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The thriller has been a movie staple ever since Alfred Hitchcock kept us in suspense with his silent film The Lodger in 1927. The story may be fictional, but if the telling is masterful enough, the tension we feel is real. From tales of the supernatural to spy chases to psychological dramas, the thriller is a broad and hard-to-define genre—you'll see overlap with our Best Drama on Netflix, Best Action Movies on Netflix, Best Sci-Fi Movies on Netflix and Best Horror Movies on Netflix lists—but the key element is keeping an audience on the edge of its seat. We've officially defined a thriller as anything that Netflix calls a thriller (excepting a few wildly mislabeled films), and since you can no longer view by highest rated, we've ranked our favorite thrillers on Netflix for you.
Also check out the 100 Best Movies on Netflix list.
Here are the 50 Best Thrillers on Netflix:
50. Lavender
Year: 2017 Director: Ed Gass-Donnelly Lavender's building blocks are so well worn—mysterious discoveries, creaky houses, darting specters—they might well be invisible were it not for another of its defining features: the efficiency and assuredness with which the whole affair is presented. The movie is streamlined to the point that you have to admire its dedication to offering, without so much as a wink, a ghost story about the gradual opening of a locked memory and the catharsis that awaits its heroine. The film opens with a brief prologue in 1985 on an expansive rural property and the immediate aftermath of a murder scene in a family home. Shift to 25 years later, and we see Jane (Abbie Cornish) toting her school-age daughter Alice (Lola Flanery) on long drives through the countryside so she can take photographs of empty houses, most of them set back quite a way from the road. Jane has a romantic's fascination with the houses, seeing them as epitaphs to the lives that once inhabited them. There's a restlessness to Jane, and she's distracted by her own preoccupation with houses, becoming enthralled with one in particular. Jane soon becomes caught up in a mystery surrounding these small white boxes wrapped in red ribbon. For a while it's unclear whether their contents are intended as clues, or as methods of torment for her. Compounding Jane's confusion are a car accident, a long-lost relative, and a hospital psychiatrist (Justin Long) with dubious motives. While it succumbs to a lot of clichés that blunt its impact, Lavender shows that there are interesting ways to apply genre elements beyond the bump and chills, and in the service of story about memory, trauma, and resolution. —Anthony Salveggi
49. Reservation Road
Year: 2007 Director: Terry George
Terry George runs in a completely different direction from his Hotel Rwanda, but this New England story of a family's loss to a hit and run driver is no less heart-wrenching with gripping performances from Joaquin Phoenix, Mark Ruffalo and Jennifer Connelly. The first few minutes (of Reservation Road) is an emotional experience, especially if you have children. But there's depth beyond the family's sadness in losing a son. There's the moral dilemma that Mark Ruffalo's character has to face as the movie unfolds. —Tim Basham
48. The Road
Year: 2009 Director: John Hillcoat The Road, like any Cormac McCarthy adaptation, isn't a picnic. What's remarkable about the film is that it's both softer and harsher than McCarthy's original novel at the same time—a tad more sentimental, but by virtue of its medium it's also more confrontational and visceral, which makes the experience of watching it soul-sucking as only cinema about the apocalypse can be. But consider the director, John Hillcoat, who made 2005's The Proposition prior to The Road. In The Road, as in The Proposition, Hillcoat imagines the world around us as a blasted landscape, though here he has traded out his hellish portrait of the Australian outback for a desolate, ash-coated post-American landscape where trusting strangers is a death sentence and constant paranoia the key to survival. (He also shot on location in Oregon, Pennsylvania and Louisiana.) The most succor you'll find in The Road is in leading performances from Kodi Smit-McPhee and Viggo Mortensen, playing a father-son duo making their way to the coast across a devastated nation. They give the film a heart that its scenery and action wholly lack.—Andy Crump
47. Tinker Tailor Soldier Spy
Year: 2011 Director: Tomas AlfredsonSteeped in the monochrome color palette and noir soundtrack of 1970s espionage cinema, Tomas Alfredson's adaptation of John le Carré's classic bestselling spy novel offers smart, nostalgic entertainment for a discerning adult audience. Set in 1973 at the height of the Cold War, the film turns on the suspicion that a double agent has infiltrated Britain's Secret Intelligence Service (SIS), a.k.a. MI6. Shortly after a botched operation to ferret out the mole ends his career, Control (John Hurt) dies, leaving his investigation in the hands of retired operative George Smiley (Gary Oldman). With grayed blond hair and owlish glasses, Oldman disappears into his role, not only physically but behaviorally. Smiley is a still man, watching and waiting, while his mind whirs, processing and analyzing years' worth of data, information and memories.—Annlee Ellingson
46. Hush
Year: 2016 Director: Mike Flanagan
