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Reviewing the marvel of cinema: the eighth wonder of the world.
Posted in 2020-2029, Film Review, London Film Festival 2020
Mangrove (2020)
Posted on October 8, 2020 October 8, 2020 by Martin: Through the Silver Screen
Image is property of BBC Studios, EMU Films and Turbine Studios
Mangrove – Film Review
Cast: Letitia Wright, Shaun Parkes, Malachi Kirby, Rochenda Sandall, Gershwyn Eustache Jnr, Gary Beadle, Jack Lowden , Alex Jennings, Llewella Gideon, Nathaniel Martello-White, Richie Campbell, Jumayn Hunter, Sam Spruell, Joseph Quinn, Derek Griffiths
Director: Steve McQueen
Synopsis: Telling the true story of the Mangrove Nine who after protesting against a series of racially motivated Metropolitan Police raids, were put on trial at the Old Bailey…
Review: There's no getting away from the fact that a watershed moment for the peaceful Black Lives Matter movement happened in 2020. A movement of people across the world demanding equality for black communities, garnered seismic momentum following a handful of appalling acts of blatant racial prejudice, amidst the backdrop of a society that is deeply entrenched in racism and segregation. In the same year that a fiercely powerful and furiously relevant piece of filmmaking from Spike Lee reminded the world of the challenges the black communities face in the USA. It's important to remember, that it's not just confined to the USA where black communities have, for far too long, been dealing with the ugly nature of racism. Steve McQueen continues that trend, as Mangrove, the first of his Small Axe anthology films, brings into sharp focus that like the USA, Britain has been dealing with institutionalised racism for decades.
Set in 1960s London, Frank Crichlow (Parkes) runs the Mangrove restaurant, serving the finest Caribbean cuisine for the Notting Hill community. Yet despite no wrongdoing whatsoever, the restaurant is constantly being watched, and raided by the Police who are supposedly searching the business for drugs. Having become utterly and justifiably fed up of the constant and deliberately racially charged assault on the business, the black community protest against the Metropolitan Police and their appalling prejudice and bigotry. However, after the peaceful protest escalates into violence (due to the heavy handling of the demonstration by the police), the leaders of this new resistance find themselves in legal peril. Incredulously, they, not the police, are facing hefty criminal charges that could lead to substantial prison sentences.
Within the first few minutes of the film, McQueen establishes the Mangrove restaurant as a vibrant place to experience some excellent cuisine and enjoy the wonderful culture. With a thriving black community living in the area, for many people, the Mangrove restaurant represents their home away from home. Yet McQueen makes it disturbingly clear that not everyone in the community shares the love for the restaurant, its manager or its patrons. The first half of the film is an unflinching look at the institutionalised racism that the Metropolitan police bring down on this community, using blatantly fictitious excuses to carry out raids and stopping people in this community for no justifiable reason, purely down to the colour of their skin.
When the second half and the much publicised trial begins, it's at this point that the film gets even better, and becomes considerably more tense. Every single one of these performances shine, but special mention must go to Shaun Parkes, Letitia Wright and Malachi Kirby. As the man who's at the centre of this battleground, Parkes's performance as Frank is initially quiet and reserved. He's a man who just wants to run his business peacefully. Though understandably, when it comes under constant attack, he gets very animated when it comes to defending his business and his customers. Letitia Wright's work with the Marvel Cinematic Universe has garnered her popularity across the world. However with this heart-breaking performance as Altheia Jones-LeCointe, the leader of the British Black Panther movement and a figurehead for those standing up against a system that is rigged against them, she gives the performance of her career. Likewise for Malachi Kirby's Darcus Howe, a prominent Black Panther activist.
It's hard to watch the trial unfold and and not be thoroughly disgusted at the blatant racism being depicted. From the treatment of the Mangrove restaurant to certain decisions made during the trial, as well the behaviour of some individuals during the trial. It's indicative of the appalling nature of the crooked and corrupt system that they were up against. As events in 2020 have demonstrated, the issue of racism and equality for black and ethnic minority communities is one that feels more timely than ever. At one point a character utters the memorable line "Together we become stronger." In this one of the most turbulent of years in living memory, this line of dialogue speaks volumes of the power of unity and togetherness, one that we as humanity, the single species that we are, must continuously unite behind.
Flawlessly acted, with a powerful and timely message at its heart, Mangrove shines an urgent spotlight on the deep rooted institutional racism that's sadly still relevant in modern society.
Posted in 2020-2029, Film Review
Image is property of Miramax
The Gentleman – Film Review
Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant
Director: Guy Ritchie
Synopsis: When word gets out that the head of profitable drugs empire plans to take a step back from his business, the bids to assume control of the business between the various interested parties threatens to boil over…
Review: Whenever you think of certain directors, you're likely to associate them with certain genres. So for example, when the name Guy Ritchie is mentioned, the classic British gangster flicks, or Sherlock Holmes, may come to mind. When he hopped on Disney's magic carpet for the live action remake of Aladdin, it seemed to be an unlikely match. Undeniably a profitable venture for both Ritchie and the House of Mouse, yet the end product was considerably uninspiring. Hence, it's little surprise that Ritchie has gone back to what he knows best, and all the better for it, as his latest film is one that feels very much cut from the same cloth as his classic Gangster flicks.
Micky Pearson (McConaughey) is the founder of a marijuana business that he established in his university days. Having turned it into a very lucrative venture over many years, with Raymond (Hunnam) as his assistant, he has made a decision to cash in and sell as he desires to spend more time with his wife Ros (Dockery). Yet, before he can sign off on a very profitable deal, a number of pesky, scheming individuals are lurking and plotting to take control of the business for themselves. These conniving individuals include the slimy billionaire Matthew (Strong), ruthless gangster boss Dry Eye (Golding), and the wily and deceptive private investigator Fletcher (Grant).
It goes without saying that the key players of a crime/gangster flick are probably not going to be the nicest of people, which would be problematic if they were not compelling characters. Fortunately, with this pitch perfect cast that Ritchie has assembled, there's not a bad performance to be found. McConaughey is his usual charming and charismatic self, but for a man of his position, a dark and menacing side lays beneath his suave demeanour. Henry Golding has so often portrayed charming gentleman-esque characters. Hence to see him flip that that perception of him on its head and portray a cold and calculating gangster is delightful to see, and he does it brilliantly. Through all of this though, it's Hugh Grant's gleefully enthusiastic performance as the dastardly Fletcher, who steals the entire film. He presents himself as a charming geezer, but underneath that charade, there's something quite mischievous about his character.
In a rather ingenious move by Ritchie, he uses Fletcher to establish the key players, and the events that have led up to the events of the film. Fletcher's mischievous tendencies mean that you take his narration with a huge pinch of salt. All is almost certainly not what it seems as he narrates the state of play. With all the numerous schemes and plots that are all happening simultaneously, the film can be a little hard to follow. Yet, it crucially never loses its sense of intrigue, and as Ritchie connects all the dots, it's nothing short of delightfully entertaining. Ritchie combines this sense of intrigue with some excellent lines of dialogue, and no shortage of violent action scenes.
The abundance of extremely politically incorrect language that's littered throughout the film may turn off some viewers. Furthermore, the film really squanders the potential that Michelle Dockery's Ros offered. She could have been a very interesting character to explore, but her development is threadbare and she's not given enough screen time to significantly develop her character or her relationship with her husband. In spite of that, Ritchie has put the disappointment of his Disney venture behind him, and shown the when he is the one who makes the rules, it can be a blast from start to finish. The Guv'nor of the British gangster flicks is back to rule, and let's hope he's here to stay.
Bursting with exciting action and a charismatic array of characters, The Gentlemen marks a much needed return to form for Guy Ritchie.
Posted on September 6, 2020 September 6, 2020 by Martin: Through the Silver Screen
Image is property of Disney
Mulan (2020) – Film Review
Cast: Liu Yifei, Donnie Yen, Jason Scott Lee, Yoson An, Gong Li, Jet Li, Tzi Ma
Director: Niki Caro
Synopsis: Following an enemy invasion, the Emperor decrees that one man from every family must fight in the Chinese Imperial army. Disguising herself as a man, a young woman rides off to war, taking her ailing father's place…
Review: It is hard to look past the fact that since Disney started to up the ante with their live action remakes, it has been a lucrative venture. From 2015's Cinderella to last year's The Lion King, these six films combined have brought home a near total of six billion dollars in box office receipts. However for all that success, one could make the case that these films have (admittedly some more than others) done very little to justify their existence. It comes a relief to say, that after some utterly soulless adaptations, Mulan brings the honour back to these live action remakes.
When an invasion from Northern invaders, the Rourans, threatens the safety of the country and its people, the Emperor (Jet Li) decrees that one man from every family is to be conscripted into the Imperial Army, to stand and fight. With her father's health in decline after spending many years of his life fighting for his country, Mulan bravely decides to take a stand. In order to save his life, she disguises herself as a man and takes his place in the army, knowing that if her true identity is revealed, it would have deadly ramifications.
When looking at these live action remakes, it's next to impossible to not compare them to their animated predecessors. Furthermore, it's probably an understatement to say that the 1998 animated adaptation would have been an important film for anyone growing up in the 1990s. At its core, there was an empowering message for girls and women everywhere: to not let societal constraints restrict them from being who they want to be. Yet, for all the wonderful things about the animated adaptation of this classic tale of a legendary Chinese warrior, historical inaccuracies meant its reception in China was far from the one Disney would have hoped. Hence for this new adaptation, much has been changed as it strives for a more realistic, gritty tone that honours the tale of the legendary figure it depicts.
For starters, there are no spontaneous moments where a character bursts into song, and the comic relief that was Mushu is also nowhere to be seen. Instead, the intent is clearly there to faithfully depict the story of this legendary figure as accurately as possible. Liu Yifei gives a sincere performance in the titular role. She imbues her with the three characteristic traits that ultimately define who she is a person: loyalty, bravery, and being true to who she is. She also has the added bonus of being an extremely skilled warrior. Unlike the animated film, the majority of her fellow recruits are barely given any development, save for Honghui (Yoson An) and her commander General Tung (Yen), both of whom serve as replacements for General Shang: her love interest in the the animated adaptation.
