Be Kind Rewind: Review

In a way that brings to mind such works as Cinema Paradiso, Michel Gondry’s latest offering is a joyous celebration of what film can do and ultimately what it can’t. Be Kind Rewind, the newest creation from the most inventive filmmaker working today, may not be his best work and in some respects, it may be his worst. However, this speaks not so much to the quality of Rewind as it does to the greatness of his previous works (Eternal Sunshine of the Spotless Mind, The Science of Sleep and Dave Chappelle’s Block Party) and what Gondry has here is another seemingly effortless mixture of sentimentality and whimsy that is consistently entertaining and heartfelt. Buoyed by a charismatic cast and wonderful visuals, Be Kind Rewind hit the hearts of all those who ever took the family video camera and made a “movie”.

Jerry (Jack Black) and Mike (Mos Def) live in Passaic, NJ where Mike works at a small thrift/video store, owned by Mr. Fletcher (Danny Glover), called Be Kind Rewind. Jerry is something of a destructive personality, who deeply believes that the power plant located next to his camper is somehow manipulating the minds of the good people of the neighborhood. After an ill advised attempt to sabotage the power plant in which he is exposed to a massive magnetic field, thus magnetizing Jerry (which includes one of the many memorable visual gags in the film), he arrives at the store the next day, only to demagnetize every VHS tape in the store.

Unfortunately for Mr. Fletcher, who is out of town at what he tells Mike is a Fats Waller convention, his store only carries VHS. To try and hide the fact that every tape is destroyed, Mike and Jerry set off on remaking every movie in the store, via good old fashioned do-it-yourself filmmaking. They explain the process as “Sweding”, that is the importing of tapes from Sweden, hence the slight differences that one may see when watching it. Luckily for them, the neighborhood takes a liking to their work and off we go. If this seems far-fetched, it is but one must enter a Gondry film with a suspension of disbelief or else nothing will be gained. Gondry’s aim is not to create realistic depictions of life but rather, using outlandish setups, create in depth explorations of real human emotion. It is here that he succeeds wildly. With Eternal Sunshine and The Science of Sleep, he explored the nature of romantic love with a bittersweet melancholy that was equally heartfelt and inventive. With Dave Chappelle’s Block Party, he focused his lens on the meaning of community and he continues with that theme in Be Kind Rewind. Where he looked at the power of music in the former, in the latter, he looks at the power of film and in many respects, he displays an understanding of the power of cinema not seen since the late 80’s with Tornatore’s Cinema Paradiso.

As someone who frequently spent his free time in middle and high schools making movies on an old Sony camcorder, the sweding sequences were wonderful glimpses back to what it felt like to be making those short movies. What they lacked in subtlety and skill, they made up for in raw energy and a genuine love for the process. It isn’t much different in Mike and Jerry’s creations and when their versions of Boyz ‘N the Hood or 2001: A Space Odyssey are shown, I couldn’t help but reminisce of watching our own creations. They were our labors of love and whether my friends and I realized it at the time, the creation of a film was forcing us to collaborate to get something on that magnetic strip. For Mike and Jerry, they are the same emotions, until the process is complicated with news that the shop is going to close and be demolished to make way for luxury condominiums. Then, it doesn’t become just Mike and Jerry’s interest but the larger communities and it is here that the film truly takes off.

Mos Def, as Mike, is wonderful. He possesses an effortless charisma that is affable and charming. He serves as a perfect foil for Black’s manic, at times grating, performance, balancing out the film wonderfully. Equally as charming is Melonie Diaz, as Alma, the duo’s sidekick. Together, the three form the core of the film and without their work, much of Gondry’s intentions would have been lost somewhere in the journey from script to screen.

Gondry’s direction is a mixture of slapstick, melancholy and visual originality that all come together in a style that’s really all his own. Few directors in recent memory has been as consistently inventive and distinctive in their initial efforts but it seems like Gondry is truly one of a kind, an artist with an avant-guard eye but a mainstream heart. Even at its strangest moments, The Science of Sleep, easily his least accessible work, is emotionally grounded in moments that most will be able to identify with. Be Kind Rewind doesn’t come close to the bizarre sequences in its predecessor but it doesn’t lose a bit of its heart. It may be sentimental, but when its executed so joyfully, who can complain? I supposed that Miss Falewicz (Mia Farrow), one of the neighborhood elder states(wo)men, puts it best: “Here’s to movies with heart!”. I couldn’t agree more.

In Bruges: Review

In Bruges, the film which opened 2008’s Sundance Film Festival is a mixed bag, a deceivingly morally complex thriller that is gleefully offensive and awfully violent, particularly in its last 25 minutes or so when it all comes flying off the rails. Up to that point, Martin McDonagh’s feature debut is an enjoyable thriller with a sharp script and a number of great performances. It is because the first two thirds are as enjoyable as they are that one is left confused and disappointed by the final act.

In Bruges tells the story of two hit men, Ray and Ken (Colin Farrell and Brendan Gleeson), who are told by their boss, Harry (Ralph Finnes) to hide out in the title city following a hit gone wrong. For Ray, as he quickly informs the viewer, the idea of hiding in Bruges is less than ideal. Ken, on the other hand, relishes the time off and the ability to explore the most well preserved medieval city in Europe. As the film progresses, Ray, continuing to ignore the advice of his boss, goes out for a couple nights out on the town, drawing the ire of both Ken and Harry.

Led by Colin Farrell, in his best performance in ages, and Brendan Gleeson, In Bruges is held up by the cast, who take McDonagh’s quick wit script and create a profane tapestry of Tarantino-esque dialogue. However, where Tarantino displays a tremendous knack for popular culture knowledge, McDonagh concentrates on his thematic constructions, a sure sign of his theatre background. Unlike Tarantino’s postmodern deconstructions of genre, McDonagh is more at home in traditional threads, relying on a fairly straightforward narrative.

The approach benefits In Bruges, which is surprising in its complexity. It is by no means a simple thriller, but rather one that poses a series of conflicted characters that will force the audience to consider its alliances. Farrell’s character, a first time hit man who accidentally kills an innocent bystander, is initially a dislikable killer but as In Bruges moves through its story, it becomes increasingly difficult to come to simple decisions about the characters. Much like Pulp Fiction’s iconic Vincent Vega and Jules Winfield, Ray and Ken are hit men with morals and feelings. While they are able to do their job, they aren’t always the happiest about having to do it. Writing it here seems ridiculous, but during the course of the film, McDonagh creates a difficult situation upon which to choose sides.

