make up for it at least. Maggie Q is solid in the lead role as the assassin seeking revenge, both in her performance and the action scenes. Michael Keaton is great too as the bodyguard and right-hand man of the main villain, very entertaining to watch. He even gets some action scenes of his own, and it looks like he actually does take part in some of the stunts. While I did like Keaton here, I do feel like his role was supposed to be played by a younger actor, making some of his scenes with Maggie Q feel very out of place. I especially wasn't really sure what was going on with the relationship with those two characters, it kept going back and forth, and not in the way where it keeps you guessing. Its more like the writers couldn't make up their minds about where it was going. Samuel L. Jackson isn't in the movie a ton and it is definitely a role that he can play in his sleep, but as expected he delivers on his part.
Martin Campbell is a good director of action, and his work here definitely elevates the movie. The action scenes are really good, its shot in a mostly clear fashion, the fights are well choreographed, and it was satisfying to watch. It is surprisingly graphic and gory at points, plenty of people get damaged and killed over the course of the movie. The action isn't as memorable as some of Campbell's other action work such as Casino Royale, The Mask of Zorro or Goldeneye, but nonetheless it makes the movie more entertaining to watch.
The Protege feels like an action movie that would've come out decades ago, for better and for worse. The writing really is its worst aspect, the dialogue and plotting are very lacklustre, and it's hard to really care about what's going on with the story and characters. It's the strong direction, action and the solid cast that elevate the movie, making it entertaining for the most part. If you are up for a decent but forgettable action thriller, then The Protégé is an entertaining enough 2-hour watch.
This entry was posted in Action, Crime, Thriller and tagged 2021, 2021 movies, Maggie Q, Martin Campbell, Michael Keaton, Samuel L. Jackson, The Protege on September 25, 2021 by thecinemacritic.
Bound (1996) Review
Gina Gershon as Corky
Jennifer Tilly as Violet
Joe Pantoliano as Caesar
John Ryan as Mickey Malnato
Director: Lana Wachowski and Lilly Wachowski
Violet (Jennifer Tilly), the mistress of the gangster Caesar (Joe Pantoliano), is in a torrid love affair with Corky (Gina Gershon). For Violet to dump Caesar, they formulate a plan to rob millions of dollars of stashed mob cash, blaming him for it.
I had watched all of the films from directors Lana and Lilly Wachowski except for their first film, Bound, which I heard was really good. I really didn't know much about this movie going in. However it was great, and I think it might actually be their best film yet.
Bound's plot is relatively simple, yet quite effective and handled very well. It is essentially a modern noir, but with aspects that make it stand out. Its script is meticulously refined, the characters are more than just mere caricatures, and the relationship between the lead characters is well realised. Bound does seem to have a selling point with the lead character being lesbians, but it's not the only thing that the film is about, while making that storyline feel very human and believable. The movie actually has a creative take on a whole lot of stale genre tropes, playing with gender and femme fatal cliches and subverting them. At the same time there are a lot of enjoyable noir elements on display, there's a good balance of satisfying and subverting tropes. The pacing is electric, and the plot and characters are always in motion. The film has a lot of energy, and between the snappy dialogue, the scenes of tensions and suspense, there is so much going on. The first act's slow build of tension is done to really sell Corky and Violet's relationship and motivation into doing what they do for the rest of the movie. Then the second and third acts deliver a lot of suspenseful moments that are unpredictable, which are made even more tense given that most of them take place in a claustrophobic setting. The film does have some very cheesy dialogue, especially in the first act, but so does a lot of classic noirs. That's also not to mention that there is a general self awareness throughout, so the cheesiness doesn't seem out of place. The humour actually plays nicely together with the building of tension, and they have a satisfying payoff. Something that is impressive, especially given that its their first movie, is that the Wachowskis don't compromise with any of its aspects, whether it's the illustration of a lesbian affair, or the surprisingly brutal violence which the movie shows unflinchingly. It's bold for a debut, and they definitely showed themselves as bold filmmakers with this one movie.
This movie is also perfectly cast and well-acted. Gina Gershon and Jennifer Tilly are perfect in the lead roles of Corky and Violet respectively, they give amazing performances and have great chemistry as we watch their romance grow throughout the movie. They are believable as two lovers trying to make their ways out, especially with Violet trying to escape from her gangster boyfriend played by Joe Pantoliano. Speaking of which, Pantoliano could almost be seen as a third lead in this movie and this might be the best I've seen him in a movie. He kind of steals the show as a paranoid mob thug who's at times entertaining and hilarious and other times threatening.
As said earlier, Bound is the debut film from the Wachowskis, and this has to be one of the most confident debut movies I've seen from first time directors. It's directed incredibly well and in such a stylish way, you can pick up on some iconic stylistic choices and see how it would influence their later movies. It is great seeing the Wachowskis work with a smaller scope instead of the big and grandiose action and sci-fi genres and stories that they are known for. It is small in scope but is so polished at the same time. It has a low budget of $6 million but every technical aspect is perfect. Bill Pope shoots this movie incredibly well, and the camera work with the high angle shots and close up shots felt very professional for a debut film. The editing is great and adds tension when needed, especially in the last two third of the movie. It is very well scored by Don Davis (who would also compose the scores for the Matrix movies), and the sound design fits well for this simplistic story.
Bound is a bold and confident debut from Lana and Lilly Wachowski, and a great movie in itself. The acting particularly from Tilly, Gershon and Pantoliano is great, the story is tight and captivating, and it's directed very well. As much as the Wachowskis are known for their big budget movies, I would love to see them work with smaller scale material again. At this point, I'm pretty sure Bound is my favourite movie from them so far.
This entry was posted in Crime, Thriller and tagged 1996, 1996 movies, Gina Gershon, Jennifer Tilly, Joe Pantoliano, John Ryan, Lana Wachowski, Lilly Wachowski on September 13, 2021 by thecinemacritic.