The 1998 film's villain Shan Yu, was a suitably ominous and terrifying foe that you would not want to cross paths with. In his place comes Bori Khan, who in spite of a concerted effort to give him some backstory and flesh out his motivations, is a very one dimensional antagonist. His severe lack of charisma and screen presence prevents means he is nowhere nearly as intimidating as his animated counterpart. A completely new presence in this version, Gong Li's Xian Jang, a witch who fights alongside Bori Khan, had potential to be an exciting antagonist. Though her presence here feels completely unnecessary, as her role is underwritten, consequently taking the spotlight away from Bori Khan.
The film's battle sequences are breath-taking to watch. The assured direction from Niki Caro, combined with the use of stunning practical, mountainous sets, provides rich visual majesty to Mandy Walker's cinematography. With Mulan marking only the second time being the second time Disney has backed a female directed project with a budget of over 100 million dollars, the studio has put their money where their mouth is. Instead of using the nostalgia of these animated classics, as an excuse to merely print money, they have delivered a live action re-imagining that actually justifies its existence. Though in a year where cinema releases have been severely blighted, it's a real shame that the film didn't get the big screen treatment it deserved.
It may not quite live up to its animated predecessor. However, this adaptation gets down to business and honours the Hua Mulan legend, whilst simultaneously setting to set the benchmark for future live action adaptations.
Posted on August 29, 2020 August 29, 2020 by Martin: Through the Silver Screen
Image is property of Warner Bros and Syncopy
Tenet – Film Review
Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Michael Caine, Aaron Taylor-Johnson,
Synopsis: A CIA Agent is recruited into a top secret program of international espionage on the trail of the possession of technology that can invert time…
Review: 2020 will certainly go down as one of the most unprecedented years in recent memory, as cinemas and many other businesses lay empty for many months. However, in those long months that the projectors were switched off and the screens remained dark, there was one film that was continuously being talked about as the film that would trigger a revival for the cinema industry. The new film, from a director who is a firm champion of the big screen, was being pitched as the film to goad audiences back to the cinema. While its taken its time to arrive, with a few shuffled release dates en route, in a world that will remain uncertain for the foreseeable future, one thing remains abundantly clear. Christopher Nolan hasn't lost his ability to create a completely unique piece of cinema.
In a world of international espionage, the Protagonist (Washington), armed with only the use of a single word "Tenet", must venture into this dangerous and complex world, with the goal of preventing a global catastrophe from occurring. While this sounds like your typical spy/espionage thriller, but in Nolan's hands this is anything but. The key twist is that in this world, it's one where cutting edge technology to invert objects through time has been invented, threatening the world with as one character says "something worse" than a nuclear Armageddon.
With Nolan's previous filmography, he has shown a liking for dabbling with the concept of time and all of the mind-bending possibilities that these offer. Memento was his original head-scratching masterpiece, and amid further exploration of time with the ambitious Interstellar, and the ingenious inter-weaving of three inter-connected events of Dunkirk. Though with Tenet, this is perhaps is most ambitious exploration of time to date, if this was somehow even possible. Packing a lot into its running time, the plot keeps things moving at a fairly brisk pace. However, there are times when so much happening at once that the audience barely has time to stop for breath. Hence, keeping up with the film's super complex time-bending narrative will almost certainly be a challenge.
Yet, for all the complexities that Nolan's script throws at the audience, it is a challenge, but it is a rewarding one. The director's previous films have certainly gone ambitious with many of its action set pieces, and Nolan does his best to outdo himself with a number of extremely ambitious, and well-directed set pieces that's certainly going to get the pulses racing, and make the audiences' brains go haywire. In terms of his cast, Nolan has once again delivered an exquisite collection of characters. Following his star turn in BlacKkKlansman, John David Washington delivers another excellent leading performance as the film's Protagonist. Possessing his father's charisma in abundance, he brings his own suave almost 007-esque charm to this leading role in a tentpole blockbuster, that will only further his reputation as a leading man. Alongside him, Robert Pattinson continues to forge his own exciting career path. Much like Washington's Protagonist, he carries a likeable presence, whilst boasting charisma and charm to boot.
While the protagonists certainly carry likeable auras, Kenneth Branagh's turn as the intimidating Russian oligarch who's seeking the time-twisting technology, is anything but likeable. His performance is fittingly ominous and menacing, there's a dark and scary history to this man, which is substantially explored in his abusive relationship with his wife Kat (Elizabeth Debicki). On paper, This is a role that could have been extremely problematic, as it runs the risk of making her into a tired and cliched damsel-in-distress. However, with an actor of Debicki's immense talent, she gives an excellent performance. There's no shortage of substance to her character and she's thankfully given enough material so that she has doesn't fall into that damsel-in-distress cliche.
With long time collaborator Hans Zimmer unavailable, Ludwig Goransson steps in to fill that void, and he does so in spectacular style with a score that fits the fast paced nature of the film. Though impressive as it maybe, it can at times be almost too overpowering, making the dialogue difficult to understand in places. While its plot is undeniably complex, with a lot to digest, there's no denying that Christopher Nolan remains one of the most unique and visionary directors working today. When the day comes that we're all freely able to go back to the cinema without any risk, the work of these visionaries must be supported and championed. We'll just need to make sure we don't run into any time inverted traps along the way.
It wouldn't be a Christopher Nolan film if it wasn't mind-bendingly complex. Yet through it all, the visionary director has once again crafted something extremely unique and compelling. The film industry is certainly a much more interesting place with directors like Nolan in the business.
Posted in 2010-2019, TV Review
Image is property of HBO
Chernobyl – TV Miniseries Review
Main Cast: Jared Harris, Stellan Skarsgård, Emily Watson, Jessie Buckley, Paul Ritter, Adam Nagaitis, Con O'Neill, Adrian Rawlins, Sam Troughton, Robert Emms, David Dencik, Alan Williams, Ralph Ineson, Barry Keoghan, Michael McElhatton
Showrunner: Craig Mazin
Synopsis: An account of the events leading up to the nuclear disaster at the Chernobyl Nuclear Power Plant, and the subsequent fallout of one of the deadliest man made disasters in history…
Review: As human beings, our lives can so often be irreversibly impacted by natural disasters. Though we are powerless to prevent them from happening, preparations can be made to mitigate the damage and devastation that they leave in their wake. It's a stark contrast to the numerous man-made disasters that we have seen throughout history, that have also had similarly deadly consequences. However, when you look at how the events transpired, it's hard to overlook the fact that someone was responsible for allowing these atrocities to happen, and how they could have very easily been prevented. One such disaster, arguably the worst man-made disaster in history, is that of the Chernobyl Nuclear power plant explosion. A tragedy of incomprehensible fallout, captured with horrifying realism in this tense and devastating HBO miniseries.
Over the course of five nerve-shredding episodes, showrunner/writer Craig Mazin and director Johan Renck, explore the disaster and its horrific aftermath. Firstly, recounting the the night of the deadly disaster, and the catalogue of errors that led to the fatal explosion. Following on from that, looking at the attempts by the Soviet government to contain the fallout from the disaster. You watch with disbelief as they seek to prevent the already horrific situation from spiralling into something much worse, at times with shocking degrees of negligence and recklessness. Before ultimately, trying to establish how such a nuclear catastrophe on this scale could have ever happened in the first place. At numerous points throughout the series, this feels more like a documentary. This is largely down to the expert production design, which recreates the power plant, and the surrounding neighbourhoods, which feel remarkably authentic.
Irrespective of whether you're coming to the series as someone who knows everything about the disaster, or if you know the barest minimum, Mazin's scripts expertly combine informative scientific facts, with intense and devastating drama. With each episode, it's made painstakingly clear to us all as to the full extent of the horrific nightmare that was unfolding, and enabling the audience to process just how an event like this could have ever happened. With the exception of a few artistic liberties, Mazin's scripts faithfully recreate how events unfolded, and the excellent writing is brilliantly combined with Johan Renck's masterful direction. Each episode expertly blends genres such as the intense drama, and the traumatic horror of those who were the first to be affected by the radiation, to those were recruited for some extremely perilous missions. Furthermore, the crackling sound of a dosimeter going haywire is a sound so unnerving, it may well invade your nightmares.
With brilliant writing, combined with expert direction, and along with Hildur Guðnadóttir's haunting score, every member of this cast deliver sublime performances. However, the three who shine the brightest are the three characters whose arcs are the pillars of this miniseries, the biggest of those belongs to Jared Harris who is exceptional as Valery Legasov. Drafted in by the Soviet government to lead the efforts to mitigate the effects of the tragedy, he's not afraid to speak up and the people in charge just sweep everything under the rug. By his side, Stellan Skarsgard is equally tremendous as Boris Scherbina, a Minister whose relationship with Legasov is initially frosty to say the least. However as the two men work closely together, to combat the scale of the disaster they're dealing with, it strengthens their relationship immeasurably. Last and certainly by no means last is Emily Watson's stirring work as Ulana Khomyuk. A composite character serving as the embodiment of the countless number of scientists who worked to uncover the full truth behind this unimaginable tragedy.
The show serves as a tribute to all those brave souls who risked their lives to prevent the catastrophe from turning into something that could have been even more cataclysmic than it already was. However, the central theme that beats at the heart of this miniseries is the extremely damaging effect that lies can have when a country is in the grip of a catastrophic event like the Chernobyl disaster. In the wake of a deadly catastrophe that has wreaked unimaginable havoc, electing to cover things up with lies and misinformation may seem like a good idea at the time. However, as was the case of Chernobyl, these lies and misinformation came at a substantial cost, which is still being felt today. This is something that the governments of today could and should definitely learn from, especially at a time when a global health crisis of a very different nature is ravaging the world.