With all this comparison to Tarantino and his work, it is important to note one key distinction. While he may be an able, even downright talented writer and creator of characters, McDonagh doesn’t possess the same cinematic language and technique as Tarantino. Without his feverish referencing of other films, genres and even other mediums of pop culture, all wrapped in a neat cinematic bow, Tarantino’s films would feel much less fun and that is what we have here with In Bruges. McDonagh seems to be a capable director but when the action gets hot and heavy at the end of the film, In Bruges is at its worst, relying on a few shootouts and some out of place gore to carry it to the end.

Farrell, Gleeson and Finnes should all be applauded, as each put in memorable performances. Farrell, who seems to mix awful career decisions with brilliant ones, gives the film his all, taking McDonagh’s Ray and making him into a fully formed human being. Combine that with the reliable Gleeson and Finnes, who routinely turn in wonderful work and the cast is solely responsible from keeping this film out of the outright failure category. While the film’s finale is not enough to ruin the entire experience, it certainly puts a damper on the proceedings. In Bruges could have been something special, but instead, it joins the line of films since the mid 90’s who desperately want to match the brilliance of Pulp Fiction but come up short, time and time again.

Cloverfield: Review

By the time of it's release, Cloverfield had become something more than a movie. Through brilliant marketing campaigns, viral and otherwise, producer JJ Abrams has crafted a monster movie that quite frankly, can't be ignored. However, with all the hype comes higher expectations yet, as Abrams has continued to do time and time again in recent years, he and his team have crafted a monster thriller that, while not entirely successful, is one of the first major reasons in 2008 to get out to your nearest multiplex. With a ferocious visceral intensity that feels pleasantly out of place for a wide January release, Cloverfield is a triumph of genre moviemaking that should please audiences looking for relief from the seriousness of Oscar season.

Directed by Matt Reeves, Cloverfield is not unlike its monster predecessors in its narrative but in its means of storytelling, it refreshing in its 21st century technique. Shot using handheld digital cameras designed to give the feel of a digital camcorder, Cloverfield tells that story of a group of mid-twenties who have their going away party for a friend interrupted by the arrival of a giant beast. At the group's core is Rob (Michael Stahl-David, who is supposed to leave for a new job in Japan the next day, yet thanks to the marauding fiend currently wrecking New York City, it appears as if those plans may be waylaid. In their place is a new mission, to rescue his semi-girlfriend Beth (Odette Yustman), who leaves the downtown party early and is caught in a building about 40 blocks away. Coming along with Rob are his brother Jason and his fiancée Lily (Mike Vogel and Jessica Lucas), his best friend Hud (T.J. Miller) and finally, a fellow partygoer Marlena (Lizzy Caplan, of Mean Girls fame).

If the premise sounds simple, it is. No one is going to accuse Cloverfield of being the most intellectual movie currently gracing movie screens across the country but what it lacks in narrative smarts, it more than makes up for in its thrilling set pieces. As mentioned earlier, these moments are glimpsed through the handheld camera work of Hud (really shot by cinematographer Michael Bonvillain), which gives the events a you-are-there intensity. However, this should come with a warning to those with a weak stomach or easily susceptible to motion sickness: Cloverfield makes The Blair Witch Project look positively stationary. Often times, there are moments where the camera is nothing but blurry motion as the characters sprint ahead, trying to stay out of danger. It will undoubtedly annoy some viewers but for those accustomed to watching videos on YouTube, the camerawork of Cloverfield will become practically invisible as the story heats up.

Throughout, the film takes on an impromptu, on the spot style that feels largely improvised and spontaneous. The strength of this film was never going to be and never will be its script or acting. In fact, the script is a combination of drab, predictable dialogue saved by a brilliant premise. The amazing part comes in that the audience didn't seem to mind the general lack of decent dialogue. The film, quite frankly, doesn't seem to mind either. It's focus is on putting as many thrills as possible on the screen in its short 85 minute runtime. This will, once again, cause some to complain but given the technical restraints of a camcorder tape, it is a brilliant move to keep the film at its length. As it is, it grabs the viewer after a meandering initial 10 minutes and doesn't let go for the 75 minutes. Its economical storytelling keeps the audience moving forward from scene to scene, from thrill to thrill. Even if the nihilistic ending doesn't fully satisfy everyone (but honestly, when has a JJ Abrams associated project had an ending that does?), its scene by scene intensity makes up for it.

While it isn't the monster masterpiece it may have been made out to be, Cloverfield is an undeniable thrill ride from beginning to end. It may have felt more at home in an air conditioned July theatre but for a January release, it is a welcome change from the Rambo's and Untraceable's of the world. It will most likely annoy older viewers who will find its camerawork incomprehensible but quite frankly, that’s not the film's target audience. It knows what it wants to be and for that, it is all the more successful. Some critics have pointed out the obvious visual ties to 9/11 that are undeniable but they never hold the film down. This is a pure and simple, visceral genre film at its core and it works as that. But for those looking for something more, they best look at the abundance of thoughtful, intelligent films currently in art houses around the country because it isn't here. What is, however, is well worth the price of admission: a nail biting, fearless Godzilla for the 21st century.

Best of 2007

For cinephiles the world over, 2007 was a very good year, certainly one of the better in recent memory. One need not look further than a collection of critic's top ten lists to see the vast variety and diversity of the year's releases. In fact, with the exception of No Country for Old Men, no one film has been universally adored but countless have large and passionate backings. More often than not, the films that end of lasting in the lexicon of classic cinema are those the most talked about/argued over. Surprisingly, the latter may have been Knocked Up, a fairly straightforward comedy with loads of heart, a smart eye and ear for popular culture and a male/female dichotomy that was positively stunning. Still, it was not without it's detractors (all of which seemed to be middle aged women), and they have been outspoken over their dislike of Judd Apatow's comedy. It will be the continued discussion that the film provokes (it hasn't seemed to die down since its June release) that will assure its place in the developing canon of the 21st century. If a film can stay in the public eye and discourse as Knocked Up has, it must be doing something right. In Knocked Up's case, it's doing almost everything right.

