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Posts Tagged 'Michael Fassbender'
A Palpable Whimper
Posted in Film Reviews, tagged 2019, fantasy, James McAvoy, Jennifer Lawrence, Marvel, Michael Fassbender, Simon Kinberg, Sophie Turner, superhero, X-Men, X-Men: Dark Phoenix on June 6, 2019| Leave a Comment »
'One ticket for the new X-Men film, please.'
'Certainly, sir. Somewhere in the middle?'
'Well, from the beginning, ideally.'
Well, it's not exactly first-rate cinema-queue badinage, but at least it had a bit more upbeat peppiness to it than the conversations I was hearing on the way out at the end of the film (at the risk of spoiling the rest of the review, 'That was so bad' was about the gist of it). I think there's been a sense for a while now that this latest X-Men movie has been up against it – the anticipation for it has been nothing like that for either of the last two spin-offs, with most people looking ahead to the point at which the mutants get folded into the MCU. Perhaps the sheer longevity of the series has also begun to count against it, and there's also the fact that it's less than two months since Endgame came out, a movie which I expect will prove incredibly hard to equal, let alone top.
Certainly the advertising for Simon Kinberg's Dark Phoenix has tried hard to trade on the long pedigree of these films, as well as positioning it as some kind of Endgame-esque grand finale. 'Twenty years ago, one movie showed us what makes us different makes us heroes,' chuntered one of the trailers, accompanied by star-studded clips from well-received early instalments. Well, yes, but I feel obliged to point out that the original X-Men came out 18 and a bit years ago – 1999 is, in hindsight, notable for being one of the last years without a heavy superhero presence at the box office – the only superhero movie that came out that year was Mystery Men, which in hindsight looks rather ahead of its time. I've digressed again, haven't I? Anyway: my point is that when a movie starts appealing to brand loyalty, rather than promising an exciting new experience, it is perhaps not the best sign.
Writer-director Kinberg has been knocking about the franchise since the 2000s, his first script being for X-Men: The Last Stand, generally regarded as one of the wobblier episodes. So the fact that the new film is essentially another pass at the same storyline (from Uncanny X-Men #101-138, of course) should really qualify as Ominous Sign Number One. It takes place in the 1990s, not that this influences the storyline in the slightest, nor does the film attempt to explain why most of the main characters have barely aged in thirty years. Things are looking pretty good for Professor X (James McAvoy), as good PR management and wise grooming choices mean his students are now superheroes, adored by the public, with the President having a special X-Phone on his desk so he can call them up in a crisis (yes, I know).
Well, the space shuttle gets into trouble due to a mysterious solar flare, and the X-Phone is duly used: the X-Men (a bunch of familiar characters this time around, but not including the chap with the claws, obviously) are rocketed off into space to carry out a rescue, somewhat against the better judgement of team leader Mystique (Jennifer Lawrence). The mission is essentially a success, but one of the team – a young girl played by Sophie Turner, whose comics codename is a bit problematic by modern standards so she just goes by 'Jean' – is exposed to the flare's radiation and returns to Earth with her mutant powers of telepathy and telekinesis increasing at an exponential rate.
This would not in itself be terrible news, except for the fact that Jean had a traumatic childhood and was subject to a little discreet telepathic adjustment by the Professor. This is now unravelling as her powers develop, and she heads off in search of personal closure, despite the fact her behaviour is increasingly erratic. The team try to stop her and tragedy results (you can guess what this is if you've seen the trailer, it's not exactly subtly handled); Xavier is forced to confront his own arrogance and hubris, while Jean seeks refuge in a mutant colony led by Magneto (Michael Fassbender). But it gets even worse! It turns out that the solar flare Jean absorbed is actually a primordial force of inconceivable cosmic power (funny, I thought all six of those had been accounted for), and a mob of evil aliens led by Jessica Chastain is also looking to take control of it…
This is, if you include the various spin-offs, X-Men 12, which is a very decent innings for any movie franchise. What's even more impressive is the fact that, for a long time at least, I found each new film to be at least as enjoyable as the one preceding it (I am part of the minority that actually thought The Last Stand was a fun romp). That changed with Apocalypse, which was all right but not up to the standard of Days of Future Past – and now, with Dark Phoenix, I fear we are confronted by the first no-two-ways-about-it genuinely poor main-sequence X-Men movie.
It's not just that this movie revisits the same material as a previous episode, because there's only one sequence which vaguely recalls the earlier film. The issues run deeper than that, and most of them stem from the script. One thing the advertising for this film does get right is that the previous films were so successful because they presented rounded characters with believable personalities, and credible relationships between them. There was potential here for more along those lines, and yet the script has a weirdly perfunctory quality, seldom pausing for reflection: the film has a slightly pedestrian, obvious quality completely at odds with the fantastical elements it depicts. Even worse, most of the characters are simply thin and forgettable – you hardly care about any of them.
Even normally reliable performers like James McAvoy struggle to make an impact, and the same is true of Jennifer Lawrence – J-Law seems to have negotiated herself a brilliant deal for this movie, by the way: she's third billed, despite having limited screen-time, and only has to wear minimal prosthetics (none of that full-body make-up this time). The only person who brings any kind of presence to the movie is Michael Fassbender, who is as good as ever as Magneto. I suppose you could argue that one of the ways in which this film innovates is the fact that the bad guy is an actual alien – a new version of a character who first appeared in Avengers #4, in a fine historical irony – but, once again, Jessica Chastain really struggles to find anything to do with her.
There is plenty of well-staged crash-bang-wallop as the film goes on, and much use of swirly CGI, and it would be remiss of me not to mention that there is an impressive synth-heavy score from Hans Zimmer. But none of it feels like it means anything, most of the characters are flat and empty, there is nothing here you haven't seen before in another X-Men film, where it was probably done better anyway.
No-one would deny the significance of the X-Men movies when it comes to the development of the fantasy genre, and the superhero film in particular. This series genuinely did change the way these films are made. But things move on, and while the genre has continued to develop, it's starting to look like the X-Men have not evolved along with it (ironically enough). We are promised one more spin-off, then a break before new versions of these characters join the main Marvel Studios continuity. (I suspect it's worth a flutter that Avengers Vs X-Men will make $3 billion before the end of the 2020s.) Well, that's fair enough. Have a good long rest, X-Men: you've certainly earned it, and more importantly, it looks like you desperately need it.
Not Walking in the Air
Posted in Film Reviews, tagged 2017, J.K. Simmons, Jo Nesbo (O with a line through it), Michael Fassbender, Rebecca Ferguson, The Snowman, thriller, Tomas Alfredson, Val Kilmer on October 16, 2017| Leave a Comment »
We're in the middle of one of those funny, slightly unpredictable times of year, when you're as likely to come across a tiny oddball sleeper release as something which has been produced and marketed as an aspiring blockbuster. As I say, it's a product of the time of year: it's too late for full-blown blockbuster season, but similarly too early for the genuine awards contenders to start making their appearance. So you do tend to get a lot of mid-budgeted genre movies of different kinds, and doing the rounds at the moment is the new Jo Nesbo (final O with a line through it) movie. Long-term readers (may God have mercy on you) may recall I was rather impressed by a couple of Nesbo adaptations which came out about five years ago, Headhunters and Jackpot. Those were both foreign language movies given a subtitled release over here, but the new movie is Anglophone. Directed by Tomas Alfredsen, it's a grisly, hard-edged crime thriller, definitely not for children or the squeamish, entitled The Snowman.
(Hmmm. Something not quite right here, but I can't quite put my finger on it. Never mind, it'll come to me.)
Oh well. Things get underway with a prologue of unremitting grimness, set in the wilds of Norway, setting the tone for the rest of the movie rather economically. Brightening this up a little is an English-language cameo from Sofia Helin, most famous outside of Scandinavia for her role as the detective with ASD from the TV show The Bridge: sadly, she is not in the rest of the movie.
We are then introduced to top Norwegian homicide detective Harry Hole (Michael Fassbender), who is – all together now – brilliant at his job but lousy at holding his personal life together. As the movie opens he is forever waking up in the park after a heavy night on the booze, which is not something to be done lightly in Oslo in the winter. 'I need a case, I need to work!' cries Harry when taken to task by his do-everything-by-the-book superior. 'I can't help it if the murder rate is so low,' snaps his boss. Luckily, plenty of murders are just about to happen, so we can all breathe a sigh of relief.
Yes, someone is going about kidnapping and then murdering women in a quite horrific fashion, and leaving snowmen as his calling card. (It's never made completely clear whether the snowman-building happens before or after all the dismemberment takes place; it strikes me as a rather cumbersome M.O. for a modern serial killer, but what do I know about these things.) Harry isn't initially assigned to what's at first believed to be a routine missing persons case, but he is friends with the officer who is (Rebecca Ferguson), and together they figure out what's going on. But can they locate the killer before yet more women (yes, it is mostly women) meet a sticky end?
(Oh, hang on. I've figured it out.)
(That's more like it.)
As I said, I was properly impressed and entertained by both the previous Nesbo (O with a line through it) movies that I saw, primarily by the cleverness of the plotting and the black humour running through both stories. Then again, it does seem that our Scandi cousins have a knack for this sort of thing – I'm not a big fan of the label 'Scandi noir' (or 'Nordic noir'), but detective shows from Sweden, Denmark, and Norway have become something of a fixture on at least one UK TV network, and it seems to me that The Snowman is trying to tell the same kind of story in the same kind of way.
All the elements are there, I suppose – troubled family backgrounds, people keeping secrets from their loved ones, corruption in high places, gore – but the actual story just isn't quite up to scratch. The Magic Wand of Improbable Coincidence gets waved over the plot fairly frequently, to say nothing of the way that the story digresses away from the serial killer plot and gets mixed up in shady goings on involving a prominent businessman (J.K. Simmons) and a bid for the 'World Winter Sports Cup' (I guess the Winter Olympics people took one look at the script and said 'No way are you using our name in this!').
The story gets lost in other ways too: there's a bit of a cold case element to the plot (the killer has been at it for ages), and the film chooses to incorporate this by having a few flashbacks. I'm not sure these were strictly necessary, but even if they were, I think it was probably a mistake to centre them around a character played by Val Kilmer. Kilmer is not, to put it delicately, ageing gracefully, nor has his acting range improved – the fact that I'd got the impression from somewhere or other that he had actually died is neither here nor there. His appearance is, in short, rather a distraction.
Also problematic is the way that the film-makers don't really seem to be content with making a good solid detective thriller – every now and then a scene comes along suggesting this movie wants to be a serious drama about the personal lives of Harry and those people around him. Well, Fassbender and his fellow actors are capable enough, but again the result is a film which lacks focus and often feels laborious on a thematic level – it's clear from very early on that it's largely about what it means to be a good (or bad) parent, but the script keeps grinding on about this, rather unsubtly.
I'm not sure there is a way to subtly depict various people having their heads literally blown off or body parts removed with power tools (the killer has a special gadget just for this purpose, I wonder if you can get one on Amazon), but if there is, The Snowman does not hit upon it. I would say this is a very strong 15, certificate-wise: there's some proper gore and grue in the course of the movie. Personally, I am mostly desensitised to this sort of thing, but I am aware a lot of people aren't – and there are horror-movie levels of splatter at times during The Snowman.
This is really a case of a movie which has all the right ingredients – good cast, interesting premise, strong set of genre conventions – but which fumbles putting them together. It's watchable, but the story is too often unclear, and arguably not really strong enough to justify the various excesses of the film's violence.
Then again, I suppose we should talk about the whole emphasis of a film like The Snowman. The treatment of women, especially attractive young actresses, is a talking point as I write, with an industry culture that seems to accept their exploitation and objectification increasingly coming under scrutiny. There is not, to my knowledge, any suggestion that the makers of The Snowman have been accused of any wrongdoing or suspect behaviour. But even so, this is a movie in which male-on-female violence is both graphic and endemic. Every major female character is a victim at some point or other; the only significant nudity in the film is that of a young, female actor, and it's gratuitous. Which would be worse, I wonder, to be a serial abuser of women who makes films that are classy and morally unimpeachable, or a decent human being who nevertheless makes films which shows women primarily as sexual objects to be used and abused? It's an artificial distinction, I know, but it seems to me that if you got rid of every grasping studio executive, along with all the others who exploit their position of power, you would still be left with a lot of misogynistic exploitation in the actual movies themselves. If the movies seem to have a problem with their treatment of women, it's arguably because the fact we still buy tickets sends the message that this is what we really want.
The Origin of the Species
Posted in Film Reviews, tagged 2017, Alien, Alien: Covenant, Billy Crudup, horror, Katherine Waterston, Michael Fassbender, Michael Fassbender (again), Ridley Scott, SF on May 12, 2017| Leave a Comment »
I'm aware that these little pieces which aspire to inform and educate about films can be a little on the long-winded side. It's unusual for one of them to come in at less than eight hundred words, and most of them are over a thousand. Is all this verbiage strictly necessary to get my views across? Frankly, I'm not sure: I was at the pictures just today, and as the closing credits started to roll, my companion turned to look at me, and expressed his opinion eloquently and passionately using just one single monosyllabic word of Germanic derivation. Perhaps there is a happy medium to be struck; but on the other hand there's also the fact that I have many empty hours to contend with and writing single-word film reviews wouldn't do much to fill the time.