Sublime work from every aspect of the production ensures that this gripping and heart-breaking drama, like the disaster it's depicting, will never be forgotten. An essential, definitive look at the one of the worst man-made disasters in history.
Chicken Run (2000)
Posted on August 2, 2020 August 3, 2020 by Martin: Through the Silver Screen
Image is property of Pathe, Aardman Animations, and Dreamworks
Chicken Run – Film Review
Cast: Julia Sawalha, Mel Gibson, Miranda Richardson, Tony Haygarth, Benjamin Whitrow, Timothy Spall, Phil Daniels, Jane Horrocks, Imelda Staunton, Lynn Ferguson
Directors: Nick Park and Peter Lord
Synopsis: When a hot headed rooster seemingly flies into their lives, a desperate group of captive chickens see him as their best chance to escape their captivity…
Review: What is the first thing you think of when you hear the name Aardman Animations? It's quite likely that one would think of a man, and his faithful canine accomplice. With several Wallace and Gromit shorts enhancing their reputation as the undisputed champs of stop-motion clay animation, the transition to full feature film-making for Aardman was bound to happen sooner or later. Yet the studio's star duo would have to wait their turn for the full length feature treatment. Instead, a plan was hatched, to take a humorous spoof of The Great Escape, but switch Steve McQueen out for some plasticine chickens, and the end result is poultry perfection.
On a farm run by the cruel Mrs Tweedy and her bumbling husband, dwell a deeply unhappy group of chickens. The birds' lives are dominated by the fact that the must lay a sufficient amount of eggs, else be taken to meet a rather grim fate. The leader of this flock is Ginger (Sawalha) whose determination isn't quite matched by her flock of hens as their numerous attempts of escape all end in disappointment. However, when the charismatic Rocky, or Rocky the Rhode Island Red to give him his full title (Gibson) by chance flies into their coop, Ginger realises that the power of flight represents their best shot at seeing their dreams of freedom come to fruition.
Poultry plotting…
Aardman showed to the world what they were capable of with their Wallace and Gromit short films. As such they made a seamless transition into into feature length film-making seamlessly, and their debut feature proved that they are the champs of claymation film-making. With every frame, it's crystal clear that a considerable amount of care and effort that has gone into the frame's creation. Each moment of the film has a plethora of detail, serving as a real testament to those animators who help bring these films to life. This in turn, is made all the more impressive, considering the sheer amount of time consuming effort that is required to animate each scene.
Ginger is certainly the star of the show here, but she's given plenty of support from an array of colourful supporting characters. Ginger's best friend, (and flying the flag for Scotland) is Mac, who is the brains behind many of the escape attempts. The dim-witted yet lovable Babs definitely utters the film's more memorable and hilarious lines. Rounding out the core group of hens is Bunty, a hen with a sometimes aggressive streak to her character, who's not afraid to say what she thinks about the plans to escape. As for the cockerels, there's Fowler, the coop's leader who enjoys a good reminisce about his RAF days (what, what!) who is left rather peeved when Rocky, with all of his cockiness and charisma, bursts onto the scene. This can also be said for Ginger, who's left notably unimpressed by Rocky's charismatic charms, which by contrast gets all of the other hens in a flap.
The plot is straightforward. However, it's told in a very entertaining manner and the script gives the core group of hens, roosters, and a lovable pair of crafty rats, considerable depth that you care about each and every one them, and will them to escape the confines of their coop/prison. The film never fails to be consistently hilarious with lots of witty jokes and a handful of really impressive action set pieces with no shortage of fun nods to some cinematic classics of the past. While Aardman have made numerous films since Chicken Run flew into cinemas, it's a testament to their debut feature, that it remains their most egg-ceptional, as well as still being their most successful film to date.
Exquisite animation, combined with colourful array of characters mixed in with some witty dialogue. A poultry perfect feature film debut for Aardman.
Da 5 Bloods (2020)
Posted on July 7, 2020 July 7, 2020 by Martin: Through the Silver Screen
Image is property of Netflix
Da 5 Bloods – Film Review
Cast: Delroy Lindo, Jonathan Majors, Clarke Peters, Norm Lewis, Isiah Whitlock Jr, Mélanie Thierry, Paul Walter Hauser, Jasper Pääkkönen
Jean Reno, Chadwick Boseman
Director: Spike Lee
Synopsis: Four Vietnam War veterans return to the country in search of the remains of their fallen squad leader and seek to obtain the stash of gold that the soldiers hid during the war…
Review: Cast your mind back to 2017, to the events of Charlottesville, USA. The world watched in horror, as it was given a brutal reminder of the sheer ugliness of the deeply entrenched racism still rampant in American society. A year or so after those ugly events, Spike Lee gave the world BlacKkKlansman, a film focusing on a true story about one man's battle with rampant racism in one small town in America, before putting that into the wider context of Charlottesville and the racism that has been entrenched into American society for generations. Two years later after his last, and extremely thought-provoking joint, Lee is once again channelling his fury into another powerful, and in the wake of the appalling brutality that black communities in the US still face at the hands of law enforcement, extremely timely piece of film-making.
This new joint from the fiercely vocal director, and staunch Trump critic, once again provides a stark reminder of the brutality that Black people have, and continue to face in today's society, with the war in Vietnam serving as the backdrop. Four African-American Vietnam War veterans: Paul (Lindo), Eddie (Lewis), Melvin (Whitlock Jr) and Otis (Peters) reunite for a deeply personal mission. They've returned the country, along with Paul's son David (Majors), in search of the remains of their fallen squad leader Norm (Boseman) so that he can be brought home and properly commemorated. Simultaneously, they've returned to recapture the stash of buried gold that their unit was protecting during the war.
In a similar manner to what he did with BlacKkKlansman, Lee puts the events of the war, the experiences of these four veterans, and its unpopularity back in the USA into a wider context, that of a society that has been crippled with racism for generations. The battle that veterans, such as these four men, experienced in Vietnam may have ended many years ago. Yet for all their years of service, they continue to find themselves in an ongoing battle for equality and an end to a fundamentally racist system that has disproportionately affected the black community, for generations. A fundamental injustice that given rise to the Black Lives Matter movement, a movement whose voice and message, especially in the wake of the appalling murder of black people by police departments across the country, has taken hold not just in America, but across the world.
Each and every one of these actors turn in exceptional performances. The chemistry between the four veterans really shines through, they have certainly have been through hell and back together, which solidified the bonds that they have as brothers-in-arms. However, as the five them set off on their mission, tensions between them begin to mount over various subjects, tensions which threaten to tear their mission, and the bonds built between they have built as soldiers, apart. Lee is certainly a man who isn't afraid to say what he thinks, and with this film that's certainly applicable to what these soldiers are experiencing, but this is a joint that is about so much more than just the Vietnam War.
The performance that shines brightest though is by far and away, is Delroy Lindo as Paul. His fierce pro Trump views certainly don't sit well with the rest of his fellow veterans, and that by consequence, will likely be the case with the audience too. While war does have long lasting consequences, for any soldier, it's an experience that leaves its mark. This is certainly true for all the Bloods, but it's especially applicable for Paul. With every word he utters, it's crystal clear that the effects of the Vietnam War, and the years that have followed, have inflicted deep emotional turmoil upon him. Turmoil that makes you sympathise with him, as it has fundamentally changed him forever, resulting in a very fractured relationship with his son.
Chadwick Boseman might have garnered worldwide fame for his work in bringing Marvel's Black Panther to life. However, this performance as the leader of this band of brothers, is a subdued, but emphatic display of his abilities as an actor, and the impact of what he brings to the film cannot be overstated. While Lee employs some slick editing, expertly combining present day with flashbacks to the fighting occurring in Vietnam. Though it is for the most part, slickly edited together, it does feel a tad overlong in places, and could have potentially shaved ten to fifteen minutes off its running time. Nevertheless, that does not minimise the film's impact, as it shows how the battle continues for veterans such as these men, long after they have returned from the war. Their fight against the sheer ugliness of a society entrenched in systemic racism has continued in the decades that followed.
Given the appalling brutality that remains an ugly stain on American society, one can hope that the impact of the Black Lives Matter movement, can bring seismic, and much needed, needed change to end a society that is systemically rigged against veterans like the titular Bloods, and the black community as a whole. Though it is hard to ignore the current President and his deliberate attempts to stoke that racial division, that has enabled voices such as Spike Lee and the Black Lives Matter movement to emerge and use their platforms, to fight those fires of division and to spread these pivotal messages, messages that are crucially resonating with people across the world.
Powerful and heart-wrenching performances, especially from Lindo, mixed in with fierce and urgent messages that resonate with today's society, now more than ever. Da 5 Bloods is the film that this year really needed.
Posted on June 14, 2020 June 14, 2020 by Martin: Through the Silver Screen
Image is property of Searchlight Pictures
Ready or Not – Film Review
Cast: Samara Weaving, Adam Brody, Mark O'Brien, Henry Czerny, Andie MacDowell, Nicky Guadagni, Kristian Bruun, Elyse Levesque, John Ralston
Directors: Matt Bettinelli-Olpin and Tyler Gillett
Synopsis: As she marries into a wealthy family that owns a considerable empire built upon board games, a bride's wedding night turns violent when she's forced into a deadly game of hide and seek…
Review: When you think of a wedding, you picture them to be joyful, happy occasions filled with family, drinks and memories that will last a lifetime. Or, that's at least how they usually go. However, for anyone marrying into a family that has a vast and considerable empire built upon board games, their wedding night will not involve a disco, lots of drinks and some joyous music. Instead, it will involve a game, a game of the considerably more bloody variety that pits everyone in a brutal battle for survival.
Grace (Weaving) is excited to finally be marrying into the Le Domas family as she ties the knot with her fiance Alex (O'Brien). Once the ceremony is concluded, Grace is invited by her new relatives to take part in a game that the Le Domas clan do every time someone new enters the family. When Grace chooses the "hide and seek" card, she initially believes that they will be playing a typical, innocent game of hide and seek. However, she soon realises that it it is anything but, as due to a curse that they believe an ancestor has placed on them, her crazed new relatives believe they must kill Grace, before the next morning, at all costs.