For law students and prospective law students, Simmons and Fletcher, P.C. is excited to offer our annual Excellence in Ethics Scholarship. The law student scholarship will be awarded to one recipient in the amount of $1,000. The second place winner will be awarded a $500 scholarship as well.
All applicants must submit a 1,000 word or more essay. The Texas State Bar for attorneys (as well as other state bar organization) highly encourages attorneys to perform pro-bono work. The essay should focus on the importance of providing free legal services to those who cannot afford it, and why this is beneficial to the community at large and to the legal system as a whole.


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Jan 26, 2023 | All Posts, On This Day | 0 comments
"To everything there is a season, a time for every purpose under heaven: a time to be born, and a time to die; a time to plant, and a time to pluck what is planted; a time to kill, and a time to heal; a time to break down, and a time to build up." (Ecclesiastes 3:1-3)...
Jan 26, 2023 | All Posts, Daily Bread: Genesis | 0 comments
Good Morning. Then the Lord spoke to Moses, saying: "On the first day of the first month you shall set up the tabernacle of the tent of meeting." (Exodus 40:1-2) As we shared in yesterday's devotional, the first day of the first month, in Hebrew reckoning,...
Jan 25, 2023 | All Posts, On This Day | 1 comment
It was on this day in 1933 that Adolph Hitler was appointed as Chancellor of Germany. Ironically, on the same day and in the same city where Hitler was appointed as German Chancellor, the Society for Youth Aliyah was established. Over time, this group would be...
Good Morning. Then the Lord spoke to Moses, saying: "On the first day of the first month you shall set up the tabernacle of the tent of meeting." (Exodus 40:1-2) In Hebrew reckoning, the first month is called Aviv and occurs in early Spring, typically around our...
It was on this day in 1942 that the Nazi leader Reinhard Heydrich met with representatives of the German Police, the S.S. and leading Nazi Party officials to begin discussing the implementation of the so-called, "Final Solution" to the so-called "Jewish Problem." What...
Daily Bread — Tuesday, January 24, 2023
Good Morning. According to all that the Lord had commanded Moses, so the children of Israel did all the work. Then Moses looked over all the work, and indeed they had done it; as the Lord had commanded. (Exodus 39:42-43) Something very important is amplified in these...


CADagency is delighted to be working with a privately owned property development company based in East London. Due to a recent expansion in projects there is a current requirement for a BIM Coordinator / Revit Designer to join their existing design team. This is a permanent role and will require you to have previous UK work experience within the Architectural sector.
The current project you will be working on will be a new build, purpose built apartment block containing over 100 residential apartments. There are also many on-going and upcoming projects you will be involved with on a daily basis.
As the project is a new build you will be expected to have a good understanding of the Architectural process and building regulations as well as an excellent understanding of Revit. The project will be created from the start using Revit so an understanding of family creation and starting projects on Revit rather than simply importing data will be required.
The company is using an external Structural Engineering company as well as External Mechanical and Electrical consultancies so excellent communication and coordination skills will be required too.
The companies standard working hours are 09:00 – 17:00 although there is a degree of flexibility with regards to starting earlier and finishing earlier.
As most of the company is currently working with AutoCAD and Revit is a new skill set to the business you will need to understand the software well enough to use it under your own steam. The Architectural Detailing can be taught although previous work experience will be required.