Anyway, the film which moved my friend to such a model of forthright concision was Ridley Scott's Alien: Covenant, which I think you'll agree sounds jolly portentous. What dark deal has been struck, and how does it relate to H.R. Giger's famous acid-blooded extraterrestrial killing machine? Well, um, er. The film has the portentous subtitle Covenant because it's about a spaceship called the Covenant. Why is the spaceship called Covenant? Because the film needs a portentous subtitle and Alien: Saucy Sue or Alien: Spaceshippy McSpaceshipface just wouldn't cut it. If this at all gives you the impression that the Alien franchise is showing signs of vanishing up one of its own glistening, biomechanical orifices, well, I commend you for your perspicacity, readers.
Scott's last visit to this series, 2012's Prometheus, enjoyed one of the most inescapable advertising campaigns I can remember and was generally hated by people expecting an Alien movie which had, you know, the actual alien in it. Things have been marginally more restrained publicity-wise this time around and it seems to me that a definite effort has been made to keep the fanbase on-side. Certainly the opening movements of the plot mimic those of the original 1979 film very closely: partway through a long-haul deep-space mission, the crew of the spaceship Covenant find themselves unexpectedly awakened, and detect a mysterious signal coming from a nearby planet. The captain (Billy Crudup) decides that they will go and take a look, much to the unease of his second in command (Katherine Waterston). The ship's android (Michael Fassbender) doesn't seem to have much of an opinion either way.
On arrival on the planet's surface, the crew are presented with various mysteries, the primary one being a huge, horseshoe-shaped alien spacecraft. Unfortunately, one of the expedition is exposed to an alien life-form which uses his own flesh to gestate a vicious, lethal creature which puts everyone's lives in danger…
Well, it's not quite the play-by-play knock-off that I'm probably making it sound like – the relationships between the crew are different, not to mention their characters – Captain Oram is plagued by self-doubt and takes himself just a bit too seriously, for instance. But we are in rather familiar territory, and if you've seen the earlier movies you will certainly know the tune even if some of the words have been tweaked.
However, things go off in a new and slightly unexpected direction as the crew of the Covenant encounter David (Fassbender again), another android and apparently the sole survivor of the Prometheus mission, ten years earlier (in case you're wondering, his body seems to have grown back since the last movie: this is handwaved away rather). The newcomers accept his offer of shelter against the perils of the planet's ecosystem, but are startled when he takes them to an ancient ruined city built by alien humanoids. What happened to the planet's original inhabitants? And exactly how has David been passing his time for the last ten years…?
One of the things we discussed while waiting for the movie to start were the similarities and differences between the Alien series and the stellar conflict franchise currently owned by the Disney corporation. Both started in the late 1970s, have dedicated fanbases, have provided many iconic screen moments, and have indulged in some dubious prequelising; you could argue that both ultimately owe an enormous debt to Jodorowsky's unmade Dune movie. And, I would argue, both of them trade enormously on the reputation and quality of their initial couple of films: personally I didn't find any of the stellar conflict movies completely satisfying between 1980 and last year (your mileage may differ, obviously), and while everyone seems to like Alien and Aliens, the other films in the franchise are much less loved (and a couple of them have apparently been stricken from the canon). The question in the case of the Alien series is quite simple: what new things can you find for this particular monster to do? Audiences, I suspect, just want more of the same experiences that they had during those two films.
When I eventually prevailed upon my companion to unpack his thoughts on the film a little, he complained that the new film wasn't ever actually scary or particularly thrilling, and that all the most memorable and interesting bits should have gone into the Blade Runner sequel instead. He couldn't understand why Ridley Scott had bothered to return to the Alien franchise if (as seemed the case) he had nothing new to bring to it, and even muttered darkly about the director going senile (note to Mr Scott's lawyers: please don't sue).
Well, my expectations were lower, I expect, because while I wasn't tremendously impressed with Covenant, I found it fairly enjoyable for most of its running time. In many ways it's much more of a direct sequel to Prometheus than I expected. One of the little commented-upon consequences of Prometheus' release was Guillermo del Toro abandoning his long-cherished desire to film Lovecraft's novella At the Mountains of Madness, on the grounds that the plot and atmosphere would be just too similar – and the Lovecraftian overtones carry on into Covenant to some extent, with the action taking place in and around cyclopean alien citadels, with terrible secrets of a hostile, impersonal universe coming to light.
That said, they are careful to put some proper aliens into this one, including at least one interesting new variation on the classic beastie. The notion of a whole alien-influenced ecosystem is a fascinating one, but unfortunately not much gone into. The same can really be said for some of the film's ideas about human teleology and ontology: there are scenes which set up this film as having some grand philosophical ground to cover, but in the end it just devolves into highly familiar running and screaming and shouting. It looks fabulous throughout, and Fassbender gives a brilliant double performance – through the magic of digital effects he gets to do all manner of things to and with himself, and the realisation of this is flawless.
However, this kind of leads us to the stuff about Covenant which I didn't like, and this is a not inconsiderable matter. If the film-makers want to rewrite the 'rules' of the series, that's their prerogative – the alien life cycle, which used to operate over a period of hours, if not days, is here compressed to a matter of minutes or seconds – but no amount of authorial wriggling can remove the problem that the plot of this movie is built around a reversal that simply doesn't make sense, in terms of how it's presented on screen at least. You can also argue that a key plot twist is extremely guessable. I liked much of Alien: Covenant enough to indulge it for most of its running time, but together these things conspired to kick me out of the movie for its final segment.
The film concludes with a relatively short concluding section which seems, again, designed to resonate and chime with fans of the first couple of movies. I suppose it works on some level, but it – along with much of the 'traditional' Alien-themed material – almost feels like a contractual obligation in a film which is perhaps at its best tackling the same kind of grand philosophical concepts as Prometheus.
The problem is that Prometheus arguably failed, as an Alien sequel at least. The job of this kind of sequel is essentially to remind you of what a good time you had watching the original film, by restaging it in a slightly modified form. Innovation in a sequel is always a risky proposition and one best done very sparingly. Alien: Covenant works hard to include all the key scenes, concepts, and tropes you might expect from a film in this series, and if the result is something that feels like a karaoke version of one of the original films, with a slightly odd new arrangement of the melody, then I expect that will do the producers very nicely and allow the franchise to trundle on for a good while yet. But the fact remains that, although good-looking and often well-acted, Alien: Covenant is just too incoherent and slavishly derivative a movie to give the audience the same delighted sense of intertwined novelty and familiarity provided by the last stellar conflict prequel. In space, no-one can hear you scream – but in a movie theatre, you can certainly hear the person next to you grumble, and with pretty good reason in this case.
Sort of a Bang, Sort of a Whimper
Posted in Film Reviews, tagged 2016, Bryan Singer, James McAvoy, Jennifer Lawrence, Marvel, Michael Fassbender, Oscar Isaac, Rose Byrne (sigh), superhero, X-Men, X-Men: Apocalypse on May 20, 2016| Leave a Comment »
So, to the pressing question of the day: is Bryan Singer's latest film (subtitled Apocalypse) actually X-Men 6 or X-Men 8? [Yes, I forgot about Deadpool – A] It all depends on your attitude to the two Wolverine movies, I suppose, but either way, this is now an impressively venerable series – certainly the elder statesman of the superhero franchise world. However, as any fule kno, you're only ever as great as your latest movie, so X-Men: Apocalypse has a fair bit to live up to.
This time around the movie is set in 1983 (so how the characters can be selling broadband in an irksomely ubiquitous set of advertisements I really have no idea, mutter grumble) and the academy for mutants run by Professor X (James McAvoy) is a going concern. Mystique (Jennifer Lawrence) has dropped out of sight to become a legendary activist in the mutant underground. Magneto (Michael Fassbender) is living quietly with his family in Europe. The population of the world seems to be getting used to the idea of mutants living amongst them.
All this changes when the Professor's old friend Moira (Rose Byrne, sigh) inadvertantly resurrects En Sabah Nur (a not especially recognisable Oscar Isaac) , a mutant tyrant of the ancient world, who possesses a usefully vague set of superpowers and likes to be known as Apocalypse. Having speedily got himself up to speed on the world of 1983 (he appears to do this primarily by watching a 1967 episode of Star Trek, which should leave him with a somewhat skewed world-view, to say the least), he sets about gathering a new group of followers and sweeping away the existing world order…
Would you like to know how Apocalypse fits into the existing chronology of the X-movies? Well, I really wouldn't worry too much, as the series' continuity got hopelessly mangled two or three sequels ago, and the rebooting of history in the last one only lets them handwave away so much. It is, I suppose, just about possible for two characters in their teens and their late thirties respectively to be brothers, but that doesn't explain why none of the regular characters seem to have aged since the early 1960s – not just the mutant characters (who could conceivably have some weird metabolic or clockspeed issues), either. The film is forced to acknowledge the awkwardness of this, before hoping to make you forget it simply by throwing bits of plot at you.
The problem is that many of those chunks of plot look decidedly familiar as they whizz past: Cyclops (Tye Sheridan) comes into his powers again, there's a scene with cage-fighting mutants, flashbacks to Auschwitz, a special-forces assault on the X-Mansion, a trip to a secret military installation under Alkali Lake, someone kidnapping the Professor to exploit his telepathic powers. In the end everyone hops into a plane and flies off to take down the main villain and his lackeys. Cumulatively it all feels like the X-Men movies' greatest hits, repackaged, and whether that's the series honouring its past or just showing signs of creative exhaustion is a good question. It does seem like a conscious choice: dialogue from the first film gets repeated, a certain Australian song-and-dance man makes an inevitable cameo (setting up a coming attraction, naturally), and Singer makes a slightly bitchy comment (obliquely, via his characters) about one of the sequels directed by somebody else, which is funny but still asking for trouble given this film is not without issues either.
Singer was apparently determined , while working on the first two X-movies, to make them as non-comic-booky as possible. This was primarily because, back in the late 90s, superhero movies had a toxic reputation amongst the wise men of Hollywood (the past is indeed another world), largely because of the spectacular failure of the neon-hued and ridiculously cartoony Batman and Robin. Well, in some ways X-Men: Apocalypse is the most comic-booky X-film yet – no sooner has Apocalypse recruited someone to his team than he sticks them in a decidedly Joel Schumacher-esque costume, for instance. There are battles and effects sequences aplenty, but none of them really feel grounded in reality and there is no sense of anything really being at stake. (The 1980s setting feels largely cosmetic this time around, too.)
And yet, despite all this, X-Men: Apocalypse still has many of the things you really want from a film in this franchise. The producers are not stupid and do realise that with actors like McAvoy, Fassbender, and Lawrence on board, you want to give them some decent material to work with, so they all get some good scenes – Fassbender is particularly good as a haunted and bitter Magneto. (Evan Peters makes an impression again as a slightly more angsty Quicksilver – then again, it must be hard when you and your sister end up appearing in different movie franchises – but most of the younger cast members aren't really able to impose themselves on the film.) And the plot does mostly hang together, and there are many good bits, but…
I honestly think that if they'd released a film like X-Men: Apocalypse ten years ago it would have seemed rather more impressive than it does now: it has scale and spectacle, humour and a little depth, some impressive performances and very competent special effects. But the bar has been raised on the superhero movie since then: Christopher Nolan, Jon Favreau, Joss Whedon, Matthew Vaughn and others have all played their part in making this a genre for which people have high expectations.
In the end, all I can really say is that Apocalypse is by no means bad, but it's the first main-sequence X-film I've enjoyed less than its predecessor. Maybe I've just been spoilt. Maybe the X-Men films really are showing signs of franchise fatigue. Or maybe the much whispered-of point of actual superhero movie overkill has finally arrived. Time will tell, I suppose.
Posted in Film Reviews, tagged 2015, Danny Boyle, drama, Jeff Daniels, Kate Winslet, Michael Fassbender, Seth Rogen, Steve Jobs, true story (?) on November 18, 2015| Leave a Comment »
The era of non-stop counter-programming seems to be coming to an end, as the stream of low-budget biographical movies is finally replaced by… oh, a big-budget biographical movie. And, a movie which may itself arguably be considered counter-programming, given that it has apparently tanked massively in the States, and presumably no-one at Universal has very great hopes for it doing any better over here. The film in question is Danny Boyle's Steve Jobs, which concerns… oh, you guessed it.
Yes, you might think there was something slightly ironic about the fact that a movie about the famously successful entrepreneur is struggling to make its money back at the box office, but one of the things the film highlights is the fact that Jobs was not quite the Midas figure popular legend has him being. Not entirely unpredictably, Boyle and screenwriter Aaron Sorkin eschew anything resembling a traditional bio-pic and opt for a hugely theatrical structure, where the film finds Jobs (Michael Fassbender) at his most intense, in the moments leading up to three key product launches: the Apple Macintosh in 1984, the NeXT Cube (no, me neither) in 1988, and the iMac in 1998. (Prior to all this, the scene is set with some archive footage of another visionary, as Arthur C Clarke – speaking, it would appear, in the late 60s or early 70s – predicts how the PC revolution was going to change many lives.)
As coincidence and the script would have it, Jobs ends up talking with the same handful of people on all three occasions – Apple co-founder Steve Wozniak (Seth Rogen), company CEO John Sculley (Jeff Daniels), his initially-unacknowledged daughter (various actresses), and so on. Overseeing it all is marketing executive Joanna Hoffman (Kate Winslet), who often seems to be the closest thing Jobs has to an actual friend. The same themes recur: Jobs as an obsessive control-freak on a monumental scale, as a prophet of a digitally-enhanced world, as a colossal ego, and as a man highly unlikely to win the Parent of the Year award.