With such an absurd, and just completely bonkers premise, had the film taken a more serious approach it with itstone, it likely would have fallen flat on its face. However, the film knows what it is, and it uses the absurdity of that premise to its advantage. Writers Guy Busick and R. Christopher Murphy use this ludicrous premise, and transform it from your typical run-of-the-mill horror/slasher film, into a batshit, and brilliantly entertaining horror that expertly manages the balance between the comedic and horror elements of the story. It is made all the better by peppering brilliant moments of dark humour throughout, whilst significantly turning up the dial on some very over-the-top violence.
As the woman who's forced into this deadly fight for survival, Samara Weaving, having had the smallest of roles in Three Billboards outside Ebbing, Missouri, gives a spectacular, memorable breakthrough performance. Right from the moment you meet her, she's an immensely likeable protagonist, and you will her to find the courage and resourcefulness to escape this dangerous life or death situation, that she finds herself in. The main source of comedy largely comes from the Le Domas clan, who clearly have no idea how to handle the rather antiquated weapons they're using to try and eliminate Grace, which leads to some spectacularly entertaining moments.
Boasting some excellent production design, and likewise with the costumes, most notably Grace's wedding dress, that goes through just a few wears and tears as the night wears on. While it almost never fails to be entertaining throughout its 95 minute run time, it does get to a point where the violence becomes so over the top and ridiculous, that the comedic aspect of it does begin to wear off a little bit. Touching upon themes of marriage, family, and a bitter class divide, the scope was there for these to be explored a little more. Though, it may make someone think twice before agreeing to marry into an eccentric and wealthy family in the future.
A brilliantly, and entertainingly bonkers blend of horror and comedy, with a truly memorable performance from Samara Weaving. This brings a whole new meaning to the phrase "till death do us part."
Posted on May 24, 2020 May 24, 2020 by Martin: Through the Silver Screen
Image is property of Paramount Pictures and Sega
Sonic the Hedgehog – Film Review
Cast: James Marsden, Ben Schwartz, Tika Sumpter, Jim Carrey
Director: Jeff Fowler
Synopsis: When a police offer finds a small, speedy blue hedgehog, he must do all he can to prevent him from falling into the hands of the nefarious Dr Robotnik..
Review: For anyone who grew up in the 90s, the video gaming industry was, by and large, dominated by two very prominent characters, that of an Italian plumber with a red hat, and a super-fast blue hedgehog. While the former has been brought to the big screen once before, albeit not very successfully, the latter's journey to the big screen has at last arrived, and while it has been far from the speedy one he would have liked, it's one that has defied the odds and delivered the goods.
When Sonic is forced to flee his home world, using the power of his magical rings, he arrives on Earth. Initially, his existence is completely unknown to everyone for a significant period of time. Though, when Sonic accidentally reveals his presence to local police officer Tom Wachowski (Marsden), the pair strike up a friendship. This puts Tom on a collision course with the Government, as they recruit the dastardly Dr Robotnik (Carrey), to pursue and capture Sonic for experimentation, which forces the two of them to flee for their lives.
Catch him if you can…
It's no secret that when the first trailer for the film came out and the design of this iconic character was unveiled, it was to put it mildly, not well received at all. Fans gawped in horror at the design of Sonic. Hence, the film's release was delayed so the design of Sonic could be re-jigged. A decision that paid dividends, as the revamped design of the titular character feels much more authentic, and less like some ungodly abomination that would have given viewers endless nightmares. Voiced and motion captured by Ben Schwartz, this redesign has the personality and the traits that make him feel like a version of the character that has been drawn from the games.
It wouldn't be a Sonic film without his classic nemesis, and Jim Carrey gives everything he has into the role of Dr. Robotnik. This works a treat as he's clearly having a tonne of fun playing such an eccentric antagonist, especially one that that enjoys twirling his moustache in the most hilarious cartoonishly evil manner. Carrey goes all in with his performance and it ensures that every moment he's on screen is delightfully entertaining, and he's easily the best aspect of the human cast. Aside from Carrey, Marsden is solid as the cop who must do all he can to prevent Sonic from falling into Robotnik's hands. While the accompanying story of two unlikely individuals forming a friendship is nothing new, it serves the story of this little Blue ball of energy and how he strives to find his place on our world, very effectively.
While the action scenes are nothing particularly ground-breaking, seeing Sonic whizz across the globe duelling with Robotnik, with the iconic sound of Sonic's rings as the perfect nostalgia boost for good measure, is undeniably entertaining. Though, there is one scene that, while you can understand why they would use a scene like it, feels like it's a bit too similar to the iconic Quicksilver scene from Days of Future Past. Films based off video game franchises have often struggled to deliver the goods, and while it took time, eventually this adaptation has delivered a film worthy of bearing the name of one of the most beloved characters in video game history.
The story is cliched, but with a thankfully re-designed titular character and a pitch perfect villain, the film collects all the rings to deliver a worthwhile adaptation of a much beloved video game franchise.
Posted on May 8, 2020 May 8, 2020 by Martin: Through the Silver Screen
Image is property of Warner Bros and DC
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)– Film Review
Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Ewan McGregor
Synopsis: Following a split from The Joker, Harley Quinn is determined to start fresh and get back on her feet. However, she soon realises that a number of people in Gotham want her dead…
Review: 2016, a year that promised so much for the DC Extended Universe. Two massive flagship blockbusters in the shape of Batman V Superman, and Suicide Squad were lined up. These were the two films that were supposed to kick-start their cinematic universe to the next level. Unfortunately, that hype soon turned to disappointment as neither lived up to those lofty expectations. Yet through that disappointment, Margot Robbie's performance bringing the much loved Harley Quinn to life proved to be one of the few rays of light. Subsequently along with a certain Amazonian warrior, a platform for the DCEU to build on going forward.
Following a brief recap of the events of Suicide Squad, Harley Quinn's relationship with The Joker is over, something she announces in quite the dramatic fashion. Seeking to put this behind her and move on, it dawns on her that being with The Joker offered her protection from some of Gotham's underworld. With that gone, a lot of these people are now baying for her blood, and they sense an opportunity to exact revenge on Harley for past grievances. Soon enough, Harley comes to the attention of crime boss Roman Sionis (Ewan McGregor) who's seeking possession of a rare artefact that would enable him to take control of Gotham's Underworld, putting him on a collision course with Harley and an array of other badass ladies.
Margot Robbie continues to prove that she was perfectly cast to bring the one of the most beloved comic book characters to life. She might (read probably) be a complete psychopath, but Robbie imbues Harley such charisma that it's impossible not to get on her side. Gone are her Suicide Squad associates and in their place we are introduced to an exciting crop of badass heroines. We have Black Canary (Smollett-Bell), Cassandra Cain (Basco), Huntress (Winstead) and Renee Montaya (Perez). Though they all get a moment to shine, the most compelling character of the new crop is Huntress, an archer who is on a deeply personal mission of revenge, and who could definitely use her bow to kill you one hand tied behind her back.
For her first foray into the realm of super-hero film-making, Cathy Yan brings a vibrant, colourful energy to the action scenes, which never fail to be consistently entertaining. However, with the exception of one enthralling showdown in the second act, there's a majority of these don't take place until the film arrives at its concluding act, and all the pieces have fallen into place. Consequently, while they are consistently entertaining, there's a distinct dearth of punch-the-air-in-delight moments, to really get the adrenaline pumping. With female empowerment beating at at the heart of the film, screenwriter Christina Hodson certainly captures that strong camaraderie and teamwork between the titular Birds of Prey. In spite of this being their first time on screen together, there's a real feeling of sisterhood between the women, and it helps each of their performances shine.
Ewan McGregor as Roman Sionis was certainly a strong piece of casting and while he's clearly having fun with playing a villain, he frustratingly doesn't get enough material to sink his teeth into. While he's certainly far from the least interesting to villain to have emerged from the DC Cinematic Universe, there's just not enough material for him to create a lasting impression, which is a shame when you think of the calibre of dastardly villains that DC have in their repertoire, feels like a missed opportunity. Birds of Prey may not have been the home run DC wanted it to be, but with Harley and her baseball bat in hand, it's certainly a solid swing in the right direction.
There's vibrancy and entertainment to be found, but even with another pitch-perfect performance from Robbie, the screenplay frustratingly gives the titular team little time to shine.
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Flubber (film) Professor Phillip Brainard is a man so lost in thought that he appears, at times, not to pay attention. He's even forgotten two dates to marry his sweetheart, Sara. But the guy has a lot on his mind. He is working with his high-voltage, over-amorous flying robot assistant, Weebo, on an idea for a substance that is not only a revolutionary source of energy, but may well be the salvation of his financially troubled Medfield College, where his beloved Sara is the president. But it all comes together late on the afternoon of his third attempt at a wedding when the professor creates a miraculous goo that when applied to any object–cars, bowling balls…even people–enables them to fly through the air at miraculous speeds. The stuff, called Flubber, defies gravity and looks like rubber. Chester Hoenicker, a corrupt businessman who at first wants only to punish Brainard for giving his son a failing grade, learns about the existence of the substance, and sends goons to steal it from the professor's lab. Released on November 26, 1997. Directed by Les Mayfield. Stars Robin Williams (Phillip Brainard), Marcia Gay Harden (Sara), Christopher McDonald (Wilson Croft), Raymond Barry (Chester Hoenicker), Wil Wheaton (Bennett Hoenicker). The voice of Weebo is provided by Jodi Benson. 94 min. An updated version of the 1961 Disney feature The Absent-Minded Professor. Many of the special effects were produced in the huge Building Three at the Treasure Island Naval Base off San Francisco. With 90,000 square feet of space, the producers were able to create the professor's basement laboratory, the interior of the team's locker room, and a 2,500-seat basketball stadium, all under one roof, at one time. Differing from the original film, the substance Flubber is given a personality of its own. Mischievous and uncontrollable, it creates havoc everywhere.