There seemed to be something for everyone at the multiplexes and arthouses alike this year and with a few exceptions, even the big budget blockbusters seemed to please. Even an avowed hater of Michael Bay, I found Transformers enjoyable and exciting, if not rigid and un-original. Still, it hit more than it missed. I loved the goofier tone that Spider-Man 3 adopted, even if the disco strut of Tobey Maguire irritated some to no end. It was a glimmer of the source comic's playfulness that I found lacking in the second installment. For the film geeks in all of us, Grindhouse allowed us back into the seedy second run theatres of the 70's with schlock galore, only this time, we could enjoy it with our $15 worth of food and not having to wonder what lewd acts were performed in your very seat, just a few screenings prior.

Most of all, 2007 seemed like a year where filmmakers felt able to take risks and in general, when that happens, the output tends to be exciting and rewarding. One has to feel grateful that even when a shelved film like The Assassination of Jesse James by the Coward Robert Ford ends up being one of the year's best, one is enjoying a rare cinematic year. Directors and writers seemed to leave their inhibitions at the door and allow themselves the room to stretch out and really test themselves. For that, I thank them for a year full of entertainment.

While 2007 may have been overly inundated with Iraq pictures, there were enough worthwhile offerings that one could skip those films and still be able to find something to see. If one did choose that though, they would have missed out on Paul Haggis surprisingly level headed and even handed In the Valley of Elah or Charles Ferguson's stunning No End in Sight. While even I skipped Redacted, it has achieved its fair share of discussion and in a time like this, where the future looks increasingly bleak, talking about an issue can never be a bad thing.

All in all, it was a year in which each of us were hopefully able to see something that entertained or touched us. That taught us something or made us want to jump to action. Hopefully it made us alittle more human, with a greater understanding of what it means to be who we are. If 2007 did even a fraction of that, then a good year it was indeed. Without further ado, here are my top 20 films of 2007. So take a look, let me know what you think and try to see a couple of the films listed below. Many are still in theatres and the rest should be fairly easy to find on DVD. Enjoy, and here's to an equally good 2008!

20. Ratatouille- The best animated film of the year, Ratatouille is another smash for Pixar who churns them out at an unprecedented rate. A much stronger film than Cars, Ratatouille displayed the now expected innovative animation that Pixar frequently displays as well as their trademark heart and warmth.


19. American Gangster- Another Ridley Scott classic, American Gangster features a couple of tremendous leads in Denzel Washington and Russell Crowe and a strong sense of time and place, bringing Vietnam War era Harlem to vibrant life. Big budget award bait that didn't disappoint.


18. The Wind That Shakes the Barley- Ken Loach's Palme D'Or winning stunner packs an emotional wallop matched by few other films. While the finale rings slightly hollow, the rest of the film is so well conceived and executed, only the most hardened cynic would have trouble not being moved by the film's events.


17. Away from Her- A warm and humane look at the terrible affliction that is Alzheimer's, Away from Her works due to Julie Christie's masterful performance, which is sure to be in contention come Oscar nomination time in late January.


16. Grindhouse- It may have been a commercial failure but this Quentin Tarantino/Robert Rodriguez double feature was an artistic triumph, a film that worked to legitimize a genre of cinema that has been long overlooked. It may not be for everyone, but for those willing to go with it, there is an abundance of movie going joy to be found in the three hour runtime (not to mention the best chase scene since Bullitt).


15. Zwartboek- A return to form for Paul Verhoeven, Zwartboek (Black Book) is the type of war film that they just don't make anymore. In other words, filled with twists, turns and full out entertainment, but not without the type of subversion that one has come to expect from a Verhoeven feature.

14. Michael Clayton-A legal thriller that actually thrills both the mind and body, Michael Clayton is the type of morally complex discussion starter that will stick with its audiences well after the credits. Anchored by tremendous work from George Clooney and Tom Wilkinson, a must see for adults looking for an intelligent change of pace.


13. Hot Fuzz- Edgar Wright and Simon Pegg's follow up to Shaun of the Dead is even more spot on in its satire, to a point where if the audience is not overly aware of the subject matter they are spoofing, much of the film's comedy will be completely lost. A gleefully anarchic finale launches Fuzz into the comedic stratosphere and onto this list.


12. No End in Sight- A tremendous look at the folly that has become the Bush Administrations handling of the war in Iraq, Charles Ferguson's directorial debut is a stunning and welcome documentary in substance, not style. Unlike Michael Moore, who's recent work has fallen victim to his overblown public image and snarky narration, Ferguson's film is a quietly angry film that relies on first hand accounts and primary documents to make a decisive and completely believable argument that should be required viewing for every American of voting age. The best documentary of the year


11. The Bourne Ultimatum- If there is a better director of edge of your seat, you-are-there action than Paul Greengrass, I don't think I've found him. Easily the best installment of the superior Bourne trilogy, this is not only the action film of the year, but maybe the best since John Woo was working in Hong Kong.


9A/9B. Juno/Knocked Up- A two way tie from a pair of films that dealt with an unexpected pregnancy from different sides of the gender divide (and my oh my, what a divide this is), both illuminate their themes in ways that speak volumes about our society. At first glance, neither strike you as anything profound but both treat their subjects and characters with such humility and heart, its difficult not to fall for the one/two punch. Watch them in close vicinity to another and they reveal much about the nature of love and maturity, two things that may be closer at their cores than many want to admit. With fine work from each ensemble cast and wonderful scripts by Diablo Cody and Judd Apatow, these are the comedies of 2007.


8. Control-In a time where biopics desperately work to glamorize or mystify our musical heroes, Control harks back to the Kitchen Sink British dramas to tell the story of Ian Curtis in stark black and white. Rather than adding to Curtis' already staggering legend, it works to deconstruct it, painting the leader of post punk pioneers Joy Division as a man who desperately wants to retain a sense of normalcy in his life. The conclusion is as heartbreaking as one would expect, thanks to powerful performances from Sam Reily and Samantha Morton as well as magnificent direction from Anton Corbijn.


7. The Assassination of Jesse James by the Coward Robert Ford- One knows they are in a great cinematic year when even the films studios are hesitant of releasing end up being bona fide masterpieces. Despite sitting on the shelves for almost two years, Andrew Dominik finally was able to get his film released and the results are the best true western since Unforgiven. Breathtaking from its opening frame, TAOJJBTCRF is a magnificently shot stunner, with one sequence that drew audible murmurings of awe from audiences. At its center are Brad Pitt, Casey Affleck and Sam Rockwell, all of which carry the heavy philosophical and emotional weight of a two hour, forty minute film with ease and poise. Slow, meditative and unquestionably brilliant, this is a west that cinephiles can be proud of.