It does boil down to the same few actors talking to each other about roughly the same things on a handful of different sets (there are cutaway sequences to Jobs and Wozniak in the garage where Apple was founded, and to the board meeting which saw Jobs ejected from the company in 1985), but Sorkin's flair for dialogue and Boyle's deftness with a camera mean that the film is anything but flat and dull. There are thrilling, electrifying moments of drama scattered through the movie, delivered by a group of actors making the most of an extremely good script.
Even though I am not the world's biggest Apple fan (I believe I still have an iPod somewhere, but I haven't listened to it in at least five years), I have of course heard of Steve Jobs and knew a little (a very little, if we're honest) about him – the man has, after all, become something of a present-day icon. (This is the second Jobs bio-pic in three years.) Steve Jobs the movie does a first-rate job of turning Steve Jobs the icon into Steve Jobs a man – the objection that many who knew Jobs have been making, of course, is that the man on the screen is a grotesque caricature of the person who they knew, and that Boyle and Sorkin have other fish to fry than doing Jobs justice. Certainly the character played by Fassbender is breathtakingly callous and brutally manipulative for much of the movie – but, to be fair, the film makes no attempt to hide what an influential thinker he was, or how many of his ideas now underpin the fabric of everyday life (and by the end of the film it's fairly plain that, underneath it all, he does at least aspire to be a decent father).
Whatever else, Michael Fassbender is certainly very impressive in the central role. Some quite excitable things have been said about Fassbender of late, declaring him the new Brando and so on, but he is one of those actors who does seem capable of anything, and is furthermore quite untroubled (it would appear) by ego. He even seems quite capable of that most difficult balancing act, where he spends some of his time in unashamedly populist entertainment (one more X-Men film is still to appear) and some of it in less mainstream fare (Macbeth, for instance) while remaining in demand for both.
Quite which category Steve Jobs falls into is the question of the moment, as the movie apparently cost a total of $60m to produce and market and has so far recouped less than half that. The obvious comparison, for all sorts of reasons, is with The Social Network, which ended up making about $225m – not exactly Marvel or Bond money, but still pretty impressive. But why did that film connect with audiences in a way this one apparently hasn't? Well, friends, I frankly have no idea: I doubt very much that it's just because Facebook was at its height of coolness back in 2010, while right now we're all sick to death of hearing about Apple/Jobs, nor do I think the ostentatious theatricality of Steve Jobs is what's been frightening the horses. Is there something to the claim that Fassbender just isn't a big enough star to open a movie on this scale? Hmm, maybe, but are people claiming that Jesse Eisenberg is?
It may simply be the case that this is an anomaly, a fluke of release dates and zeitgeist conspiring to make a genuinely good movie tank. For Steve Jobs is a very impressive piece of film-making, as you might expect of the talents involved. Is it a fair portrait of its subject? I doubt anyone is qualified to say for sure, but script, performances and direction are all first class, and you do emerge from the theatre excited and moved and with some thoughts newly-provoked. In the end, I suspect history will prove to be as kind to Steve Jobs as it almost certainly will to Steve Jobs.
Mac to the Max
Posted in Film Reviews, tagged 2015, drama, Justin Kurzel, Macbeth, Marion Cotillard, Michael Fassbender, Paddy Considine on October 20, 2015| Leave a Comment »
Yet another sign that winter is on the way comes in the form of someone having a crack at the Bard. On this occasion it is Justin Kurzel setting his sights on Macbeth, one of Shakespeare's best-known plays yet one not much explored by film-makers since the Polanski version well over 40 years ago. Unlike many a modern go at Shakespeare, and indeed Kurosawa's feudal Japan-set take on the story, Kurzel sticks to the original mise-en-scene, more or less.
Quite how close to Shakespeare Kurzel keeps his movie overall is an interesting question, though. The story is the one you may already know – a witches' prophecy lures fearless warrior Macbeth (Michael Fassbender) into contemplating the death of the liege (David Thewlis) he has always been loyal to and usurping his position, although not without some definite encouragement from his ambitious wife (Marion Cotillard), culminating in some radical new ideas in landscape gardening and a damn big fight. However, the director sets out his store for his vision of the play with the uncompromising decision to open the film with an establishing shot of a dead baby.
This initially seems a bit shocking and possibly tasteless, but it's so much in tune with everything else going on in the film that you sort of forget about it (and it is in line with a fairly common reading of the play, that either Lady M has post-natal depression or has actually lost a child). Dead parents, dead children, death, blood, and madness: this might well be a very good place to make a joke about just why this is called the Scottish play, but I have the preservation of the Union to consider.
This is not a film which makes much effort to step lightly around such matters, nor indeed leave much to the imagination. Unlike, say, the Kurosawa version, in which most of the bloodletting occurs discreetly off-camera, here Macbeth's assorted victims are gorily carved up on camera – when they're not being burnt at the stake, anyway. As well as Thewlis, said victims include a not especially-recognisable Paddy Considine as Banquo and Elizabeth Debicki as Lady Macduff, with Sean Harris as Macduff, also going through the wringer somewhat before events are concluded.
So you can't fault the casting of the supporting roles – nor is there much wrong with the two leads, which almost goes without saying where Michael Fassbender and Marion Cotillard are concerned. For once Cotillard does not quite dominate the screen – one can almost sense the colossal struggle she is engaged in to keep her natural accent under control – but she does very good work in bringing the necessary vulnerability and pathos to a character who it's too easy to just treat as evil incarnate.
Fassbender, however, doesn't just give a proper movie star performance as Macbeth, but does a proper acting job as well. Macbeth isn't just a crazed tyrant in this film: he's a man who can't quite bring himself to accept the consequences of his actions, and as a result has to treat everything going on around him as a bit of a joke. Fassbender makes his bonkers joviality rather disturbing to watch, but also offers flashes of the man in torment within. He's not what you'd call sympathetic, exactly, but neither is he a complete monster.
Neither of these are exactly radical interpretations of the main characters, but then on one level this is not the boldest or most innovative take on Macbeth, either. The film offers a few interesting choices of staging – the witches are so utterly down-to-earth, almost mundane in their presentation, that one is almost surprised when Macbeth and Banquo give them a second look, while to its credit the film does find a new and unusual way for Birnham Forest to come to Dunsinane at the climax. But on the whole it's a very orthodox presentation of the play, for all its savagery and darkness.
However, as a piece of film, Macbeth manages to be extremely distinctive – in many ways this looks pretty much like you'd expect a lowish-budget art house adaptation of Shakespeare to, with dour, naturalistic cinematography, what look suspiciously like non-professional actors in some of the minor roles, and strange wild stabs of what I can only call visual pretension – battle scenes keep slipping into slo-mo, vivid filters make it look as though the air itself is turning to blood, and so on. Overall, though, the thing comes together to be a singular and coherent vision that feels entirely appropriate for his particular play.
But is it a completely successful one? The generally-positive reviews Macbeth has received suggests so, but I found it to be a tough film to engage with – it's just so relentlessly bleak and doom-laden, with most of the directorial and dramatic pyrotechnics held back for the final act. A little less fidelity to Shakespeare earlier on might have a resulted in a more balanced offering. As it is, the film becomes increasingly more impressive as it goes on, and it's certainly well-worth watching, but it never consistently feels like a movie in its own right, just an extremely accomplished adaptation of a well-staged play.
Posted in Film Reviews, tagged 2014, action, Bryan Singer, Hugh Jackman, Ian McKellen, James McAvoy, Jennifer Lawrence, Marvel, Michael Fassbender, Patrick Stewart, Peter Dinklage, SF, superhero, X-Men, X-Men: Days of Future Past on May 26, 2014| Leave a Comment »
Seven films in fourteen years is a pretty impressive workrate, and one thing you can't accuse the makers of the X-Men movies of is laziness. There has been an X-Men film out more often than not in recent summers, which suggests that this is a franchise with a solid audience. Not bad given the original X-Men was, by blockbuster standards, a cautiously low-budget offering (largely because the studio had taken a massive bath on Fight Club the previous year).
The director of the first two X-movies, Bryan Singer, returns for the latest instalment, the evocatively-titled X-Men: Days of Future Past (well, evocatively-titled if you're familiar with the classic storylines from the comic series). If you've ever seen and enjoyed an X-Men film in the past, then there's a very good chance you'll enjoy this one – not least because it's bound to have your favourite character in it somewhere.
Days of Future Past opens in a nightmarish near-future – two parts Terminator to one part Matrix – with the remnants of humanity and mutantkind oppressed by robotic enforcers called Sentinels. The last few outposts of resistance are gradually being crushed, despite the best efforts of the defenders. The war has been lost, and all hope with it.
Well, perhaps not quite. A faint glimmer remains, as Professor X (Patrick Stewart) has a cunning plan to prevent the whole crisis from happening in the first place. He intends to project the consciousness of Wolverine (Hugh Jackman) back through time to the early 70s. The Sentinels began as a US government mutant control project, and if the project can be shut down at an early enough stage the future can be saved.
Key to this is averting the assassination of military boffin Bolivar Trask (Peter Dinklage) by Mystique (Jennifer Lawrence), but to do so Wolverine is going to need the help of the 70s versions of both Xavier (James McAvoy) and Magneto (Michael Fassbender), each of whom has troubles of their own – Xavier having lost his self-belief following the events of X-Men: First Class, and Magneto being in a maximum security cell under the Pentagon following his arrest for a slightly surprising crime. Still, when you've got to get the band back together, you've got to get the band back together…
First things first. Post-credit scene? Yes. (It seems to gradually be becoming the norm for all the Marvel comics movies, not just the Marvel Studios ones.) This one sets up X-Men: Apocalypse, due in 2016, but how much you are stirred by it will depend on your familiarity with the comics in the late 80s and after.
The first purpose of any X-Men film is, obviously, to make truckfuls of money for 20th Century Fox, and I suspect this one will do so. Beyond this, one of the main things Singer seems to be looking to do is stitch together the disparate elements of the X-Men franchise – hence, actors from what I suppose we can call the original trilogy (Stewart, Jackman, Ian McKellen, Halle Berry, Shawn Ashmore) appear alongside the ones who appeared – sometimes in the same roles – in First Class (McAvoy, Fassbender, Lawrence, Nicholas Hoult). If you're really obsessive about the detail, the film doesn't quite manage to square this particular circle: the major beats of continuity are okay, but there are just too many little details that don't match up, too many inexplicable resurrections and duplications of characters. Nevertheless, the time-travel storyline is very engaging (one shouldn't criticise it for ripping off The Terminator too much, given the original comic came out in 1981) and allows the movie to include the best elements from all the previous films.
The results are supremely entertaining. I've always been ever-so-slightly lukewarm about most of the X-Men films in past, particularly the two Singer directed, not liking them as much as I wanted to and always feeling that Singer was actively shying away from the more colourful comic book elements of the stories. But this time he really gets it right, drawing on specific comic-book plotlines to conjure up a story that's about as comic-booky as you can get (superheroes, time-travel, giant robots) with seemingly no reservations at all.
This is one of those rare blockbusters which seems to get virtually everything right – the action is spectacular and superbly staged, but the plot (on its own terms) hangs together almost seamlessly, and the script finds appropriately dramatic material for the many fine actors appearing in those increasingly outlandish (and in Lawrence's case, unforgiving) costumes and prosthetics. There are a lot of familiar faces and big names in Days of Future Past, and – a few people who just turn up to cameo excepted – all of them get their moment to shine. (That said, it's somewhat confounding that Anna Paquin, who's on-screen for literally about two seconds, is sixth-billed in the credits.)
Of the returning stars, it's again Michael Fassbender who really dominates the film as the younger Magneto – he manages to put Ian McKellen in the shade, which is no mean feat – and there's something very exciting about seeing him square off against Hugh Jackman as Wolverine, as happens at a couple of points. The film's big innovation, character-wise, is Quicksilver, played here by Evan Peters. The level of wit and invention in his sequences raises the bar for how this kind of character should be presented, and with another version of Quicksilver due to appear in Avengers: Age of Ultron (basically, for obscure reasons he is covered by both the X-Men and Avengers rights licences), it will be interesting to see how Marvel Studios respond.
Days of Future Past may not succeed in unifying the X-Men continuity, but that's a moot point, not least because said continuity is substantially rewritten in the course of the film anyway (the joys of time travel plotting). In every other respect, though, this is a film which succeeds magnificently – it's thrilling, funny, witty, and occasionally moving, with great performances and visuals. Not only is this the best blockbuster of the year so far, but – and I should probably stop saying this – it's the best X-Men film yet, as well.
Posted in Film Reviews, tagged 2014, Chris Sievey, comedy, Domhnall Gleeson, drama, Frank, Frank Sidebottom, Jon Ronson, Lenny Abrahamson, Maggie Gyllenhaal, Michael Fassbender, Scoot McNairy on May 5, 2014| Leave a Comment »
A little-known revelation from the annals of archaeology is the fact that an American tobacco beetle has been discovered buried in volcanic ash on a Bronze Age site in Crete. The implications of this are startling, and for a long time I could only begin to imagine the impact this must have had on professionals and historians – everything they understood about how early civilisation functioned must have been shaken to the core. It must have been shocking and unsettling, almost impossible to believe. Now, though, I can empathise with them much more easily, for I had a similar reaction to the news that they were making a movie about Frank Sidebottom.
Frank Sidebottom? A movie about Frank Sidebottom? Even now I can barely assimilate the words, and this is after having seen Lenny Abrahamson's Frank, the film in question. For anyone not familiar with Frank Sidebottom – which I suspect is a sizable majority in any sane gathering – he was a cult figure on the music and comedy scenes, primarily in the Greater Manchester area, and mainly in the 1980s and 1990s. He was instantly identifiable, due to making all his public appearances wearing an oversized fibreglass head: one of those people you instantly recognise as either a one-off comedic genius, or as a slightly creepy and annoying pest.