text:
Other Soundtrack
Water for Elephants
James Newton Howard - The Village
If ever a director's films could be described as Marmite, none fit the bill more than those of M. Night Shyamalan, whose slow pacing and heavy reliance on symbolism frustrates as many viewers as it entices. Whatever the opinion on Shyamalan as a director, there's little doubt that his features since breakout hit The Sixth Sense have decreased in popularity. One that deserves another look is 2004 effort The Village, arguably Shyamalan's greatest achievement on a visual and artistic level. Set in an ill-defined period, in an equally ill-defined location, it's the tale of a settlement terrorised by creatures who live in the woods beyond, and whose appearance is signalled by the colour red. For once, the director's stilted dialogue is complemented and even helped by the period setting and appropriately mannered performances.
It's also arguably the finest collaboration between the director and veteran composer James Newton Howard, who has scored all of Shyamalan's films thus far (and has earned rave reviews for his recent score for The Last Airbender). It's one that's poised on tenterhooks throughout, a sense of homely beauty frequently torn asunder by frighteningly aggressive orchestral outbursts as the village is invaded by its enemies.
Dominating throughout are the lovely, folksy violin solos from virtuoso Hilary Hahn, speaking of the pastoral, earthly, back to basics innocence of the villagers. It's tempered though by an appropriately melancholic edge, hinting both at the complex dynamics of the isolated community and the love triangle that emerges between Joaquin Phoenix's Lucius, Bryce Dallas Howard's blind Ivy and Adrien Brody's Noah. "Noah Visits" introduces the first strains of the spine-tingling main theme, which weaves through the score like a breath of wind. It's developed to outstanding heights in the lengthy "What Are You Asking Me?" one of the high-points of Newton Howard's career to date. Its necessary fragility makes the more violent moments positively terrifying when they appear.
Before they do, "The Bad Colour" introduces a creeping sense of unease, distorted, abrasive winds introducing a sense of subtle discord. This is mere preparation for the all out terror in "Those We Don't Speak Of", a frightening orchestral stinger leading into a pounding percussive rhythm complete with blatting rams horns that add a chilling texture. Midway through however, Newton Howard performs a breathtaking coup by segueing from his dissonant material into a remarkably florid and gorgeous rendition of the main theme, encompassing both sides of the film's narrative in one fell swoop. It's a tremendous achievement, one of many in the score.
"Will You Help Me?" which follows is breathtakingly beautiful, the composer painting on the sort of intimate scale at which he excels. Later on, "Race To Resting Rock" continues in much the same vein. Throughout, there is a marvellous juxtaposition of lyricism and terror, with carefully shifting orchestral colours such as the fluttering solo in "I Cannot See His Colour" indicating the wider sense of unease that comes to increasingly grip the score. It is this sense of darkness that eventually takes over as the narrative proceeds towards Shyamalan's controversial (in this instance) twist ending, Dallas Howard's Ivy being forced to make the gut-wrenching journey outside the village boundaries. "Rituals" and "The Gravel Road" introduce moody variations on the previously harmonic main theme; the sense of beauty becoming especially precious as it is pitted ever more against the encroaching horror.
"The Forbidden Line" promptly shatters the pastoral calm again, rattles and growling brass replacing the score's thematic identity with something more complex and troubling. The theme is fully restored, for one last time, in the heart-wrenching "The Vote", before the eerie, climactic one-two of "It Is Not Real" and "The Shed Not To Be Used" reiterates the sense of dread, ending the score on an appropriately ambivalent note in-keeping with Shyamalan's vision.
Throughout there is a gripping sense of ambiguous, threatening adult uncertainties bubbling beneath the surface, which challenge the sense of melodic unity. It's wonderfully edgy but entirely listenable for all that, and that may be Newton Howard's greatest achievement. It's no mean feat to compose a horror-thriller score balancing both beauty and fear in one package... but to make it such a coherent, enjoyable and intelligent experience is something else entirely. The Village is one of the composer's finest efforts, standing proud alongside Restoration, Waterworld and others, well deserving of its eventual Oscar nomination.
The soundtrack album is widely available and can be found at the following links: Amazon.co.uk and Amazon.com.
Reviewer: Sean Wilson
The Village by James Newton Howard - full track listing
Noah Visits
What Are You Asking Me?
The Bad Colour
Those we Don't Speak Of
I Cannot See His Colour
The Gravel Road
Race to Resting Rock
The Forbidden Line
The Vote
It Is Not Real
The Shed Not to be Used