6. Atonement- When a romantic melodrama can legitimately moving, its reason to take notice. When the aforementioned moving romantic melodrama can be exciting, potent and profound, its a cause of unbridled celebration. Joe Wright imbues this adaptation of Ian McEwan's novel with a sense of danger that is too often missing from period pieces and in doing so, masterfully creates a film for the ages. The two stars, James McAvoy and Keira Knightly are wonderful together, as is Saoirse Ronan, who contributes the child performance of the year. Watch for a single stunning shot at the Battle of Dunkirk which last minutes and weaves through the mass confusion at the evacuation point. Add the emotional ending and one has a work of art that compliments the originally novel brilliantly.


5. No Country for Old Men- A potent meditation on mortality masquerading as a white knuckle thriller, few films this year glow with such uninterrupted intensity from start to finish as No Country for Old Men. A front-runner for a Best Picture Oscar, the Coens have a bona fide masterpiece on their hands here and in it, some of the best performances they have ever directed. Javier Bardem is terrifying as an ice cold killer and Tommy Lee Jones makes the absolute most of his limited screen time, giving his character a lived in gruffness that is equally defiant and resigned. Much has been made of the film's ending, some think it’s out of place and brings no closure. Those who say so are quite frankly wrong, the film's conclusion is haunting and perceptive. Come for the chase, leave with the message.


4. Eastern Promises- Just when I thought David Cronenberg couldn't match his last work (A History of Violence), he goes and does just that with this portrayal of the Russian Mob in London. At the film's core is a splendidly brave performance from Viggo Mortensen, who continues to surprise just about everyone. Not one to ride his role of Aragorn into the history books, Mortensen is compiling a challenging and rewarding filmography. Naomi Watts is his equal her, grabbing onto the involving material and running with it. Helming it all is Cronenberg, who is provocative yet humane. He knows how to push his audience's buttons but never to the point of alienation. Eastern Promises may be his greatest success yet, a moving and exciting thriller that is thematically rich, leaving the audience longing for more as soon as the final credits hit the screen.


3. Zodiac- On first viewing, David Fincher's look at the epic investigation around the Zodiac killer was too long, meandered too much and felt too mellow. On second viewing, the pacing was perfect, the story was tightly wound and the bed sheets needed changing. I stood up from that second time astounded that I had just watched the same film that had so bored me in the theatre. If there is ever a film that shows the power of multiple viewings, this is it. The acting is all around superb with Jake Gyllenhaal and Robert Downey Jr. standing out in particular. Zodiac displays the traditional visual flair of other David Fincher projects but with a more restrained realistic quality that positively warps the viewer back to 1960's/70's San Fran without feeling overwhelming in 70's nostalgic camp. Zodiac is a landmark police procedural that I suspect will gain prominence with each passing year, as people go back to watch it a second and third time.

2. This is England- Shane Meadows' examination of Thatcher-era skinhead culture is a emotionally wrenching masterpiece, a small film that greatly exceeds its aims in every way possible. What could have been no more than a British American History X is instead a unique work, filled with spot on period details, a killer soundtrack and a series of performances that are nothing short of astonishing. Add on a powerful anti-racism message and the results are devastatingly successful, a film that was widely (and unfairly) ignored by American audiences but has the smarts, heart and attitude to stick around until it finally receives its just due. With the semi-autobiographical This is England, Meadows vaults to the upper echelon of working British directors and signals an emerging talent on the world scene that can't be ignored.



1. There Will Be Blood -I'll be the first to admit that There Will Be Blood snuck up on me. Last year, I compiled a list of the best working American directors and PT Anderson was a name that I toyed with but couldn't bring myself to put on there. While Boogie Nights is an undeniable classic, Magnolia seemed overly ambitious and Punch Drunk Love (while underrated) seemed too reserved. How wrong was I. With There Will Be Blood, Anderson storms back onto the scene with a magnificent look at turn of the 20th century oilmen. Greatly aided by Daniel Day Lewis' best of year performance, There Will Be Blood is discomforting and strange, yet compulsively watchable. Its difficult to find a character worth liking but even more so to find one that is not utterly fascinating.

From the groundbreaking score by Jonny Greenwood (of Radiohead fame) to the splendid cinematography, this is an ambitious work that feels like one of the better American films in a long while. While it may undoubtedly rub some audience members the wrong way (it is unashamedly bizarre at moments), those willing to allow themselves entry into its twisted psyche will find a film that is a period piece with a thoroughly modern feel. At the heart of its thematic clash of oil and religion are a number of questions that are not only relevant today but largely dominate political discussion. While watching it, I couldn't help but feel that this will be remembered as not only the film of 2007 but possibly the film of this, still young, 21st century.

Quick Update

Hello everyone, I apologize for the lack of updates recently. It's been crazy around here with the holidays and all but fear not, the 2nd Annual Film Outsider Year End Extravaganza is on its way! I'm hoping to have it up sometime this week, certainly no later than next Saturday. In the meantime, there is a massive amount of incredible films out there today, so get out to the theatres before the abyss that is the January and February dump off of crap begins. I hope everyone had a great holiday season and I look forward to any feedback you might have on the Year's wrap up when it hits later this week. 'Til then, enjoy the flicks!

Juno: Review

What is with 2007 and films about pregnancy? First, we has the sublime Knocked Up, as fine an American comedy that has recently come along, and now, here is Juno, Jason Reitman's follow up to 2006's Thank You for Smoking, a clever, if slightly over praised satire about a lobbyist and the cigarette industry. Well, whatever lesson's Mr. Reitman learned through his previous film are on display here as Juno is one of the most pleasantly surprising films of 2007, one that came from way out of left field to wow 'em at the Telluride and Toronto Film Festivals. While Thank You for Smoking certainly had its merits, it was a little too smirky for its own good and too often overtly revealed its satiric nature. In other words, for a film trying to be so subversive, it's pretty obvious as to what it’s attempting to do, a big no-no for the best of satires. What was welcome was its ruthless honesty and Juno continues that in spades. At its core is a whip smart script (maybe a bit too smart) by Diablo Cody, a slew of great performances and Reitman's steady direction, all of which add up to one of the best films of the year.