Given this, you could have probably have cast virtually anyone as Frank in this movie: but they have managed the surprising (not to mention baffling) coup of luring Michael Fassbender into occupying the fake cranium in question. For all that, Fassbender gets the 'and' credit in this film; top billing goes to Scoot McNairy, Maggie Gyllenhaal, and Domhnall Gleeson (enjoying one last flush of indie credibility now he's been cast in Star Wars: Episode JJ).
Gleeson plays Jon, an earnest young English singer-songwriter who does not let a little thing like lack of talent impede his pursuit of his dreams. Then, a chance encounter with a touring American band gives him a remarkable opportunity: when their keyboard player is sectioned, he is invited, first to fill in on a gig, and then to assist them in recording their first album. On the team are manager Don (McNairy), psychotically aggressive theremin player Clara (Maggie Gyllenhaal), and, at the heart of it all, the charismatic, enigmatic, inspirational figure of Frank himself…
Well, as you can perhaps see, this is not really a biography of Frank Sidebottom (nor indeed the man behind the head, Chris Sievey): all the characters are fictional, there's no mention of Timperley, the name 'Sidebottom' is never used, and Fassbender opts to play Frank with a midwestern drawl rather than a nasal Mancunian whine (on reflection we should perhaps be grateful for this last). So in a sense this is not the movie it first appears to be, for all that Sievey gave his blessing to the project prior to his death in 2010.
This is perhaps a little surprising, as the script has been co-written by Jon Ronson, best known as a journalist and screenwriter these days, but a one-time member of the Frank Sidebottom Oh Blimey Big Band. On the other hand, as I believe I have intimated, the potential audience for an actual Sidebottom movie would be very limited. This is something more accessible and thematic, about wanting to unlock your creativity and really communicate with other people: it just happens to use the idea of a man in a Frank Sidebottom head as its central image.
And for the most part it is very successful. In some ways this slightly resembles This Must Be The Place, being an off-beat globetrotting comedy-drama with a vague musical theme, but the comedy here is broader and the tone less consistent. The story is, let's be honest, not remotely plausible, but the deadpan absurdity of the whole enterprise is actually rather winning. Gleeson is convincing and likeable as a character who could easily have been slightly annoying, while Fassbender reveals an unexpected talent for physical comedy (as well as for acting inside a big fake head). For the first two acts this is a funny, if somewhat ridiculous deadpan black comedy.
Not sure about the third act, however, in which the band head to the SXSW festival in Texas, only to be confronted by their own frailties and personal problems. The tone here abruptly turns much darker and more serious, and I'm not sure it's a switch the film successfully achieves. The conclusion is also not entirely satisfying.
But, on the whole, this is not enough to spoil the movie, which is well-made and engaging throughout. It has useful things to say, weirdly enough, about the nature of the creative process and the various coping mechanisms people use to deal with life. It also reminds us that, for some people, madness can be the thing that keeps them sane. In the end it abstracts the idea of Frank Sidebottom and uses him as a metaphor for the figurative masks many people wear when facing the world – also, perhaps, that it is sometimes easier to be an icon than a human being. I'm not sure what dedicated Sidebottom fans will make of Frank – no doubt cries of 'Heresy!' will be echoing around Altrincham – but for everyone else this is a likeable and entertaining, if somewhat flawed movie.
A Case of Accessibility
Posted in Film Reviews, tagged 12 Years a Slave, 2014, bloody depressing, Chiwetel Ejiofor, drama, historical gloomathon, Michael Fassbender, Steve McQueen (the other one), true story (?) on January 25, 2014| Leave a Comment »
Okay, so it's January, and that means a certain class of film occupying all the theatres. It's part of the turning of the year, and I really shouldn't be surprised, but the current succession of ostentatiously awards-hunting factually-based dramas is starting to get to me a bit. Sorry about that, but it's true.
Making the latest pitch for Oscar glory, and an admittedly strong one, is 12 Years a Slave, directed by Steve McQueen (the other one). McQueen (the other one)'s first film was a searing account of a man on hunger strike. His second film was a searing account of a man suffering as a martyr to sex addiction. It should probably come as no surprise, therefore, to learn that this latest offering is not a searing account of a lovely little old lady who raises fluffy bunny rabbits, but – and I hope I am not overstating the case here – an extended travelogue through a horrific world of violence, pain, and misery.
The ever-reliable Chiwetel Ejiofor plays Solomon Northup, an affluent professional violinist living in New York in the early 1840s. Solomon's happy life with his wife and children is torn to shreds when he takes an engagement to perform in a series of cities further south in the United States. All initially goes well, but then he is plied with drink and awakens to find himself in irons, in a slave pen.
Yes, someone has realised there is a tidy profit to be made in kidnapping free-born black men from the north, shipping them to the slave states of the south, and then selling them at auction. And this is the fate that befalls Solomon, a fate which the film depicts in some detail.
This is Ejiofor's film, for he appears in practically every scene and delivers the kind of performance which has Oscar-winner written all over it, but he is supported by a succession of big-name white actors who turn up to play his various persecutors and tormentors – Paul Giamatti (who, funnily enough, played another slave trader in the first film I ever reviewed online), Cumbersome Bandersnatch, Paul Dano, Michael Fassbender; all of them turn up and none of their characters is wholly sympathetic – indeed, almost all of them are complete monsters. The only decent white man with any real presence in the film is played by Brad Pitt, who – to be fair – gives a very creditable performance.
However, neither the quality of the performances, nor the measured direction of McQueen (the other one), nor John Ridley's thoughtful script, nor Hans Zimmer's powerful score (much of which admittedly sounds like bits of the Inception soundtrack, reused) can disguise the fact that watching 12 Years a Slave is a grim and deeply uncomfortable experience from start to finish. There are numerous beatings, stabbings, lynchings, and rapes, most of them pretty graphically depicted. The ending of the film is not entirely downbeat, but the fact remains that this film is almost totally bereft of traditional entertainment value.
In this respect it reminded me of the similarly-depressing Grave of the Fireflies, which I finally saw last year. I concluded that this sort of factually-inspired historical gloom-a-thon is almost always made with a view to pushing a particular political or moral point. In the case of 12 Years a Slave, the point that Steve McQueen (the other one) is making is that slavery was an awful thing. But does this really need saying? Does anyone sane still seriously deny this fact?
I mean, you could make a film about one of the great plagues which devastated Europe in the middle ages, and meticulously portray the entire cast dying in bubo-encrusted agony after lives of squalid misery, and it would be a faithful depiction of an actual historical happening, but why would any audience pay to watch something like that? What would be the value to it?
I suppose McQueen would argue that so many of the injustices and social problems which beset modern western culture are a consequence of its former complicity in the slave trade that a film like this is still of immediate contemporary relevance, but I'm not sure – nor do I think that 12 Years a Slave's unflinching succession of horrors is the most accessible way of handling this subject.
I might even go further and suggest that there's something slightly skewiff about the very focus of the film. It clearly aspires to be an uncompromising account of total authenticity – but the fact that the central character comes from the northern US and lives a lifestyle recognisable to a modern audience, rather than being someone captured from another culture or born into the condition, seems to me to be indicative. It's as if the director is aware of the need to keep the story accessible to a non-black audience, even if this results in it appearing to suggest that being enslaved is somehow more noteworthy and abhorrent when it happens to someone from a western cultural background.
(Personally I was struck by the (admittedly broad) parallels between Ejiofor's tribulations in the first act of this film and those visited upon Charlton Heston in the original Planet of the Apes: provocative though I know this suggestion is going to be, I think you could profitably interpret Planet of the Apes as a post-slavery allegory.)
But anyway. This is a well-made, serious, and not entirely unaffecting movie, but it's still bloody depressing for the vast majority of its running time. You can obviously argue that this necessarily goes with the territory, but I'm not completely sure that I'd agree. I can't quite shake the impression that McQueen is more interested in cursing the darkness than in lighting candles. I've had it with the January detox: give me something first and foremost intended to entertain, please.
Giger Recount
Posted in Film Reviews, tagged 2012, Alien, Charlize Theron, horror, Idris Elba, Michael Fassbender, Noomi Rapace, Prometheus, Ridley Scott, SF on June 1, 2012| Leave a Comment »
In this world, there are advertising campaigns, and there are Advertising Campaigns – and, let there be no doubt, Ridley Scott's Prometheus has well and truly been the recipient of the latter. It feels like every time I've been to a film with a vaguely appropriate certificate over the last few months, it has been preceded not simply by the trailer for this movie, but also by a short film 'introducing' it – basically talking heads of the creative people involved come on and talk about how great it is, while behind the scenes footage rolls. Long ago I learned to be skeptical about this sort of thing.
(And, while we're on the subject of advertisorial film nonsense, it appears that winsome Kim has been sacked from the reliably irksome Live From The Red Carpet slot in the commercials. What the hell…? Winsome Kim was just about the only thing that made this exercise in utter bumf tolerable, and there are surely few women in the world who can complete a handover to an animated piece of chocolate with the same degree of self-possession and charm that Kim did. Bring back Kim at once!)
Anyway, the promotional carpet-bombing is arguably a dodgy move as it manages to be inescapable across all media, to the point of actually becoming annoying, while remaining irritatingly coy about all the things about Prometheus most people are going to be interested in: namely, this film's connections with a particular series of well-regarded and hugely successful SF-horror movies.
Scott's movie opens with breathtaking landscapes and the strange death of an alien traveller, apparently by his own hand. It's a powerful, striking moment, setting the film's tone well – everything is reserved, thoughtful, visually awesome, and not a little oblique: there's something Kubrickian about Prometheus in its most majestic scenes.
From here the story shifts and we meet late-21st century scientists Elizabeth Shaw (insert Doctor Who gag here if you're so minded), played by Noomi Rapace, and Charlie Holloway, played by Logan Marshall-Green. They have discovered a series of obscure archaeological sites which not only suggest extraterrestrial contacts occurring in humanity's remote past, but also provide a map to the visitors' point of origin.
Some years later, the privately-funded science ship Prometheus is approaching that very planet. Shaw and Holloway are on board, leading a science team. Also present are Idris Elba's rough-diamond space captain, Charlize Theron's fearsome corporate enforcer, and – most charismatically – Michael Fassbender's impeccably-behaved android factotum. As the ship touches down on the bleak alien world, a chain of events is set in motion which will reveal much about the origins of the human race – and other things as well. The designation of the planet is LV-233…
So, you've got a feisty female lead, a corporate apparatchik with a personal agenda, a reliable old space veteran, an inscrutable android, crews coming out of stasis over unknown worlds, foreboding alien structures, lots of slime… on one level, the makers of this film are enthusiastically revisiting old territory. However, the one question which most people really want answered is the one not even touched upon by the advertising – the question of whether it actually features aliens. Or, to be more precise, the Alien, from the 1979 film of the same name.
Prometheus doesn't just copy the style and some of the tropes of Alien – from the moment the name of the planet is mentioned, it's clear that this is openly going to be a prequel of sorts to that film. As well as the characters being drawn from the same set of archetypes, at least one key location reappears, and – rather like in The Bourne Ultimatum – there are moments and lines of dialogue seemingly designed to make you recall moments from the earlier films. Mostly the first two, as you might expect, and the Paul W.S. Anderson take on the franchise is ignored – continuity cops may have fun trying to figure out a way to reconcile those films with this one, but I digress. You yourself may be wondering – does Giger's masterpiece-offspring make an in-the-biomechanical-flesh appearance? In short, are faces hugged? Do chests burst? All I feel able to say is that I think this element is not handled as well as it could have been.
This is not a major problem, though, as this is a beautifully-designed and lavishly-made SF movie, not afraid to explore big ideas and take, it seemed to me, a genuine delight in doing so. It doesn't do so in great detail, to be sure, but then again one's expectations of a $130m studio movie released in 3D must necessarily be limited. Nevertheless, this film is a cut above in most departments, with strong performances from Rapace and especially Fassbender a major plus.
I'm on record as not being a great fan of the original film, to be honest, feeling that Scott's rather stately and restrained direction didn't work to best advantage in what was basically an (atypically brainy) exploitation movie. I have to say that, on the whole, I'm rather more impressed with his work on Prometheus – as I said, this is primarily a film concerned with all sorts of big ideas, not an adrenaline thrill-ride or nerve-jangling exercise in suspense. This is not to say that the film is completely cerebral – there's a memorably grisly sequence about two-thirds of the way through, about which all I will say is that 'it's not a traditional foetus' is a comment no girl wants to hear during a medical check-up – but the plot does seem written to facilitate the ideas rather than vice versa, and the story as a whole never quite engages the emotions.
Nevertheless, I was quietly impressed by Prometheus and thoroughly enjoyed it. I'm not sure if people wholly unacquainted with the Alien series will find it especially rewarding, while as for people turning up expecting a bona fide new installment, dripping with fresh acid… hmm. Personally I enjoyed the links, subtle and otherwise, to the other films, while the fact that much of the back-story of this movie is left to the viewer to decipher and come to their own conclusions about was not a problem: it's nice to be treated with intelligence for a change. Prometheus is a superior SF blockbuster; it may be only a distant and slightly strained relation to Alien, but it does its progenitors no disgrace.