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June 24, 2018 CARICOM / Golding Report / regional integration / Trade
The Golding Report Adopted by Jamaica Government: What Next?
Last week the Report of the Commission to Review Jamaica's Relations within the CARICOM and CARIFORUM Frameworks, commonly referred to as the "Golding Report" after the Commission's distinguished Chairman, the Honourable Bruce Golding, former Prime Minister of Jamaica, was debated and adopted by the Jamaica House of Representatives. We now finally have some idea of what is the official position by the Government of Jamaica on the report which was commissioned by the Most Honourable, Andrew Holness, Prime Minister of Jamaica and completed nine months later in March 2017.
Initial fears that the report would serve as the basis for a Jexit (Jamaica's exit from the CARICOM), akin to the country's withdrawal from the West Indies Federation in 1961, have been allayed somewhat. Official statements from the Jamaican Government do not evince an intention to leave CARICOM and the Government appears convinced, at least for now, that the CARICOM Single Market and Economy (CSME) is the best raft for navigating increasingly uncertain global economic and policy waters.
The 51-page report sought to examine Jamaica's relations within CARICOM and CARIFORUM, but has presented another opportunity for introspection by CARICOM leaders and other stakeholders on what has been achieved, where we have failed and what is needed to move forward. The fact that consultations were held with persons not just from Jamaica, but also from across the wider CARICOM shows that the Report was not solely insular in focus.
The Holness Government has indicated that it would not push for the five-year deadline for full CSME implementation recommended by the Report, calling the timeline "unrealistic". Instead, Mr. Holness stated that the Government would "get commitments from the various heads for the full and effective implementation of the Common Market, which are things that we can do within the five years."
The Holness Government has also thrown its support behind a review of the CARICOM contribution scale of fees payable to the Secretariat and other bodies. Jamaica is currently the second largest contributor (23.15%) and is working to reduce its arrears of just under $500 million. Jamaica is not the only Member State to owe arrears, but the lack of information on the level of arrears owed by Member States was one of the transparency issues raised in the report.
In his contribution to the debate on the Report in the Lower House, Mr. Holness further noted that some of the report's thirty-three recommendations were more immediately implementable than others, and there was need for some flexibility. The Leader of the Opposition, PNP Leader, Dr. Peter Phillips, also supported the report.
Disappointingly, there has been no public reaction by CARICOM leaders to the report so far, aside from the comments made by Prime Minister of St. Vincent & the Grenadines, Dr. the Honourable Ralph Gonsalves. No reference was made to the Report in the Communique from the 29th Intersessional Meeting, but the report is likely to be one of the agenda items at the upcoming 39th Regular Meeting of the Conference of the Heads of Government of the Caribbean Community (CARICOM) carded for July 4-6 in Jamaica.
At the two-day Stakeholder Consultation on the CARICOM Single Market and Economy (CSME) held at the Ramada Princess Hotel in Georgetown, Guyana June 8-9, the Honourable Bruce Golding, who was one of the presenters, noted that the CARICOM Secretariat was not to blame for the implementation deficit.
The Jamaica Government should be lauded for this effort. The Report, which has been the most comprehensive report on CARICOM since the Ramphal Commission's Time for Action Report of 1992, also addresses issues such as transparency, financing and accountability. The report's recommendations, most of which are not new, are however, far-reaching. Among the more novel recommendations are the proposed establishment of an Office of an Auditor-General, a Central Dispute Settlement Body, and greater involvement of the private sector.
More could have been said in the Report about ensuring buy-in by future generations by increasing youth participation and engagement in the regional integration process, such as through the expansion of the CARICOM Young Ambassadors Programme, the establishment of a CARICOM Young Professionals Programme at the CARICOM Secretariat or across its institutions, or at least providing greater opportunities for young persons to see first hand the work of the Secretariat through internships.
Like the many reports and studies before it, the Golding Report presents an important opportunity for conversation and dialogue, but talk must be parlayed to action. Jamaica will assume chairmanship of the Conference of Heads of Government under its rotational system from July 1-December 31, 2018, and Mr. Holness will have an opportunity within his six month chairmanship to hopefully influence how much attention is paid to the report and its recommendations, and what should be the next steps.
It is hoped that the Golding Report will not suffer the fate that so many previous studies on CARICOM suffered, that is, being relegated to "File 13". The report should provoke serious introspection about whether the CSME is really what we want. What concrete steps are we willing to take to implement the commitments made under the Revised Treaty of Chaguaramas?
Leaders of CARICOM countries must not just be willing to make commitments but be champions for their implementation domestically. The election result in Barbados, which under the quasi-cabinet has lead for the Single Market (including Monetary Union), presents some cause for hope. The new Prime Minister, the Honourable Mia Amor Mottley, has taken a more pro-integration stance than seen in the previous administration, and one of her first acts was to remove the visa requirement for citizens from Haiti, which is not yet a CSME participatory but is a CARICOM Member State.
Alicia Nicholls, B.Sc., M.Sc., LL.B., is an international trade and development consultant with a keen interest in sustainable development, international law and trade. You can also read more of her commentaries and follow her on Twitter @LicyLaw.
Bruce GoldingCARICOMCARICOM Single Market and EconomyCSMEGolding CommissionGolding ReportJamaica
Caribbean Trade & Development Digest – June 17-23, 2018
5 things the UK's EU (Withdrawal) Act of 2018 does