Unlike Knocked Up, which tried to touch on every aspect of a modern pregnancy (and wildly succeeds through most of it), Juno ambitions are, well, less ambitious. See, the title character Juno MacGuff (Ellen Page) accidentally gets pregnant after, what she describes as, a boring night with her kind of boyfriend Paulie Bleeker (Michael Cera). After attempting to get an abortion without telling her parents and opting out when she finds that she isn't quite ready to go through with taking care of the situation, Juno and her best friend Leah (Olivia Thirby) seek out the Alt-Weekly's to find a set of suitable parents to adopt her ever growing child. They come across an ad placed by Mark and Vanessa Loring (Jason Bateman and Jennifer Garner) and after telling Juno's parents (J.K. Simmons and Allison Janney), they set out to meet the potential family. When she finds them suitable, the story continues on to go through the tribulations of the process, all handled with a sly sense of humor that leads to any number of wonderful scenes.

Page continues to be a revelation and while some are expecting big things from her after seeing her in 2006's searing Hard Candy, I don't think anyone figured it would come so soon. As Juno, Page is razor smart, a collection of real world instincts and pop culture savvy. In bringing Diablo Cody's character to life, Page may have created the character of the year, an independent and intelligent teenager who single-handedly carries the weight of the movie: not out of necessity (all the other characters and actors seem up to task as well) but out of sheer charisma. Juno is the type of eminently likeable creation that people will find themselves cheering for as the film goes on and fondly remembering long after they've left the theatre.

As mentioned above, the rest of the characters are universally strong. From Paulie's quiet charms (magnified by Cera's otherworldly delivery) to Mac MacGuff's tough love (Juno's father, wonderfully brought to life by J.K. Simmons) are all eminently likeable yet lifelike characters. With one minor (and disappointing) exception, the people who inhabit Juno's world bring vitality to the story that seems like a perfect melding of actor and script. Bateman and Garner, who have been shaky in the feature length performances, are both up to the task here with Bateman getting some screen time and making the most of it. So much of a comedy's success relies on the cast's ability to deliver the material in not only a believable but also funny manner; Juno's cast knocks one of the park here.

With the exception of the first 10 minutes or so, the script by Diablo Cody is remarkably assured for a debut. Those first 10 minutes are too jammed with over stylized dialogue that just feels way too out of place but wisely, as the narrative takes over, Cody tones it down a bit. That’s not to say that the dialogue suffers for the rest of the way, it is merely more bearable; it is still wildly clever and hip and while it may not be the most realistic bit of dialogue for teens, neither was the tough guy banter from the 1940's noirs but no one seemed to mind them. The film is a stylized comedy, any way you cut it and it works well. As a collection of lines, there a number of memorable ones that I could see easily being adopted by the teens of today as their lines du jour. However, single lines do not a screenplay make. Thankfully, Juno has a generous heart to go along with its razor sharp dialogue. The film radiates warmth and humanity, a sense of magical realism that feels real and palpable while simultaneously taking on a light, airy quality. It will win over even the most cynical audience members.

Jason Reitman is a talented director, now putting out what I would venture to call a potential classic in just his second feature. The film has a distinct visual theme to it, one that is unique and interesting while not as overt as a Wes Anderson film or say, Napolean Dynamite, a film that Juno has questionably been compared to. As to what exactly people find in common between that horrific piece of garbage and this hysterically funny comedy is beyond me. Wisely, Reitman doesn't rely on the visuals for gags, rather choosing to compliment Cody's wonderfully amusing script. When pared with Page's incredible performance at the film's heart, Reitman has crafted one for the ages, a complete charmer that I imagine will be remembered for years to come as one of the crowning comedic achievements of 2007.

*****

Paris Je'Taime, Rescue Dawn, A Mighty Heart, Hairspray: Reviews

Another bunch of quick hits to save some time:


Paris Je'Taime

A charming collection of shorts (18 to be exact), each centered around love and Paris, Paris Je'Taime is up and down at times but leaves you on such a high note that its difficult to leave upset. Not all the shorts work (I found Vincenzo Natali's "Quartier de la Madeleine" to be one of the more disappointing portions) but if they don't, they're only on screen for 5 short minutes or so before they are swept away for the next entry. The ones that do work (the Coen Brothers, Alfonso Cuaron, Alexander Payne, Wes Craven (!), Tom Twyker and Walter Salles all contribute great moments) are splendid, quick meditations on the nature of love in the City of Lights. By the end of the film, a portrait of the city has been formed subtlety before your eyes, leaving one not only with a strong feeling in their heart but a desire to get to France as quickly as possible.

****

Rescue Dawn

Werner Herzog's re-telling of his documentary Little Dieter Needs to Fly is a war epic that lacks a war, but thankfully has Christian Bale. Based on the true story of Dieter Dengler (played by Bale), Herzog tells the story of an American Pilot shot down and captured in Vietnam. What follows is an epic journey of escape and survival but, oddly, the film never felt truly gripping. As always, Bale is electric, carrying Rescue Dawn, but the true surprise comes from Steve Zahn, who contributes a moving and measured performance. Unfortunately, Bale's performance is wasted on a character that quite frankly doesn't come to life, instead feels too contrived. For such an optimist, whom Dengler supposedly is, I had trouble finding much reason to care about the characters involved. While the story is impressive, all the more so for
being true, its flaws are too much to keep this from going into Herzog's catalog of classics.

***

A Mighty Heart

Angelina Jolie turns in surprisingly effective work in Michael Winterbottom's examination of the Daniel Pearl kidnapping and execution. The film works best as a seat of its pants thriller, smartly eschewing the larger politics of the situation and focusing on the human element involved. Through its use of digital cameras, A Mighty Heart jumps off the screen with a you-are-there realism that pops. *SPOILERS* The performances are strong all around but Jolie's work is especially worth noting, never overacting except for the scene following her discovery of Daniel's death. Up until that point, Jolie keeps everything in check but her explosion here feels too over the top and planned, which breaks the realistic feel of the film. Winterbottom's direction is excellent, pushing the film forward with quick pacing and tightly constructed narrative. At times, the film is reminiscent of some of Paul Greengrass' best work in Bloody Sunday and United 93 and while it never quite peaks like those do, there is a complete absence of valleys that make it all worthwhile.