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redpajama_set_name: RedPajamaCommonCrawl


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Cleveland Academy
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Spartanburg School District 7
Welcome to District 7
This is an exciting time in the life of Spartanburg District 7. With a new state-of-the-art high school that recently opened and a redesign of the former high school building to house a middle school – there's tangible momentum across the District. In fact, a closer look reveals a long tradition of excellence and innovation throughout the decades. Honored as an Apple Distinguished Program following our progress with 1:1 technology, and selected as a member of the nation's League of Innovative Schools – District 7 continues to earn regional and national visibility for its commitment to equity in education and its emphasis on the critical role of blended learning in today's instruction.
If you and your family are new to town, come take a look at our schools, meet our teachers and explore the wide range of opportunities available to our children throughout District 7. To learn more about placing your child in one of our schools, please visit the "I AM" section of our site.
610 Dupre Drive Spartanburg, South Carolina
P:Phone: 864.594.4400F:Fax:
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Spartanburg School District Seven does not discriminate on the basis of age, race, creed, color, disability, spousal affiliation, sex, national origin, sexual orientation, religion, pregnancy, service to the armed forces, or status with regard to admission to, treatment in, or employment in its programs and activities as required by Title II of ADA, Title VI, Title IX and Section 504, or any other protected characteristic, as may be required by law. Non-discrimination inquiries regarding students should be addressed to the Director of Special Services. Non-discrimination inquiries regarding employees and adults should be directed to the Chief Human Resources Officer. Either can be contacted at The Charles H. Humphries, Jr. Administration Building, 610 Dupre Drive, Spartanburg, South Carolina 29302, 864.594.4400. Safety Hotline (864) 216-4384 SC Mental Health Crisis Line (833) 364-2274