redpajama_set_name: RedPajamaCommonCrawl


text:
Eyes on Pollock
After reading most of the books and more than 100 articles on Jackson Pollock, I expected the next one I read to be poorly researched and unbalanced. The cover story in your Summer 2007 issue ("For Art's Sake," by Jane Whitehead) was very well done. Ms. Whitehead obviously did her homework and she provided some new information very effectively.
Donald Wigal
The writer is the author of Jackson Pollock: Veiling the Image (2006).
At the risk of appearing painfully naïve, irredeemably unsophisticated, hopelessly lacking in good taste, and possessing of no appreciation for the finer things, I nevertheless must admit that I fail to understand why Jackson Pollock is said to be an artist while Norman Rockwell is merely an illustrator.
Paul Bourke '69
Ashland, Massachusetts
Incident recalled
It was with great sadness that I read of the passing of Officer Thomas Devlin ("For Boston," by Cara Feinberg, Summer 2007). I was a resident assistant in the neighboring Walsh dorm in September 1988 and recall the great chaos as we tried to move the residents of Edmonds to safety and assist them in finding a place to stay while their building was cleared of tear gas. Perhaps those involved will finally have the courage to come forward and acknowledge the consequences of their actions.
John Kawczynski '90
Haddonfield, New Jersey
Re "This Old Stadium," William Bole's account in the Summer 2007 issue of the 1956–57 effort to secure a new venue for BC football (and track): Ten years later, on a warm spring morning, I and many classmates put down the forms used in replacing the cinder track with a "high tech" rubberized version. I believe we had about a 20-yard head start on the machine that laid down the product, and probably finished with no more than a one-yard lead. It was an all-day project, producing lots of sweat as the day grew warmer. No idea what we were paid, but I'm sure it was all spent on cold beers (off campus, of course).
Hank Anderson '67
North Stamford, Connecticut
Under the linden tree
The Summer 2007 issue carried a letter from Bob McAndrew P'98 asking for an explanation of the term Linden Lane, which the editors correctly described as the campus road that starts at the main gate on Commonwealth Avenue.
The first local reference I know of to a connection between the Jesuits and linden trees is an account from Worcester, Massachusetts, where the main entrance to the College of the Holy Cross, founded in 1842, is called Linden Lane. Why was the linden chosen? In pre-Christian times, the linden tree was thought to have some kind of magical power against evil and catastrophe; this legend was later incorporated into Christianity as the linden became known as the tree of the Blessed Mother. Many wayside shrines were placed under linden trees, which were considered to be "lucky."
In April 1862, lindens were planted in Boston's South End alongside Immaculate Conception Church and the newly erected Boston College (see the photograph taken by Oliver Wendell Holmes in James O'Toole's article about Fr. McElroy—"The Old Man"—on page 37 of the same issue). According to Fr. David Dunigan's early history of Boston College, the two trees directly in front of the church were called Mr. and Mrs. Carney in honor of two generous benefactors to both the church and the school.
The planting of linden trees on the new Chestnut Hill Campus took place in the early 1900s, some time after the construction of Gasson Hall (1913) and St. Mary's Hall (1917). In Fr. Charles Donovan's History of Boston College, published in 1990, a photograph shows "young lindens lining the road in 1924," providing the background for a nostalgic World War II poem by Thomas Heath '43 that asked of the graduate gone off to war: "What are you dreaming, Soldier, What is it you see?/ A tall gray Gothic tower, And a linden tree."
Thomas H. O'Connor
University Historian
Ben Birnbaum's Prologue in Spring 2007 assigns roles to scientists ("How do we do it?") and artists ("Should we do it?"). My worry is that having watched the "how" of our country's dismantling of Iraq for years now, I have yet to hear a strong, official voice from our bishops addressing the "shouldness" of this destructive and expensive episode. Did the just war theory (Catechism of the Catholic Church, 2309) go out of Catholic teaching?
Philip Stephan P'99
North Clarendon, Vermont
Content in context
Re "Charitable Intent," by Jane Whitehead (Spring 2007): I was pleased to read an in-depth report on the work of Catholic Relief Services. I have contributed to CRS for years, and found the story very informative. Also informative was James Carroll's "On Authority," in the same issue. Growing up in Boston, I heard and read a great deal about Fr. Feeney, our wonderful cardinal, Richard Cushing, and John Courtney Murray. I have shared Mr. Carroll's well-written article with my children and friends.
Cynthia Monaghan Rabanera '62
Sunset Beach, California
On primacy
Re James Carroll's "On Authority": The Church has recognized that souls seeking Christ may not have had his Gospel proclaimed to them in its fullness, and that, through no personal fault, they see his love in an imperfect but sincere manner. We are taught Christ will lead these souls to eternal glory also. Yet nowhere has the Church disavowed Peter's primacy. If the Catholic Church is the Church founded by Christ, it is the deposit of truth and the path to salvation and thus cannot entertain nor be subject to individual interpretation on matters of morality.
Ralph Benware '59
Foley recalled
I was saddened to see the announcement of Jack Foley's death in the spring issue. I worked with Jack in the audiovisual department for my work study job in 1981 and 1982. I sat in his office on occasion and took a couple of wild rides with him to deliver equipment. He looked after his AV crew and had funny ways of showing his fondness for us. Jack took to announcing "Ah, the Queen of BC-AV!" whenever I checked in at his office.
In the fall of 1982 he gave me a ticket to the Eagles' football game against Penn State. During a lull in the game, to my embarrassment and delight, these words flashed on the big scoreboard: "Who is the Queen of BC–AV?" Followed by: "ALICE ALICE ALICE." I had not known he ran the scoreboard.
Alice Schreiber O'Donnell '83
Corrections and updates: In the Summer issue, page 21, the caption for the photograph at bottom left should have read, "Pollock with, from left, Alex Matter, Mercedes Matter, and Lee Krasner." Also, in Chris Berdik's report on marital greed (page 92), the General Social Survey cited as a source should have been identified as a product of the University of Chicago, not the University of Michigan. Finally, we are pleased to share news of the 22nd Fulbright scholarship awarded to a Boston College graduate this year (a record): Edward De Barbieri '03, now a student at Brooklyn Law School, will explore the Irish cooperative movement as a visiting student at the Faculty of Law in Cork.
BCM welcomes letters from readers. Letters may be edited for length and clarity, and must be signed to be published. Our fax number is (617) 552–2441; our e-mail address is bcm@bc.edu.


Happy 137th birthday to Albert Einstein!* Here's the Google doodle from back in 2003 which celebrated his 124th.
Yes, there is a connection with dreams, as I happen to have a book called "Einstein's Dreams" by Alan Lightman on my bookshelves. It is billed as a novel, but its structure is a collage of short stories as dreamed by Einstein between 14 April and 28 June 1905. He is employed by the Swiss Patent Office, his office a "room full of practical ideas", but he is also working on his theory of relativity and a new concept of time.
It is a work of great beauty and poignancy, the dreams capturing the deep reality of the fragility of human existence and our capacity for creativity and joy.
* Also, Happy Pi Day!


Our office is comfortable and relaxing, but it is our goal to make your waiting room stay as short as possible.
In a recent study in the Aesthetic Surgery Journal, looking at complication rates after cosmetic surgery done in either an office based center, ambulatory surgical center or a hospital there was found to be a lower complication in office based centers. This is consistent with our experience as well.
an amazing job and patients love him.
We use different levels of sedation depending on the procedure that is being done and the individual patients needs. This ranges from simple oral sedation to light sedation (RN sedation), to deep sedation (MD or CRNA anesthesia).


Mcx copper future in last trading session tumbled by 4% plus to low of 423 rupee now trading around 427.
mcx copper future below 443 entered downtrend and hit immediately sell target of 430 rupee and tried to test 419 level also in single session with low at 423.
below 430, remain weak and sell on rise for targets 419 and below. if slips below 419, then expect super bearish trend for december with price targets 407 and then 395 rupees.
from long term view, given breakdown below 431 and heading towards 361 rupee levels.


The greater the extent to which these factors can be addressed, the stronger the proposal becomes in truly impacting economic or community development.
What is the need and priority? How do you know?
What are the objectives and benefits? Can benefits be measured?
Is this a one-time project or does it have long term sustainability?
Do you have the resources, support, team, and time to do the project?
What activities make up the work plan required to reach the goal?
What budget is required to properly complete your work plan?
Are there statistics or background documents supporting the need?
There are a number of considerations in providing tax dollars or otherwise to programs and activities which contribute positively to the local economy.
How does this promote and encourage development of the local economy?
Does this identify a viable economic opportunity and support marketing it?
With respect to economic growth, are constraints to development identified?
Are there already established local groups or businesses this would compete with?
Funds or allocation per applicant can be limited – Were other financial programs considered?
Is there support from businesses or industry for this?
What level of project oversight, qualification, and remuneration will be provided?
How would you measure your results or outcomes?
What is the purpose and goal(s) of the project?
How does this support and help to develop the local economy or add value to the community?
Does this compete with already established groups or businesses?
How many people will be involved? Will there be a fee charged to those people?
The above economic development questions can also be used where programs and activities are intended to contribute positively to the development of local communities.
E.G. How does this contribute to the community by adding value?
E.G. Is there support from the local community for this?
E.G. Is there a positive impact for youth, seniors, or other community sectors?
South Kootenay Lake Community Service Society (SKLCSS) is a non-profit organization operating on the east Shore of Kootenay Lake. SKLCSS fosters community and economic stability and growth primarily by acting as a resource centre and responsible umbrella agency administering grant or community funded programs and projects. As a community based society they also sponsor value add activities such as community or business forums or workshops, and work with other local groups such as, Invest Kootenay, Kootenay Lake Chamber of Commerce, Crawford Bay School, and the East Shore Learning Hub.
This document is based on Community Connections past involvement with grant providers and application submissions, administering funds for projects and programs, and supporting project teams, committees and councils as they implement and complete their projects. It is not meant to be a comprehensive overview, but rather an easy read to provide insight on our experiences of typical grant related activities and subsequent projects and to highlight the value Community Connections can bring to the entire process.
Regardless of whether the individual or group chooses to work with Community Connections or not, it makes the most sense for those who have the background, vision, and passion for the idea to complete the key content of the grant application. If Community Connections is on the team then there will be information relative to CC's mission, organization, experience, and background that CC will complete on the application form. If CC is not part of the team, this information would be provided by the grant applicant. Prior to final submission of the application to the funding body, information gathering, planning, understanding capabilities and resources needed, writing the actual grant application, and review and obtaining feedback, may all need to be done for a complete application. The applications and processes will be different from each funding body. Within any funding body there can be a number of different grant program offerings which in all likelihood will have different forms between them. It is very important to properly follow guidelines and processes, meet deadlines provided by the funding bodies, and in this way ensure grant applications are not rejected.
Proven success criteria for applications include identifying your team and partners, those who will play leadership roles, and those who will provide support and take responsibility for the project. As mentioned, Community Connections can act as the umbrella society to assist with grant submission, offer administrative support regarding funds as your project is conducted, and provide some amount of project oversight. Having said that, the ultimate project ownership and responsibility belongs to the project team, committee, or council, and Community Connection's role is primarily as funding administrator unless other responsibilities are agreed to.
For any organization or group, grant providers can ask for your organization programs, services, structure, membership information, directors list or support groups, and recent audited or current financial statements and budgets. This is something to be aware of, have organized, and be prepared to provide.
Be sure to spend ample time developing your work plan and budget. This is where items can be overlooked which will later adversely impact your project and finances. Examples of these are tasks and costs related to advertising, administration of funds, insurance needs, contracted skills, travel, project contingency, workers compensation allowance, and other. Make accurate estimates and obtain quotes where ever possible. It may be challenging to develop an elaborate work plan at an early stage but even a high level plan with as much detail as possible can be of great value. In addition to catching overlooked items mentioned, it may help to identify "in-kind" work components, where multiple fund sources can be used, opportunities to fund raise, or additional skills that are needed.
Grant Funders will establish deadlines for the submission of grant applications. In many cases there will be more than one deadline during any given year. It is important to stay ahead of and meet these deadlines or a grant application can be automatically rejected. Often the grant application will be received by a first point of contact and upon review they may request more information, clarity, revisions, and have questions for the grant applicant. Many grant funders will allow grant applicants to discuss their grant project and progress prior to submission. This can be most helpful in building a positive relationship with a grant funder and ensuring the grant application is on the right track. Once this level of review is complete the grant will be put before a grant reviewing body or group for review, discussion, and to make a decision on whether to accept or reject the application. If the grant application is rejected the grant applicant is usually notified. If the application is accepted the grant applicant will be notified and the grant funder will process the necessary paperwork and in some situations setup an agreement. This would typically be followed by a cheque to the organization named on the grant application. This whole process can take from weeks to months to complete depending on the grant application and organization.
The end of the project is a time to determine what has worked well, what has not, and close out items with beneficiaries, the project team and volunteers, and sponsors. At the end of your project it may be useful to have review(s) with key groups or individuals. This is the opportunity to ensure everyone understands what has taken place and why. This is a time to reflect on any inadequacies or mistakes positively, objectively, and without allocating blame, as well as accept successes gratefully and realistically. From these review(s) it is suggested to write a summary report which could be used publicly. Sponsors often require specific reports which review the project and its outcomes, and provide a financial overview. If there are several sponsors then more or different reports may be required. These reports present the opportunity to make observations and recommendations, follow up on possible outstanding issues, and make notes on suggestions for a 'next' or 'repeat' event. All of these activities contribute to properly closing out the project, as well as build confidence and future support among fund providers and all those who have supported the project from inception to completion.
Community Connections remains committed to supporting the grants and projects it sponsors and is always open to making things better. If you have experiences we can learn from that can be incorporated into our grant process and project life cycle overview, please contact us at skootenaylakecss@gmail.com or call us at 250-227-9218 x 5505.