****


Hairspray

The critical surprise of the summer is an overrated musical send up of race integration in
1960's Baltimore. An adaptation the stage musical which was adapted from the 1988 John Water's film, Hairspray never feels like a fully formed cinematic musical. Where as the classic musicals of the past (even up to 2002's Chicago and last year's Dreamgirls) have utilized the space allotted to them by the medium of film, Hairspray too often feels like a stage show being filmed. On top of it, there is no real show stopping number until the finale, which feels too late to salvage the rest. There are some good performances in here (first timer Nikki Blonsky and Christopher Walken are great) but there is nothing to distinguish itself from the rest of the Hollywood musicals of the past. Had this been released 50 years ago, it would be nothing more than a B rate production but with the minimal number of musicals being released nowadays, this is what passes. A disappointing entry into the genre.

**

It's a Wonderful Life

As December rolls in, so does the holiday season and with the holidays, so comes It's a Wonderful Life, Frank Capra's 1946 meditation on the little things in life, that has become less a part of American cinema as it has become a part of the American consciousness. Few films come to mind that are so instantly recognizable by so many, it's images seared into the minds of multiple generations, touching the hearts and minds of most everyone who is lucky enough to experience it. However, with its overwhelming holiday presence, too many people have begun to overlook the film's true accomplishments and view it strictly as a schmaltzy Christmas favorite. In reality, it is a tremendously dark view on the harsh realities of life, a work of art that masks itself as pop entertainment. While its conclusion, with all the singing and bells ringing, is undeniably optimistic, its first two hours are undeniably not. It is truly magical that Capra can so quickly and effectively switch the film's mood in a way that quite frankly, very few directors were/are capable of.

It's not difficult to see the intentions of the film. By setting up every memorable and positive event with a direct negative foil, Capra carefully engineers a life that one could look back on and see a minus for every plus. For example, George wants to travel the world yet his father dies unexpectedly, leaving him stuck in Bedford Falls while his brother is able to go off and live George's dream. He receives the news of his father's untimely demise during a romantic interlude between him and (unbeknownst to him) his future wife. His wedding day is offset by a financial crisis, leaving his honeymoon in jeopardy after he has to use his own money to keep his father's building and loan in business. Even events like his Uncle's forgetfulness and loss of a great sum of money, offset the optimism and promise of a new year on the horizon, of Christmas Eve. When it comes time for George's monumental decision of whether or not to take his own life, it is not difficult to place yourself in the poor man's shoes. His life has crumbled before his eyes and on top of a terrible day, he's having a worse night. Suicide and debt doesn’t exactly strike me as holiday season material.

The skill in which Capra pulls all of this utterly depressing material together, yet keeps the film compulsively watchable is never short of astounding. One is never turned off from the struggles of George Bailey (a great deal of acclaim must be given to Jimmy Stewart here, as he contributes one of the great everyman performances of all time). Instead, you desperately pull for this completely likable character to pull through, to recognize that his life is not as hopeless as it looks. Capra, utilizing a bleak, film noir-ish look for the night of George's great decision, brings everything to an almost unbearable peak, and with everything crashing down, one is left to ponder the worth of life in that brief moment on the bridge.

It is the redemption filled final 30 minutes that gives It's a Wonderful Life it's reputation as the holiday favorite it is. With a unabashed enthusiasm, Capra flies through an alternate reality that truly feels noir-ish, the small town charms of Bedford Falls replaced by the near urban decadence and decay of Pottersville. This sequence is oddly what feels most in step with the cinema of the day, a postwar view of the world that is cynical, dark and difficult. Seemingly borrowing from the noir masters of the time, Capra's sequence in Pottersville is also the most un-Capra like moment in the entire ordeal (maybe in his entire filmography) and it is what makes the film the classic it is. Had Capra not delved so deeply into the misery that dominates Pottersville, the entire film would have come to a grinding halt at its conclusion, its final moments feeling unearned and trite. They still may feel sappy and overwrought but certainly not unearned. Bailey has gone through hell and back to arrive at this point of jubilation. He has seen the world without his life, he has experienced the suffering and hardships and the moment with friends and family is earnest and moving. Its an ultimate triumph of the everyman over the evil Potter and in many ways, it is a celebration of community wealth, a near Marxist victory over the capitalistic Potter. In many ways, it seems almost anti-American in an economical sense, yet oddly American in its embrace of community.

To say that Capra was un-American is quite frankly absurd: his work in WWII and even Mr. Smith Goes to Washington negate any claims. However, it is curious that such a sentiment is able to creep into the ending of It's a Wonderful Life. In fact, despite the sudden influx of money into the Bailey household, the lasting line in the film is from Clarence, Bailey's guardian angel, and its message is undeniable: "Remember that no man is a failure who has friends." No where is their a mention of money or wealth. Instead, the film celebrates the community helping each other, not the money the community help provides. Its anti-capitalistic sentiments can be overlooked upon first viewing but with each subsequent, it becomes more difficult. For an American Christmas classic, the film tends to go against the stereotypical American ideologies in its conclusions. Yet it perseveres still. Perhaps it is the American's public willingness to overlook the politics in the weeks leading up to a day spent celebrating all that is worthwhile in life. It is a throwback to the real celebration of Christmas, an anti-commercialist, anti-capitalist fable about the true power of friends. Perhaps that is why the American public keeps on bringing back this wonderfully deceptive, yet completely entertaining and life affirming film.

Point is, to call It's a Wonderful Life just a holiday film is short sighted and lazy. While it undeniably fits the time of the season, there is a great deal more to Capra's work. Sure, it may be corny at times (it is, after all referred to as "Capracorn") but if there is ever a time of year to allow for nostalgia and good-natured celebration, now is it. I don't mean to say that It's a Wondeful Life is not a holiday film, too much says that it is, but one must look further. At its heart, there is a dark, postwar view of life, filled with desperation, heartbreak and hate. It hits notes as bleak as anything being made at the time and often times, is slyly and masterfully subversive. Most Christmas films don't touch those feelings, relying on good nature alone to exist. That is why It's a Wonderful Life is so much more, and that is why it is not only the finest of the Christmas films but one of the finest of American cinema, as well.

*Note here the almost Film Noir composition of this shot. The extreme close up of a face, just off center. A look of woe, a shadow being cast of part of the hero's face. Or here:

Doesn't exactly shout Ho Ho Ho, does it? Excuse the poor quality but the anger and grief in Stewart's face here is amazing, a man who has hit the end of his rope.