A Simplified Employee Pension Plan, or SEP, may be an ideal choice for self-employed individuals or small businesses because it is very easy to administer. A SEP can provide many of the benefits of a standard retirement plan and is easy to establish and maintain. A SEP can also give you more limited responsibility as an employer. Each of your employees is responsible for his or her own SEP-IRA account. This means less administrative hassle for you and also there is a comparatively small amount of government reporting. The typical candidates for establishing SEP accounts are sole proprietors, consultants, and small businesses — especially those with high turnover rates or younger employees.


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Martin Bridson
Professor Martin Bridson
My interests span geometry, group theory and topology. I am interested in the nature of symmetry. The symmetries (automorphisms) of any structure form a group, so groups are everywhere in mathematics. Geometry is equally ubiquitous: identifying an appropriate geometry is often the key to unravelling a mass of complicated structure. I am also interested in measures of complexity that lend precision to the idea that problems are hard, and in rigidity phenomena.
A "presentation" is a concise way of describing a group; precisely how concise one can make it is a question I have studied intensely in the last few years. It is provably impossible to extract all of the information a presentation contains, in general, but for groups arising in geometry, the complexity of information-extraction is intimately connected with large scale features of spaces. For example, in the presence of favourable (non-positive) curvature conditions, most algorithmic problems about groups can be solved rapidly. But Henry Wilton and I proved that even in the presence of non-positive curvature, there is no algorithm that can determine which groups can act as symmetries of finite objects. Adaptations of this theorem show that natural decision problems in other areas of mathematics are also unsolvable.
All finite groups are built from a finite number of families of atoms (simple groups). Evans, Liebeck and I, drawing on deep results from other branches of mathematics, have recently identified which of these natural families harbour the Bridson-Wilton undecidability phenomenon and which are more tractable.
With other coauthors, I proved that the groups associated to many 3-dimensional geometries, such as knot complements, are uniquely determined by their actions on finite sets – an instance of "profinite rigidity", a topic that has occupied a lot of my thought in recent years. In all these endeavours, there is a constant, beautiful interplay of geometry and algebra.
Scheme: Wolfson Research Merit Awards
Dates: Apr 2012 - Mar 2017
Value: £105,000