Product prices and availability are accurate as of 2019-04-20 22:14:50 UTC and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Create the next butterfly hangout in your own back yard with the Toysmith Paint-A-Butterfly House. Attract all sorts of butterflies to your yard with this paint-your-own butterfly house. Your winged friends will love their new wooden home designed specifically for them. This craft set includes three paints (blue, red, and yellow) with a paint brush for your house's custom paint job. Give the gift of arts and crafts with toys that foster curiosity and encourage creative expression. Made using safe and high quality materials, this product is designed to last. Recommended for ages 5 and up.
Attract all sorts of butterflies to your yard with this paint-your-own butterfly house. Your winged friends will love their new wooden home designed specifically for them. This craft set includes three paints (blue, red, and yellow) with a paint brush for your house's custom paint job. Give the gift of arts and crafts with toys that foster curiosity and encourage creative expression. Made using safe and high quality materials, this product is designed to last. Recommended for ages 5 and up.


Akzium has experience with all of the major virtualization platforms, each having their own advantages. From analyzing your current physical environment for the move to virtualization to implementation, upgrades and migrations our experts have the knowledge and experience to assist with both building a project plan and training your staff to be self-supporting for the post-installation period.
If high availability is what you're looking for in your virtual environment, then Akzium has a complete suite of applications to assist with minimizing downtime. Akzium can assist with implementing VMware's VSAN, VM Replication and Site Recovery Manager (SRM), Microsoft's Hyper-V Replication with SCVMM, SAN-to-SAN Storage-based replication and recovery or software-assisted backup and replication solutions like Zerto, Veeam, AppAssure or Asigra just to name a few. Akzium also has partnerships with cloud hosting providers who offer "Disaster Recovery as a Service" solutions such as CenturyLink, Green Cloud, Amazon Web Services and Connectria.


FUUADAH, ANIS (2005) KONSTRUKSI LIFE TABLE UNTUK INDIVIDU DALAM INTERVAL WAKTU SATU TAHUN. Other thesis, Universitas Sebelas Maret.
MUNIFAH , LISNA (2005) PROYEKSI PENDUDUK KOTA SURAKARTA BERDASARKAN METODE LANGSUNG DAN METODE TIDAK LANGSUNG. Other thesis, UNIVERSITAS SEBELAS MARET.
This list was generated on Thu Apr 25 15:30:35 2019 WIB.


Yay the parade of finals are finally slowing down. I have 3 days to study for micb300 and then it's cpsc on the 21st. The last! Woo. Finally a final that I am sort of sure I didn't fail.
Oh did I mention we set up our Christmas tree?
You'll miss Winnie and Annie's awesome Christmas parties too!