No Country for Old Men: Review

The Coen Brothers have always been a duo that I have respected and enjoyed but would never claim them as bona fide favorites. Sure, Blood Simple and Fargo are wonderful films that I have thoroughly enjoyed and while I enjoyed The Big Lebowski, I've never quite found the complete and utter genius that I must be missing, given the film's rabid following. However, when I heard that the brother's newest film in development happened to be an adaptation of a Cormac McCarthy novel, my interest was raised. When No Country for Old Men was wildly praised at Cannes, I was skeptical as to whether it could live up to both McCarthy's magnificent prose and the massive hype. Thankfully, it does that and more. The hype is more than warranted. For No Country is a full on masterpiece, a brooding thriller that is part noir, part western and all classic.

It should come as no surprise that given my appreciation of their like-minded previous works, that No Country, for me (ending and all, but I'll get to that later) is a masterpiece. From frame one to the last roll of the credits, the film is a nail biting, thoughtful modern western, filled with a palpable grittiness and three characters that are so well crafted and acted, one can't help but think that this may end up on the top of many year end lists as the Best American Film of 2007. Led by a positively fearsome performance by Javier Bardem, who immediately vaults to the top of the Best Actor category, and supported by tremendous work from Tommy Lee Jones and Josh Brolin, No Country never sags, a picture perfect representation of what a thriller can and should be. It'll make you think while simultaneously bringing you to a quivering heap of jelly through its masterful set pieces.

At the film's heart is the story of a simple man, Llewelyn Moss (Josh Brolin) who, while out on a hunting excursion, stumbles upon a drug deal gone wrong. In place of the dust and tire marks that should represent a successful transaction, are a few trucks, a load of bodies, a bunch of drugs and finally, a satchel case full of money. As he stumbles around the area, Llewelyn finds a sole survivor who asks for water, a minute detail that later becomes the cause for the rest of the film. Unfortunately, Llewelyn is clean out so he leaves the scene with the bag of money and returns home. However, as the night drags on, Llewelyn can't cope with the fact that he left the man there to die, so he ventures back out to the site, leaving his wife Carla Jean (Kelly MacDonald) to wait for him.

Brolin, who truly came out of nowhere to have a wonderful acting year, is, once again, great here. While I feel like I continue to say that, the facts don't change. Here he contributes a gruff performance as a prototypical Texan, light on the talk, heavy on action. Upon arriving back at the trucks, he is noticed by a group of men in a pickup truck and, like that, the film takes off into one bone-jarring chase after another. Throw into the mix a bounty hunter, Anton Chigurh (Bardem), hired to track down Brolin and one has all the trappings of a great chase film. What elevates No Country is that Chigurh, brought to terrifying life by Bardem, is the most memorable psychotic to hit the screen in years. The character is so terrific, so scary, so ferocious that one can't shake the images and sounds that will be seared into the brain. Bardem completely inhabits Chigurh, taking a good McCarthy character and making him into something otherworldly, a type of role and performance that comes along once in a decade. In a year with a number of great performances, Bardem stands at the top of the heap. This may be one role that'll follow him the rest of his life as the obvious highlight of an otherwise sterling career.

On the outskirts of it all is the local, aging Sheriff, Ed Tom Bell (Tommy Lee Jones), who is merely trying to keep up with it all. As the film progresses, the body count continues to rise, leaving Bell with nothing to do but shake his head at the carnage and it isn't out of a feeble inability to get things done, but rather, the complete destruction that seems to follow Chigurh around becomes all enveloping. Jones, in the autumn of his career, has been revitalized recently, in a way that is reminiscent of Clint Eastwood, men who seem to get better with age. As the chase nears its end, Bell desperately tries to stop the killing despite his age and tired soul.

Guiding everything here are the Coens as they mix virtuoso sequences with moments of quiet dread. While their cinematic eye has never been in question, it is with No Country that they should forever prove themselves. At the helm are true masters, veterans who have honed their craft to a fine science. Their ability to handle action and theme equally is astonishing, never leaning too heavily on one or the other. Instead, the two settle into a comfortable mix that only a cinematic genius could concoct. The themes never feel heavy, almost John Ford-ish in their subtle nature, and the suspense sequences are stretches of filmmaking that even the most jaded critic will find gripping and enjoyable. This is easily the brother's best work since Fargo, maybe the best of their career.

Much has been made about the film's final third, and while I won't spoil anything here, I found the conclusion to be fitting and satisfying. It injects the film with the type of mythical, almost biblical food for thought that McCarthy wields with grace and ends the narrative on a high note. I can certainly see why some audience members will walk out feeling slighted by the general lack of a tidy conclusion, but that type of disappointment strikes me as short sighted. No Country for Old Men is so much more than just a simple thriller and the film's finale cements that fact. One isn't meant to leave the proceedings feeling comfortable and satisfied. Instead, with a film as violent and dark as this is, one should leave feeling unsettled, wanting to question the actions of the characters in order to understand the themes in a better light. The Coens' wisely leave the ending as it is, refusing to settle for a Hollywood conclusion: it works wonderfully and in the process, solidifies this as one of the best American films of the year.

*****

American Gangster: Review

Ridley Scott, already an accomplished director by any measure, can confidently mark another notch in his belt with the recent release of the brilliant American Gangster. Featuring ferocious performances from Denzel Washington and Russell Crowe, American Gangster fires on all cylinders, working almost impeccably for its full 2 hour and 40 minute runtime. In doing so, it can rightfully claim a place alongside the other classics of gangster cinema, no mere feat given the abundance of films released in the genre. While it may not reach the levels of the first two parts of The Godfather trilogy, it is a worthy heir to their legacy, a gritty, blood soaked epic that's as entertaining as can be.

Based on the true story of Frank Lucas, who more or less controlled the Harlem heroin trade in the late 60's/early 70's, the film spans about a decade but never feels too big for its own grasp. Rather, the screenplay, by Steve Zaillian, is a model of narrative efficiency, telling the expansive story while keeping the focus intimately on the characters at hand. Instead of allowing the film to spiral out of control, it sticks tightly to Washington and Crowe, moving the film quickly, without unnecessary diversions and tangents.

Washington, as Lucas, is tremendous, contributing a charismatic yet terrifying portrait of a man with almost infinite power. Its not like Washington's talent has ever been questioned, but here, he is particularly exciting, inhabiting the role with a reckless abandon. While Lucas may be an larger than life figure known equally for his quiet cunning as his violent outbursts, Washington never oversells the part, resisting the urge to overact his scenes. Rather, the pitch and energy of his performance is perfect, reminiscent of his best work in Spike Lee's vastly underrated Malcolm X. He envelopes the screen, stealing every scene he is in.