"Undesign the Redline" takes visitors on an interactive visit into a dark chapter in the nation's past, as it details how racism permeated health care and housing, both in New York City and nationally.
Permit renewals for DACA recipients will officially terminate in March, as Congress continues to debate action before government funding expires in December.
H.A.N.D.S. opened in 2008, as a result of the efforts of St. Jerome's late pastor, Father John Grange, and the Sisters of St. Jerome congregation. The center serves as a safe space for hundreds of immigrant families from the neighborhood.
At a recent workshop in Mott Haven, 30+ attendees, all undocumented immigrants, were handed the same cards with "Know Your Rights" information and were informed about current immigration policies, executive orders, and safety precautions to take, in the event of an ICE-related emergency.
The Herald conducted an informal poll of Mott Haven residents who said they had no plans on voting in the 8th City Council District Democratic primary. Although the primary winner Diana Ayala won, dark horse candidate Tamika Mapp finished a close second, drawing interest for her proposal to raise the minimum wage to $20 per hour and to prioritize NYCHA repairs over subsidizing new construction.


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Peruvians to go thirsty
The Peruvian state water company Sedapal just announced it will close off the water to more than seven million residents of the country's capital every day from 5 p.m. to 5 a.m. But there will be water for some – undoubtedly the residents of rich neighborhoods. Water will also be available for corporate use in industry and agriculture.
The president of Sedapal said the problem is that rainfall was low during the rainy season which just ended. At the same time, he admitted the pipes are leaking. And why would pipes be leaking in the state water system? Because the funds weren't used to plug up the holes and do the necessary maintenance!
Instead the poorer residents of the capital are to do without water, just at the moment when working people would get home and need it.
If there truly is a water shortage, then let the more than 400 U.S. companies operating there bring in water if they need it. The people of Lima should have first call on what's available.
Editorial: Obscene profits for business, obscene burdens for workers
Michigan Schools: The state takes more than it gives
EEOC ruling: Equally bad medical benefits
Baltimore: No money for education
California: Governor Arnold and the "terminators" of workers comp
Delphi & Visteon: UAW in full retreat
Mordechai Vanunu: Freed after 18 years in Israeli prison
South Africa: The vote ten years after the end of apartheid
Torture in the name of "freedom" and "democracy"
March's 308,000 jobs – Caught in another lie
Big 3 in auto: Lying with figures
Federal taxes: Robbing the poor to pay for the rich
Michigan: Designer tax credits
Chicago: What about Wal-Marts?
Fallujah: The U.S. uses Saddam's general to cover its retreat
High school students and teachers oppose the military recruitment offensive
He's not heavy – he's my puppet!


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Q: msacces 2010 how to create table with comboboxes in subtable from many related tables I have the tables:
products, measures, colors
for each product I have related measures and colors.
Also I have a form with subtable where I need to show the table with columns:
[products] comboboxColumn, [measures] comboboxColumn and [colors] comboboxColumn.
The rows should be selected product, selected measure, selected color.
The question is:
how can I filter the measures ComboBox list for [measures] combobox-Cell (or colors ComboBox list) in my grid selected row, when I choosing a product from [products] combobox-Cell in that very selected row?

A: I suggest you use a continuous form rather than a datasheet. Create the combo and populate it with the relevant values in the current event and bind it to the correct field in your table. To avoid confusing the user, include a textbox bound to that field also. You can lock the textbox and label the combobox column something like "Choose Size". You can use conditional formatting to make the whole think prettier.

redpajama_set_name: RedPajamaStackExchange


The Associate Director of Career Services oversees day-to-day operations for the entire Employer Engagement Team (Employer Relations and Experiential Learning). This includes but is not limited to (1) strategically developing, executing and expanding the range of employer, graduate & professional school, military and entrepreneurial recruiting activities/programs through existing/new partnerships and initiatives; (2) sourcing (via various methods) new and/or former recruiting partners especially for under-represented student populations and developing partnerships with local entities such as the Chamber of Commerce, Workforce Development, City Government; (3) educating internal and external constituents on trends and best practices; (4) monitoring employer/student engagement in respect to on-campus recruiting (i.e., job postings, interviews, information sessions, employer site visits) and career fair administration; (5) leading the generation, analysis, and reporting on a number of metrics and outcomes including employer and student engagement, first destination and experiential data; (6) assisting with the preparation of annual reports, TaskStream, and NACE Benchmarking surveys; (7) evaluating employer relations software/technology; (8) reviewing/updating marketing material and the online presence of the employer relations and experiential learning sections of the website; and (9) developing policies and procedures which govern on-campus recruitment.
The Associate Director supervises employer relations and experiential learning staff and assumes responsibility for the total operation of the office in the absence of the executive director of career services.
The mission of the Office of Career Services (OCS) is to provide centralized, comprehensive and progressive inter-disciplinary programs, services and resources to prepare A&T students for the achievement of successful personal and professional career development to meet the needs of a global society. Career Services is customer focused and centralizes the functions of full-time employment, summer internships, cooperative education, part-time employment, post graduation employment, and career counseling. The centralized, comprehensive and progressive programs, services and resources provided by the Office are tailored to be a gateway for the enhancement of the skills necessary to keep the A&T Aggie competitive in the workplace. The Office brings over 700 employers to campus and provides more than 15,000 position announcements yearly. Individuals who are formally enrolled in a degree-granting program at the University, or who are alumni, are eligible to use the facilities, programs, and services.
Masters Degree in Counseling or related field with five years experience in career services, human resources, and career-related workshop/seminar development and training. Ability to work independently and cooperatively with others. Demonstrated knowledge of career services software. Strong Microsoft Office, assessment, analytical, written and oral communications, and organizational skills.
Prefer: Masters Degree in Counseling, Human Resources, Adult Education, Higher Education or related field with seven (7) years experience in career services, human resources (recruiting/college relations), and/or employer relations.


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Free Fire Battlegrounds Brings The Battle Royale Experience To Mobile
But is it more than just a PUBG clone?
By Amirul Ashraf	 On Jan 25, 2018
Garena Malaysia has announced a new FPS game to be released on mobile devices. Titled Free Fire Battlegrounds, 50 players parachute themselves onto an island, the last man standing wins.
Described as a "survival shooter mobile game", Free Fire also allows players to group up and form four-player squads and 10 minutes per match to make it fit for mobile.
It totally sounds eerily similar to a certain battle royale game, but is it more than just a clone? Thankfully, it's free and available now for iOS and Android devices, so you can download, give it a go and see for yourself.
As what we've learned from the announcement, it feels too close that we might just call it a PUBG clone, which could be a major selling point or a major turn off depending on how you look at it. But the Free Fire development team is committed to listening to fan feedback, which will reflect on future updates to the game.
Free Fire BattlegroundsGarena