text:
from __future__ import (absolute_import, division, print_function)
# Copyright 2019 Fortinet, Inc.
#
# This program is free software: you can redistribute it and/or modify
# it under the terms of the GNU General Public License as published by
# the Free Software Foundation, either version 3 of the License, or
# (at your option) any later version.
#
# This program is distributed in the hope that it will be useful,
# but WITHOUT ANY WARRANTY; without even the implied warranty of
# MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
# GNU General Public License for more details.
#
# You should have received a copy of the GNU General Public License
# along with this program.  If not, see <https://www.gnu.org/licenses/>.

__metaclass__ = type

ANSIBLE_METADATA = {'status': ['preview'],
                    'supported_by': 'community',
                    'metadata_version': '1.1'}

DOCUMENTATION = '''
---
module: fortios_wireless_controller_setting
short_description: VDOM wireless controller configuration in Fortinet's FortiOS and FortiGate.
description:
    - This module is able to configure a FortiGate or FortiOS (FOS) device by allowing the
      user to set and modify wireless_controller feature and setting category.
      Examples include all parameters and values need to be adjusted to datasources before usage.
      Tested with FOS v6.0.5
version_added: "2.8"
author:
    - Miguel Angel Munoz (@mamunozgonzalez)
    - Nicolas Thomas (@thomnico)
notes:
    - Requires fortiosapi library developed by Fortinet
    - Run as a local_action in your playbook
requirements:
    - fortiosapi>=0.9.8
options:
    host:
        description:
            - FortiOS or FortiGate IP address.
        type: str
        required: false
    username:
        description:
            - FortiOS or FortiGate username.
        type: str
        required: false
    password:
        description:
            - FortiOS or FortiGate password.
        type: str
        default: ""
    vdom:
        description:
            - Virtual domain, among those defined previously. A vdom is a
              virtual instance of the FortiGate that can be configured and
              used as a different unit.
        type: str
        default: root
    https:
        description:
            - Indicates if the requests towards FortiGate must use HTTPS protocol.
        type: bool
        default: true
    ssl_verify:
        description:
            - Ensures FortiGate certificate must be verified by a proper CA.
        type: bool
        default: true
        version_added: 2.9
    wireless_controller_setting:
        description:
            - VDOM wireless controller configuration.
        default: null
        type: dict
        suboptions:
            account_id:
                description:
                    - FortiCloud customer account ID.
                type: str
            country:
                description:
                    - Country or region in which the FortiGate is located. The country determines the 802.11 bands and channels that are available.
                type: str
                choices:
                    - NA
                    - AL
                    - DZ
                    - AO
                    - AR
                    - AM
                    - AU
                    - AT
                    - AZ
                    - BH
                    - BD
                    - BB
                    - BY
                    - BE
                    - BZ
                    - BO
                    - BA
                    - BR
                    - BN
                    - BG
                    - KH
                    - CL
                    - CN
                    - CO
                    - CR
                    - HR
                    - CY
                    - CZ
                    - DK
                    - DO
                    - EC
                    - EG
                    - SV
                    - EE
                    - FI
                    - FR
                    - GE
                    - DE
                    - GR
                    - GL
                    - GD
                    - GU
                    - GT
                    - HT
                    - HN
                    - HK
                    - HU
                    - IS
                    - IN
                    - ID
                    - IR
                    - IE
                    - IL
                    - IT
                    - JM
                    - JO
                    - KZ
                    - KE
                    - KP
                    - KR
                    - KW
                    - LV
                    - LB
                    - LI
                    - LT
                    - LU
                    - MO
                    - MK
                    - MY
                    - MT
                    - MX
                    - MC
                    - MA
                    - MZ
                    - MM
                    - NP
                    - NL
                    - AN
                    - AW
                    - NZ
                    - NO
                    - OM
                    - PK
                    - PA
                    - PG
                    - PY
                    - PE
                    - PH
                    - PL
                    - PT
                    - PR
                    - QA
                    - RO
                    - RU
                    - RW
                    - SA
                    - RS
                    - ME
                    - SG
                    - SK
                    - SI
                    - ZA
                    - ES
                    - LK
                    - SE
                    - SD
                    - CH
                    - SY
                    - TW
                    - TZ
                    - TH
                    - TT
                    - TN
                    - TR
                    - AE
                    - UA
                    - GB
                    - US
                    - PS
                    - UY
                    - UZ
                    - VE
                    - VN
                    - YE
                    - ZB
                    - ZW
                    - JP
                    - CA
            duplicate_ssid:
                description:
                    - Enable/disable allowing Virtual Access Points (VAPs) to use the same SSID name in the same VDOM.
                type: str
                choices:
                    - enable
                    - disable
            fapc_compatibility:
                description:
                    - Enable/disable FAP-C series compatibility.
                type: str
                choices:
                    - enable
                    - disable
'''

EXAMPLES = '''
- hosts: localhost
  vars:
   host: "192.168.122.40"
   username: "admin"
   password: ""
   vdom: "root"
   ssl_verify: "False"
  tasks:
  - name: VDOM wireless controller configuration.
    fortios_wireless_controller_setting:
      host:  "{{ host }}"
      username: "{{ username }}"
      password: "{{ password }}"
      vdom:  "{{ vdom }}"
      https: "False"
      wireless_controller_setting:
        account_id: "<your_own_value>"
        country: "NA"
        duplicate_ssid: "enable"
        fapc_compatibility: "enable"
'''

RETURN = '''
build:
  description: Build number of the fortigate image
  returned: always
  type: str
  sample: '1547'
http_method:
  description: Last method used to provision the content into FortiGate
  returned: always
  type: str
  sample: 'PUT'
http_status:
  description: Last result given by FortiGate on last operation applied
  returned: always
  type: str
  sample: "200"
mkey:
  description: Master key (id) used in the last call to FortiGate
  returned: success
  type: str
  sample: "id"
name:
  description: Name of the table used to fulfill the request
  returned: always
  type: str
  sample: "urlfilter"
path:
  description: Path of the table used to fulfill the request
  returned: always
  type: str
  sample: "webfilter"
revision:
  description: Internal revision number
  returned: always
  type: str
  sample: "17.0.2.10658"
serial:
  description: Serial number of the unit
  returned: always
  type: str
  sample: "FGVMEVYYQT3AB5352"
status:
  description: Indication of the operation's result
  returned: always
  type: str
  sample: "success"
vdom:
  description: Virtual domain used
  returned: always
  type: str
  sample: "root"
version:
  description: Version of the FortiGate
  returned: always
  type: str
  sample: "v5.6.3"