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Throughout the year, we offer many workshops and free events. Here are some of the ones you missed:
Actors Aloud
ACTORS ALOUD is our series of FREE Panel Discussions, featuring leading actors and theatre professionals, chatting about issues central to the lives of actors today. Moderated by Jack Doulin and studio head, Scott Freeman, these events give audience members valuable insight into the careers of successful actors. Hear about how they approach roles, discuss their life and work, and much more. The discussions are followed by an open Question & Answer with the audience. Feel free to just show up and bring a friend who is new to the studio, although registration is recommended.
Past panelists include Cherry Jones, Sarah Steele and Santino Fontana, Michael Emerson, Carrie Preston, Marin Ireland, Terry Kinney, Lois Smith, Judith Ivey, Jayne Houdyshell, Maria Dizzia, Suzanne Bertish, Anatol Yusef, etc. Click here for recaps and videos from past panels.
The Freeman Studio is excited to have had Denis Gough as our guest for this event. This was a unique opportunity to hear one of London's, and now New York's most-acclaimed and outspoken actors, discuss her life and work. Anyone who saw her phenomenal performance in People, Places, Things at St. Ann's Warehouse, or her performance as Harper in Angels in America on Broadway wanted to be there! Watch the full conversation here.
Actors Aloud with Denise Gough
The Freeman Studio is grateful to have had Marisa Tomei at the studio for a recent Actors Aloud event. This was a unique opportunity to hear one of America's most-acclaimed actors, discuss her life and work. Our actors were able to ask questions and Marisa was both passionate and insightful in her responses.
Marisa Tomei and Jack Doulin
Actors Aloud with Marisa Tomei
Marisa Tomei with Faculty members Jack Doulin and Philip Carlson.
Marisa Tomei with Studio Head Scott Freeman.
Actors Aloud with Cherry Jones was a unique opportunity for actors and community members to hear from one of America's most-acclaimed actors discuss her life and work. Her candid stories were authentic, insightful and inspiring. After the panel discussion, moderated by casting director Jack Doulin and studio head Scott Freeman, there was an open Q&A. Here is a clip of the event in which Cherry talks about how to be tender with yourself as an actor in this business and discusses aspects of working on TV.
This event encapsulated what Actors Aloud is all about: Community and sharing wisdom across the generations! Veteran actors Frankie Faison and Larry Pine visited the studio for an inspiring talk with Casting Director Jack Doulin and a Q&A with our actors and the public. It was an incredibly unique opportunity to hear how these veteran actors have sustained long careers, discussed their life and work.
SUNDAY SEMINARS
Actors have a desire to explore many aspects of their acting craft. Therefore, we reach out to exciting and innovative professionals to teach seminars in a variety of disciplines. The Sunday Seminar Series was these useful, enlightening and inspiring and included:
TAMING THE CYCLOPS: How to do Your Best Work in an On-Camera Audition w/ELLEN NOVACK
ACTING WITH AN ACCENT: Speech, Character & Identity wAMANDA QUAID
WHAT'S STOPPING YOU? Audition Technique w/JACK DOULIN
SING/ACT: How to do Your Best Work in a Musical Theatre Audition w/ROBERT McQUEEN
THE LOWDOWN: Practical & Current Information on the Business of Acting
We frequently offer FREE EVENTS to build community. So stay connected and...come listen, learn and participate!
Performance Events
Our studio is not only a place dedicated to training and nurturing actors, it's also a place for Celebration, Connection and Community. Throughout the year, we host a series of FREE EVENTS that honor the talent and passion we witness every day, and allow actors to experience the next level of performance for the greater artistic community.
AMANDA QUAID
Your Character Has an Accent
Neil LaBute
Acting in New Plays
REED BIRNEY
We've had so many great workshops in the past. We will keep you up to date on when certain guest teachers will be coming back to the studio. Click here to learn more about our faculty and guest teachers.
The Freeman Studio is not only a place to nurture and grow your craft and career, but a place to build lasting professional and personal relationships. Throughout the year, our social events include parties, readings and performances. We hope you'll join us!
Holiday party at the studio
79 Leonard St.
info@thefreemanstudio.com


Ofcom is expected to approve proposals from Vodafone and Three in the UK, which would allow them to use existing spectrum to offer 4G LTE services.
The networks want to follow EE's lead and convert some of the airwaves it is licensed to use for 2G and 3G services into super-fast 4G mobile internet.
The government's communications regulator is now holding a public consultation on the proposals until March 29, with a decision expected shortly thereafter.
A positive outcome would be a massive boost for the networks, who're desperately attempting to minimise the damage done by EE's lengthy headstart on the competition.
"This will meet a long-standing objective to liberalize all mobile licenses so that there are no regulatory barriers to the deployment of the latest available mobile technology," Ofcom said in a stamtent on Friday, indicating that a positive outcome is on the cards.
If Ofcom does indeed approve the plans, it would enable Vodafone and Three to launch 4G contracts, perhaps before spectrum becomes available before the long-running auction saga comes to a close.
Seven companies are currently vying for the radio airwaves required to run 4G services in the UK. The bidding process is expected to continue for the next couple of weeks.
A quick resolution is vital for EE's rivals, given that the network was able to roll-out 4G connectivity to nine more UK cities, last week, bringing the total to 27.