That claim is truly saying something, given the pedigree of the supporting cast here. Lucas' opposite on John Law's side of the drug conflict is Det. Richie Roberts, who is brought to life by Russell Crowe. Easily one of the most consistent and reliable actors/stars in film today, Crowe nearly matches Washington's work, only falling short due to the fact that his character is given less to work with. Compared to Lucas' conflicted life, Roberts is given the role of a noble cop caught in a corrupt system. To say that this type of character has been done before is obvious. It is a testament to Crowe that the character feels as fresh and new as it does.

It could be said for the rest of the cast here. No character is an eye popping original, all have been covered before in the extensive history of the American gangster film. However, the cast gives themselves entirely to the material, molding the parts into something worth watching for another two and a half hours, despite the fact that they may seem familiar. Legendary Ruby Dee, as Lucas' mother, is splendid, pushing the doubts out of her mind despite knowing her son is providing her with the riches through illegal means. She is a strong woman who has raised a family full of independent, ambitious boys that are strongly devoted to her. The film also continues Josh Brolin's massive year, with a strong performance from the son of James. He has turned into a able character actor that brings a certain vitality to each of his roles.

As most gangster films do, American Gangster has a tendency to over empathize with its criminal heart but its use of dueling protagonists in Washington and Crowe move the heart of the film closer to a moral center. As a result, it is never as over the top in its criminal depictions as, say, Scarface, nor as notably reserved as The Godfather trilogy. Instead it splits it in the middle, a gleaming terrifically entertaining piece of pop filmmaking, something that has become a Ridley Scott signature. As professional of a commercial director as one can get, Scott has also become of the most reliable workers in Hollywood today. Even his underrated (see the Director's Cut instead) Kingdom of Heaven has moments of spectacular filmmaking. His resume continues to grow and with American Gangster, he can add another hit to his work.

American Gangster is probably not for everyone. Many will find it too violent, claiming that it glorifies the lifestyle that Lucas took part in and to an extent, those critics would be correct. However, that type of shortsighted vision completely looks over the obvious talent and skill on display here, making the 2 and a half hours fly by. Sometimes, a film only needs to offer an escape to another world, and in this case, maybe escape isn't the best case; descent may ring closer to the truth. Either way, American Gangster gives a glimpse into a life that none of us will live, bringing a vibrant and entertaining look at 1970's Harlem to the big screen with a vicious, daunting and unforgiving energy that is, quite frankly, impossible to deny or overlook. Mark this as a must see if you live for the seedier side of life.

****

The Hoax, The TV Set, Longford, Reign Over Me: Reviews

Hi everybody, sorry for not keeping up with posting! I've been busy with life recently but haven't stopped watching. In the interest of saving my and your time, I'm going to compile my recently viewed into a quick hit series of reviews. Enjoy!

The Hoax

Clifford Irving's life has been nothing short of amazing and it is with a sense of frustration that audiences are left with The Hoax as the cinematic representation of this existence. The Hoax isn't necessarily bad, just disappointing in its sometimes outrageous alteration of the facts of the case at hand. Despite two wonderful lead performances by Richard Gere (as Irving) and the vastly under appreciated Alfred Molina (as his assistant/steadfast friend) and capable direction from Lasse Hallstrom, the story's flaws end up diminishing what could have been an otherwise exemplary work. While still entertaining, the utter fabrications of some plot points are too difficult to completely shake for someone who has done even the slightest research into the subject at hand. One might be better viewing Orson Welles experimental film essay on forgery F for Fake, which is not only a much better summation of the spirit of Irving but also a mesmerizing, messy yet brilliantly innovative documentary from one of cinema's true masters. It requires a great deal more of the audience but also is infinitely more rewarding.

***

The TV Set


One of 2007's quiet surprises, The TV Set is Jake Kasdan's (Lawrence's son and director of Orange County and the upcoming Walk Hard: The Dewey Cox Story) assault on the television industry's pilot season. Anchored by a wonderful performance from David Duchovny, who has been experiencing a much needed career revival, the film starts brilliantly, slicing through the inner workings of Hollywood. However, as the film rolls on, it becomes less and less interesting, bringing in too many side plots and losing focus. The final scenes are particularly lackluster, an unfortunate end to a promising film. However, Duchovny is a must watch here (as he is in Showtime's Californication) adding an extra kick to a film that runs out of laughs surprisingly quickly given its minimal 88 minute runtime. Still, there is enough here to interest people involved in/fascinated by the Hollywood machine but those who only care about what shows up on the silver screen's smaller cousin, not what happens behind it, will most likely find little to grip onto.

***

Longford

HBO's drama is a stark yet slow examination of Lord Longford, a British politician who fought for prisoner rights, most famously for Myra Hindley, one half of the duo who committed the atrocities that became known as the Moor Murders (http://en.wikipedia.org/wiki/Moors_Murderers). Jim Broadbent masterfully inhabits the lead role, nailing both the physical and emotional tribulations that his character is put through. Equally as impressive is Samantha Morton, who plays Hindley, and in doing so, creates a manipulative character that is equally likable and frightening. While the film poses a series of interesting moral questions and dilemmas, it never quite reaches the emotional heights that seem possible given the involving source materials. Peter Morgan's screenplay is sharp witted and intelligent, equaling his great work from 2006 (The Last King of Scotland, The Queen) and signaling that it wasn't just a great year for the scribe who may be coming into his best years. A intelligent, though not particularly involving, look at an otherwise fascinating subject.

***

Reign Over Me

Mike Binder's ode to those suffering from the loss of loved ones on 9/11 is a sometimes moving, too often not, look at one man's inability to cope with the death of his wife and three daughters. The sole bright spot here is the work of the ever-memorable Don Cheadle, the rest of the film is overly heavy handed and wandering to really work. Adam Sandler, who plays the aforementioned widower, begins the film as a shut in, unable or unwilling to cope with the struggles of everyday life after the death of his family. Sandler is adequate but too often toes the line between a heartfelt performance and overacting, creating a frustrating performance that really hampers the film. Binder's nods to the events of the day are overt despite rarely even mentioning the day by name. Rather, he recognizes that is so deeply engrained in the American psyche that one needs to know the name to know the event. That being said, this strikes me as the worst of the high profile 9/11 films and if it wasn't for Cheadle's moving work, this film would be dead in the water, sunk by a wandering narrative and a general inability to create believable and moving characters.

**