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Trivedi Global, Inc. and Jagdish Singh Announce Research on the Impact of a Biofield Treated Proprietary Formulation to Combat Inflammatory and Autoimmune Disorders
Home/Press Release/Trivedi Global, Inc. and Jagdish Singh Announce Research on the Impact of a Biofield Treated Proprietary Formulation to Combat Inflammatory and Autoimmune Disorders
90% reduction seen in expression of inflammatory biomarkers
Cleveland, OH, USA, May 23, 2018 (GLOBE NEWSWIRE) — Jagdish Singh, an evidence-based energy healer, announces today scientific research results on the significant impact of a proprietary biofield energy healing treated herbomineral formulation that potentially improves the anti-inflammatory and immune function responses.
The preclinical research assessed biomarkers for systemic and organ-specific inflammation and reported the following results:
Over 90% reduction in Interleukin (IL-1β) expression
Up to 30% reduction in Macrophage Inflammatory Protein (MIP-1α)
Over 15% reduction in Tumor Necrosis Factor (TNF-α) expression
Overall, this energy infused formulation shows great promise as a complementary and alternative medicine (CAM) method, with a safe therapeutic index. This biofield energy treated formulation has the potential benefits of stress management and anti-aging by improving overall health and quality of life.
The research suggests that the formulation has potential as an effective anti-inflammatory and immunomodulatory holistic medicine product. It can be used for a variety of autoimmune disorders such as Lupus, Fibromyalgia, Addison's Disease, Hashimoto Thyroiditis, Celiac Disease (gluten-sensitive enteropathy), Multiple Sclerosis, Dermatomyositis, Graves' Disease, Myasthenia Gravis, Pernicious Anemia, Aplastic Anemia, Scleroderma, Psoriasis, Rheumatoid Arthritis, Reactive Arthritis, Type 1 Diabetes, Sjogren Syndrome, Crohn's Disease, Vasculitis, Vitiligo, Chronic Fatigue Syndrome and Alopecia Areata. It potentially aids in inflammatory disorders such as Irritable Bowel Syndrome (IBS), Asthma, Ulcerative Colitis, Alzheimer's Disease, Parkinson's Disease, Atherosclerosis, Dermatitis, Hepatitis, and Diverticulitis.
This Biofield Energy Healing Treatment was provided by Jagdish Singh as part of a group of seven energy healers, all of which were remotely located in the United States. The test formulation was located in the research laboratory of Dabur Research Foundation, near New Delhi, India. The Biofield Energy Treatment was provided for 5 minutes through the Biofield Energy Healers' unique Energy Transmission process remotely to the test samples under laboratory conditions. Singh, as well as the other seven biofield healers participating in this research, never visited the laboratory in person, nor had any contact with the herbomineral samples.
About Biofield Energy Treatments
The National Center of Complementary and Integrative Health (NCCIH) has recognized and accepted Biofield Energy Healing as a complementary and alternative medicine (CAM) health care approach in addition to other therapies, medicines and practices. CAM therapies have been practiced worldwide with reported clinical benefits in different health disease profiles. Human Biofield Energy has subtle energy that has the capacity to work in an effective manner. This energy can be harnessed and transmitted by the experts into living and non-living things via the process of Biofield Energy Healing.
Title: Effect of Biofield Energy Healing Based Herbomineral Formulation on Pro-inflammatory Cytokines Expression in Biofield Treated Mouse Splenocyte Cells: Impact of the Trivedi Effect®
Journal: American Journal of BioScience
Published: December 20th, 2016
About Jagdish Singh
Jagdish Singh is a successful IT leader with over 25 years of experience in the industry. Mr. Singh has always held a keen interest in spirituality and natural healing. In 2011, he had the great fortune of meeting Guruji Mahendra Trivedi, Founder of Trivedi Global, Inc. and the Trivedi Effect®. Guruji Trivedi helped Mr. Singh develop and uncover his gifts. The powerful impact of his gifts and ability to harness and transmit the universal intelligent energy to any part of the globe, has been scientifically validated, documented, and published in international peer-reviewed science journals. The energy creates desirable impacts on the recipient, living or nonliving, duly measured through preclinical scientific research using both cell-based and mice models. The results suggest significant benefits and improvements in overall health, well-being, quality of life, skin quality, anti-aging, Vitamin D3 absorption, bone health, and more.
About Guruji Mahendra Trivedi & The Trivedi Effect®
Guruji Mahendra Kumar Trivedi, the founder of the Trivedi Effect®, is on a mission to usher in a new era that integrates science, spirituality, and consciousness to vastly improve the human condition and benefit humanity on a global scale. To date, more than 250,000 people worldwide have benefited from the Trivedi Effect®. His organization, Trivedi Global, Inc., is collaborating with globally renowned product research and development organizations to bring to market proprietary products and therapies in the areas of nutraceuticals, pharmaceuticals and more. Alice Branton, CEO, Trivedi Global, Inc., has recently spoken on the impact of the Trivedi Effect® at the Entrepreneurship Club of the Harvard Business School, Nasdaq, Microsoft, and Coca-Cola, as well as appearing on more than 35 network television news shows in the last year including ABC, NBC, FOX, CW and more. Dahryn Trivedi, a prodigious spiritual leader, young entrepreneur, inspiring speaker and paradigm-shifting scientist also joins in the mission.
The Trivedi Effect® is an evidence-based phenomenon in which an individual can harness inherently intelligent energy from nature and transmit it to living organisms and non-living materials, anywhere in the world through thought intention, to significantly enhance potency and beneficially alter their characteristics and behaviors through transformation at the atomic, molecular, and cellular levels.
The Trivedi Effect® has been tested, measured, and validated in over 4,000 scientific experiments globally, by world-renowned scientists and research institutes using the rigor of internationally accepted models of scientific research with the most sophisticated technologies available on this planet. Challenging the known frontiers of science, this research has resulted in over 350 publications in major international peer-reviewed scientific journals with over 4,000 citations.
These publications are available in over 3,500 universities internationally including Cambridge, Oxford, MIT, Harvard, Yale, Penn State University, Princeton, Dartmouth, Cornell, Brown, and Columbia, as well as the National Institutes of Health (NIH).
This press release contains forward-looking statements. Forward-looking statements involve known and unknown risks and uncertainties, which may cause actual results in future periods to differ materially from stated results. Readers are cautioned that forward-looking statements are not guarantees of future performance or events and, accordingly, are cautioned not to put undue reliance on forward-looking statements due to the inherent uncertainty of such statements. Statements in this news release that are not purely historical are forward-looking statements and include any statements regarding beliefs, plans, expectations and orientations regarding the future. Often, but not always, forward-looking statements can be identified by words such as "may", "will", "should", "would", "expect", "intend", "plan", "anticipate", "believe", "estimate", "predict", "potential", "seem", "seek", "future", "continue", "appear" or variations of such words including negative variations thereof and phrases that refer to certain actions, events or results that may, could, would, might or will occur or be taken or achieved.
By Jagdish Singh|2019-05-17T11:10:55-04:00December 19th, 2018|Press Release|
Trivedi Global, Inc. and Jagdish Singh Announce Research Results of Biofield Energy Treated Nutraceutical Formulated to Enhance Immunity and Combat Inflammatory and Autoimmune Disorders
Trivedi Global, Inc. and Jagdish Singh Announce Research Results on the Impact of a Biofield Energy Treated Nutraceutical on Anti-Aging, Anti-Wrinkling, and Overall Skin Health
Trivedi Global, Inc. Announces Research by Jagdish Singh on Energy Treated Vitamin D3 which Shows Significant Benefits for Bone Health
Excitement vs Fulfillment April 3, 2019
Do You Need A Quality Of Life Therapy? March 6, 2019
Guru's Role in Life February 27, 2019
alternative healing therapies best vitamin d supplement biofield energy treatment biofield therapy bone-related disorders connecting with the divine Creator divine Divine Connection excitement level God Guruji healthy life and quality of life high quality of life holistic healer in akron holistic healing how to live life healthy importance of guru importance of reflection in life importance of self reflection importance of teacher in our life life force energy healer nutraceutical supplements osteoporosis treatment Purpose quality of life therapy spiritual healer in Akron spiritual masters trivedi effect Vitamin D3 deficiency vitamins for bone health
Tweets by JSinghBiofield


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Q: Can you name this square root algorithm on an unsigned integer through the manipulation of the binary number? Apparently this algorithm is well known.
The algorithm will build the square root answer bit by bit starting from the left-most bit to the last.
Let's say we will support squaring up to a 8 bit unsigned integer for simplicity.
let res be result
let x be 8 bit unsigned integer
let n be the nth bit in the result where the 0th bit is the last bit.
set res to 0
for nth bit from 3 down to 0
    change the nth bit of the res to 1
    if res * res > x then: <- The Comparison
         restore the nth bit back to 0
return res

The return result will be a 4 bit unsigned integer
For Example: Finding the square root of 4
(see image)

Is this perhaps the Digit by Digit Calculation: Binary Numeral System (base 2)? Wiki Link here
Thank you for your time!

A: i might call it successive approximation or maybe binary search to invert a monotonic function.
if you are able to perform a function f(x), and if you know that f(x) is strictly monotonic (strictly increasing or strictly decreasing) in the domain of x that is salient, then you can always invert f(x) to whatever finite degree of precision you want with this binary search.  one iteration for every bit you need in your result.

A: Yes, that's essentially the same algorithm described at the article that you linked.
The main difference is your pseudo-code's use of multiplication, which costs more than what can be done, as the same article points out, "... the operations needed to compute ... e * e can be replaced with faster bit shift operations."
'HTH,

A: Put simply, if it is given that X == Y^2 (a reformulation of sqrt(X) == Y), and you would like to solve (N*N*X + m) == (N*Y + k)^2 for k where the value of N is fixed for the entire algorithm, you can simply substitute values into k from k = 0, 1, ..., N-1 and compare the magnitude between the left hand side (which is fixed) and the right hand side (which depend on the value substituted into k).
For N = 2, the possible value of k is simply 0, 1 so that it reduces to a binary search.


Mix dry Ingredients together, w/ shortening till crumbly. Then mix w/ milk, knead dough until firm not too sticky. Roll out on lightly floured board cut out biscuits w/ biscuit cutter or something round set oven to 425-450 bake 10 min.


Onitsuka Tiger has a reboot of its collaboration project, working with snidel, a brand whose "street formal" concept offers fun, mature designs. We have two of the collaboration items here, a sneaker and dress, which will be on shelves at Onitsuka Tiger stores starting April 21st.
The collaboration shoe here is the MONK, which is popular with the ladies. This MONK design has a refined look, which makes quite the impression with its metallic silver construction.
The fastener on the front means there are no laces, so these are easy to put on and take off, which gives it a more elegant look. This collaboration MONK is designed to match a range of looks, so whether you're going for something nice or something more casual, it works well.
Our DRESS has a refined design with casual accents. The thick material and laidback feel will bring out your feminine features.
Plus, it's fitted with a draw-cord at the shoulders and hips, making it more functional and adjustable to create your perfect look.
This DRESS is also soft and cool for your skin, made with comfort in mind. It comes in a cute PINK, and a more sophisticated BLACK.
This is just the collaboration project to truly bring out the best of both sporty styles and gorgeous, feminine looks.
There are some great things in the pipeline, so don't miss out on this great collaboration project!


Based upon the novella by Mikhail Kotsyubinsky. Two Gutsul families – the Paliychuks and the Gutenyuks - had been warring for many years. But there came a day when Ivan Paliychuk fell in love with the beautiful Marichka of the enemy family… Ivan left the village to work as a hired laborer, and Marichka fell to her death in the deep of a river. Ivan could not forget his beloved, however hard he had tried. Not even the marriage to the beautiful Pelagea could save the situation. And only in his death rave Ivan would recover his happiness by touching the outstretched hands of his beloved.
Eine Nachricht bei Änderungen zu Die Schatten der vergessenen Vorfahren / Teni zabytyh Predkow versenden.


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University of Cambridge > Talks.cam > Judge Business School & Said Business School
Judge Business School & Said Business School
Name: Judge Business School & Said Business School
Public lists managed by Judge Business School & Said Business School
Talks given by Judge Business School & Said Business School
TEDxOxbridge
Talks organised by Judge Business School & Said Business School
This list is based on what was entered into the 'organiser' field in a talk. It may not mean that Judge Business School & Said Business School actually organised the talk, they may have been responsible only for entering the talk into the talks.cam system.


The mystifying tale of the Maltese Falcon is coming to Adelaide! Audiences are said to be in for a night full of mystery and sinister crime! If you are one to enjoy seedy detective novels or movies, this theatrical treat is sure to capture you.
Based on the 1941 classic film noir, the tale delves into the life of hard-boiled detective Sam Spade and the charming Miss Wonderly, as they track down her missing sister. The catch… is her charm able to fool the great detective himself?
A marvellous classic full of deception, a dark alluring cast and all the twists and turns of a great whodunnit?
Special adult, concession, student and group prices apply.