If you're already retired or nearing retirement, you've thought about all the great things in life that are just around the corner. You've saved money, made some productive investments and acquired significant assets. Chances are you've worked with one or more investment advisers in the past, and yet here you are.
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Captain Kirk of the Starship Enterprise could only dream of a command this sweet, this spicy, this crunchy and delicious.
Blackmarket Bakery in Costa Mesa, CA not only dreamed of a gingerbread Enterprise, they made it a reality for a shop display, complete with icing lights and a candy-cane tractor beam.
Ever since the U.S.S. Enterprise crash-landed in an especially gripping Star Trek: Generations episode, fans have realized it's not easy keeping such a vast vessel space-borne. Reddit user ejustice has used the creative power of gingerbread to picture a similar calamity in baked-good 3D. I like to think this is just the Enterprise heading into the clouds to evade cookie-craving Klingons!


Successful investing has little to do with investments or the markets, but is instead a matter of human belief and behavior.
Taxes, inflation, longevity and volitility are the real risks for today's investor.
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Utilizing well tested strategies, we view all money as 'serious money'. There is no minimum net worth requirement to establish a new account, but we do insist on having a relationship with every client. We believe that relationships built on trust stand the test of time, and our commitment and integrity can never be in question.
If you are ready to think seriously about your future, we are ready to help you take the right steps.


Showing results for tags 'Greenwich Village'.
Lupa may fit the bill. It is casual and I do not think they do brunch like you may find at many other places on a Sunday (you may want to call and verify). They expertly handled our party of 9 a year or so ago on a weekday afternoon for a long late lunch/early dinner. We basically just picked the wine and asked them to have the chef select what we should eat and they should keep bring new dishes and we would tell them when we were full. They handled the request with aplomb, and we had a most enjoyable time.


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CHIP on the chopping block
During Thursday's health overhaul summit President Obama will try to restart the debate in Congress. Some child advocates are hoping lawmakers will rethink their plans to get rid of CHIP — the popular health insurance program for kids.
[audio:100225techip.mp3]
In many states, the Children's Health Insurance Program has expanded health coverage for poor kids. But the House reform plan would scrap CHIP in 2013.
Child health advocate Colleen McCauley is fighting the House plan.
McCauley: And it's a big deal, because we have 197,000 kids in Pennsylvania on CHIP and 63,000 kids alone from Southeastern Pennsylvania.
The House bill moves some children from CHIP into Medicaid, the public health plan for the poor.
Low-income kids who don't qualify for the expanded Medicaid program could get private coverage through new insurance marketplaces called exchanges.
McCauley: The exchanges are something that are untested, and it looks like kids could possibly not be able to afford the coverage as well as they can now and the benefit packages would be smaller under the exchange.
Pennsylvania Senator Bob Casey says he wants to wait and see whether families really can find good care through the exchanges. He favors a Senate plan to extend CHIP an extra six years.
Casey: Probably the most compelling argument in favor of keeping the Children's Health Insurance Program as a separate program is: We've got a lot of evidence.
CHIP provides free or low-cost coverage to working families. Delaware County mom Lauren Lynch discovered CHIP after her husband died, and the family lost his workplace coverage.
Lynch: The cost of our own health care was just astronomical. Being a single mom and having a mortgage and a car payment, CHIP just made it so much more affordable, and financially we could put food on the table and keep our PECO bill paid.
States have a lot of leeway over what benefits to offer. Since the recession hit, 15 states have frozen enrollment or scaled back CHIP coverage. So some experts argue that kids might fare better in the Medicaid program because states have to take anyone who qualifies.
Robert Moffit directs health policy studies at the conservative think tank, The Heritage Foundation. He says Democrats are too focused on moving families into public health programs, instead of helping people afford private insurance.
Moffit: Locking people up into a government program like Medicaid or S-CHIP, which actually has a lower level of performance in terms of delivering quality care is exactly the wrong thing to do.
Actually, the research is mixed on whether kids get better care through CHIP or private insurance. Moffit cites studies which found that kids on CHIP drop in and out of coverage because of confusing rules.
Meanwhile supporters point to studies showing that kids on CHIP get to see a doctor and receive needed medicine as often as kids with private insurance.