'''

from ansible.module_utils.basic import AnsibleModule
from ansible.module_utils.connection import Connection
from ansible.module_utils.network.fortios.fortios import FortiOSHandler
from ansible.module_utils.network.fortimanager.common import FAIL_SOCKET_MSG

def login(data, fos):
    host = data['host']
    username = data['username']
    password = data['password']
    ssl_verify = data['ssl_verify']

    fos.debug('on')
    if 'https' in data and not data['https']:
        fos.https('off')
    else:
        fos.https('on')

    fos.login(host, username, password, verify=ssl_verify)

def filter_wireless_controller_setting_data(json):
    option_list = ['account_id', 'country', 'duplicate_ssid',
                   'fapc_compatibility']
    dictionary = {}

    for attribute in option_list:
        if attribute in json and json[attribute] is not None:
            dictionary[attribute] = json[attribute]

    return dictionary

def underscore_to_hyphen(data):
    if isinstance(data, list):
        for elem in data:
            elem = underscore_to_hyphen(elem)
    elif isinstance(data, dict):
        new_data = {}
        for k, v in data.items():
            new_data[k.replace('_', '-')] = underscore_to_hyphen(v)
        data = new_data

    return data

def wireless_controller_setting(data, fos):
    vdom = data['vdom']
    wireless_controller_setting_data = data['wireless_controller_setting']
    filtered_data = underscore_to_hyphen(filter_wireless_controller_setting_data(wireless_controller_setting_data))

    return fos.set('wireless-controller',
                   'setting',
                   data=filtered_data,
                   vdom=vdom)

def is_successful_status(status):
    return status['status'] == "success" or \
        status['http_method'] == "DELETE" and status['http_status'] == 404

def fortios_wireless_controller(data, fos):

    if data['wireless_controller_setting']:
        resp = wireless_controller_setting(data, fos)

    return not is_successful_status(resp), \
        resp['status'] == "success", \
        resp

def main():
    fields = {
        "host": {"required": False, "type": "str"},
        "username": {"required": False, "type": "str"},
        "password": {"required": False, "type": "str", "default": "", "no_log": True},
        "vdom": {"required": False, "type": "str", "default": "root"},
        "https": {"required": False, "type": "bool", "default": True},
        "ssl_verify": {"required": False, "type": "bool", "default": True},
        "wireless_controller_setting": {
            "required": False, "type": "dict", "default": None,
            "options": {
                "account_id": {"required": False, "type": "str"},
                "country": {"required": False, "type": "str",
                            "choices": ["NA", "AL", "DZ",
                                        "AO", "AR", "AM",
                                        "AU", "AT", "AZ",
                                        "BH", "BD", "BB",
                                        "BY", "BE", "BZ",
                                        "BO", "BA", "BR",
                                        "BN", "BG", "KH",
                                        "CL", "CN", "CO",
                                        "CR", "HR", "CY",
                                        "CZ", "DK", "DO",
                                        "EC", "EG", "SV",
                                        "EE", "FI", "FR",
                                        "GE", "DE", "GR",
                                        "GL", "GD", "GU",
                                        "GT", "HT", "HN",
                                        "HK", "HU", "IS",
                                        "IN", "ID", "IR",
                                        "IE", "IL", "IT",
                                        "JM", "JO", "KZ",
                                        "KE", "KP", "KR",
                                        "KW", "LV", "LB",
                                        "LI", "LT", "LU",
                                        "MO", "MK", "MY",
                                        "MT", "MX", "MC",
                                        "MA", "MZ", "MM",
                                        "NP", "NL", "AN",
                                        "AW", "NZ", "NO",
                                        "OM", "PK", "PA",
                                        "PG", "PY", "PE",
                                        "PH", "PL", "PT",
                                        "PR", "QA", "RO",
                                        "RU", "RW", "SA",
                                        "RS", "ME", "SG",
                                        "SK", "SI", "ZA",
                                        "ES", "LK", "SE",
                                        "SD", "CH", "SY",
                                        "TW", "TZ", "TH",
                                        "TT", "TN", "TR",
                                        "AE", "UA", "GB",
                                        "US", "PS", "UY",
                                        "UZ", "VE", "VN",
                                        "YE", "ZB", "ZW",
                                        "JP", "CA"]},
                "duplicate_ssid": {"required": False, "type": "str",
                                   "choices": ["enable", "disable"]},
                "fapc_compatibility": {"required": False, "type": "str",
                                       "choices": ["enable", "disable"]}

            }
        }
    }

    module = AnsibleModule(argument_spec=fields,
                           supports_check_mode=False)

    # legacy_mode refers to using fortiosapi instead of HTTPAPI
    legacy_mode = 'host' in module.params and module.params['host'] is not None and \
                  'username' in module.params and module.params['username'] is not None and \
                  'password' in module.params and module.params['password'] is not None

    if not legacy_mode:
        if module._socket_path:
            connection = Connection(module._socket_path)
            fos = FortiOSHandler(connection)

            is_error, has_changed, result = fortios_wireless_controller(module.params, fos)
        else:
            module.fail_json(**FAIL_SOCKET_MSG)
    else:
        try:
            from fortiosapi import FortiOSAPI
        except ImportError:
            module.fail_json(msg="fortiosapi module is required")

        fos = FortiOSAPI()

        login(module.params, fos)
        is_error, has_changed, result = fortios_wireless_controller(module.params, fos)
        fos.logout()

    if not is_error:
        module.exit_json(changed=has_changed, meta=result)
    else:
        module.fail_json(msg="Error in repo", meta=result)

if __name__ == '__main__':
    main()

redpajama_set_name: RedPajamaGithub


Nowadays, there are virtually no events or exhibitions that take place without the need for a lanyard. They are used to carry all sorts, including identity cards, name holders, USB flash drives and whistles.
Lanyards are an effective and stylish way of getting your brand noticed. You can choose to have your logo printed or embroidered throughout the length of the lanyards and on both sides.
We have a range of lanyards available, including environmentally friendly lanyards (made from recycled PET, plant fibre or bamboo), flat polyester and tube lanyards in our catalogue.


text:
Se denomina preámbulo, en la forma Derecho, a la parte del derecho expositiva que antecede a la normativa de una constitución, ley o reglamento. También puede denominarse «exposición de motivos» o «considerados».

Aunque no existe unanimidad al respecto, existe una corriente más o menos mayoritaria que sostiene que el preámbulo no forma parte de la norma ni es obligatorio, pero es de uso habitual y puede ser utilizado para el análisis o interpretación de la norma.

La razón de ser del preámbulo deriva de la necesidad de evitar la arbitrariedad en la sanción de las normas y en la obligación del legislador de exponer las razones que han llevado a su sanción y las finalidades de la misma. Por su naturaleza, el preámbulo toma muchas veces la característica de un programa a ser realizado por la norma que le sigue.

Tradicionalmente se ha sostenido que el preámbulo no tiene una validez normativa propiamente dicha. No es de obligado cumplimiento, ni los jueces o tribunales deben acatarlo como el resto del articulado de la norma. Por ese motivo, el preámbulo da una cierta flexibilidad al legislador, y le permite exponer puntos de vista políticos o coyunturales que en la norma concreta no es posible incluir.

La jurisprudencia de diferentes países ha interpretado de diferente manera el alcance del preámbulo de la Constitución, aunque existe una tendencia a sostener que, en sí mismo, carece de valor normativo. El Tribunal Constitucional de España resolvió en fallo del 4 de octubre de 1990 que «los preámbulos o exposiciones de motivos carecen de valor normativo» y por tanto «no pueden ser objeto de un recurso de inconstitucionalidad». Pero el Tribunal Constitucional de Colombia estableció en un fallo de 6 de agosto de 1992, en un sentido distinto, que «el preámbulo hace parte integrante de la Constitución», y que si una ley viola los fines o principios allí establecidos, esa ley es inconstitucional.

Sin embargo, decir que el preámbulo no tiene ninguna validez no es del todo cierto. Después de muchos años de controversia jurídica, la doctrina ha terminado por entender que el preámbulo es una fuente interpretativa muy importante para poder aplicar una interpretación teleológica de la norma. Esto quiere decir que si el órgano jurisdiccional debe interpretar la ley en el sentido en la que el legislador la dictó, la fuente más fiable para entender ese sentido o finalidad se encuentra en el mismo preámbulo, dado que es el mismo legislador quien lo ha redactado.

Véase también
 Preámbulo de la Constitución de los Estados Unidos
 Preámbulo de la Constitución de la Nación Argentina
 Preámbulo de la Carta de las Naciones Unidas
 Preámbulo de la Declaración Universal de los Derechos Humanos (1948)

Referencias

Fuentes del derecho

redpajama_set_name: RedPajamaWikipedia


A French woman claims she suffered a major allergic reaction to hair dye, resulting in extreme swelling of her head.
Estelle, a 19-year-old college student, told Le Parisien that the reaction occurred after she attempted to dye her blonde hair to a darker, brunette shade with a para-phenylenediamine (PPD)-based dye.
Unfortunately for Estelle, hours and days after applying the dye to her hair, she noticed that her scalp began to itch. Following the advice of a pharmacist, Estelle took antihistamines and applied cream to stop the itching. Shortly after, her head started to swell.
The following morning, she woke up to find that her head circumference had grown to 25 inches (63 centimeters), while the average is 22 inches (56 centimeters).
"My head was like a light bulb."
Estelle's mother rushed her to the emergency room, where doctors reassured them reactions PPD are common, but usually are not as severe as the teenager's.
Doctors administered an adrenaline shot to Estelle and kept her in hospital overnight to make sure the swelling went down.
"Before arriving at the hospital, you just don't know how long it will take for you to suffocate, if you have the time to get to the hospital or not," she told Le Parisien.