Mike Flanagan's Oculus was a pleasantly ambitious surprise for horror fans when it landed a wide distribution release in 2013, so looking at his new Netflix-exclusive Hush, one sort of wonders if he's taking a step back by directing a fairly classical home invasion thriller with limited cast and locations. There are, however, just enough twists on this especially trope-laden subgenre, starting with our heroine, who is deaf. That one disability, coupled with her remote residence in the woods, makes for a uniquely frightening handicap in repelling the masked intruder who comes calling. Unavoidably evoking The Strangers and Funny Games in particular, Hush nevertheless carves out its own spot in the niche. Our lead is an unusually intelligent, resourceful (but realistic) protagonist for this sort of setting, and her reactions to each new horror ring with truth. The stakes and tension rise in a palpable, organic way that has no need to resort to further gimmickry or a third act twist. It's simply a battle for survival, featuring a character who is impressively well developed, considering that she never "speaks" a word. —Jim Vorel
45. Mudbound
Year: 2017 Director: Dee Rees
Director Dee Rees uses the uneasy partnership between a white family and a black family in postwar Mississippi as a bruising metaphor for modern-day America. In Mudbound, Jason Clarke is the patriarch of a recently relocated Tennessee clan that must work together with the Jacksons (led by Mary J. Blige) to cultivate farmland, but the poisonous economic, racial and social atmosphere surrounding them constantly threatens the crops they're trying to sow. This somber, despairing film sees the world plainly: War veterans aren't given the care they need when they return, bigotry runs rampant, and good people are outnumbered by the small-minded. And the performances are stellar—especially Garrett Hedlund, as a bomber pilot who's a shell of himself now that he's home, and Jason Mitchell as a black soldier who finds that America still won't accept him, even though he fought valiantly for his country. —Tim Grierson
44. Cold in July
Year: 2014 Director: Jim Mickle
Richard Dane seems like a decent-enough man. Living in East Texas in 1989, he has a wife and child, and when he hears a noise coming from the living room late one night, he goes out cautiously, holding his dead father's gun tentatively. He didn't mean to kill anyone. And he certainly didn't intend to have just about everything in his world change in the moment when he accidentally pulled the trigger. Michael C. Hall plays Richard, not overdoing the character's regular-hick modesty. Adapted from Joe R. Lansdale's novel, Cold in July has a steely, slightly off-kilter vibe. Less extreme than the regional portraits preferred by the Coen brothers, the movie soaks up the period details, particularly in Jeff Grace's wry nod to the synthesizer-driven scores of the 1980s. As in his past films, Mickle demonstrates an impressive degree of tonal control: Cold in July clearly pays homage to a certain style of bygone genre filmmaking, but not at the expense of the characters or the stakes. (Still, not for nothing is a crucial scene set at a drive-in theater.) Consequently, the film has both a giddy, escapist feel and a grim suspense, its self-conscious artificiality melding perfectly with its barebones emotional authenticity.—Tim Grierson
43. The Babysitter
Year: 2017 Director: McG The Babysitter is a little guileless in its overt desire to be lovingly described as an '80s slasher homage, but simultaneously effective enough to earn a good measure of that approval it craves. With twists of Fright Night and Night of the Demons, it's at its best not when trying to slavishly recreate a past decade but when letting its hyper-charismatic teenage characters run wild. Stylish, gory and profane to a fault, The Babysitter features a handful of bang-up performances by Judah Lewis as a late-blooming 12-year-old, Robbie Amell as a nigh-invincible football jock and Samara Weaving as the title character, the girl of Lewis' dreams—right up until she tries to sacrifice him to the devil. Fast-moving (only 85 minutes!) and frequently hilarious, it's probably the best unit of popcorn horror entertainment that Netflix has managed to put out so far. The Babysitter's character chemistry actually justifies a second go-round, which I'd be happy to watch. —Jim Vorel
42. Omar
Year: 2014 Director:Hany Abu-Assad
More trenchant as a political allegory than a character drama, Omar is more interested in the ideas within this slow-burn thriller than in plot machinations. To writer-director Hany Abu-Assad, maniacal twists and cunning action set pieces would simply get in the way—better that we spend our time thinking about why the characters find themselves in this situation at all. Nominated for the Best Foreign Language Film Oscar, Omar stars Adam Bakri as the titular young Palestinian, who must daily scale the imposingly tall security wall that separates him from his girlfriend, Nadia (Leem Lubany). Though very much in love, they haven't yet revealed their relationship to her brother (and Omar's good friend) Tarek (Eyad Hourani), who is planning with Omar and another close pal, Amjad (Samer Bisharat), to kill an Israeli soldier. The three friends' mission is a success—it's Amjad who pulls the trigger—but soon after, Omar is snagged by Israeli forces, led by Agent Rami (Waleed F. Zuaiter). Threatening Omar with imprisonment, Rami promises him freedom if he'll deliver Tarek, the group's leader, to them in exchange. What's most resonant in Omar is that, just as we can't always gauge the characters, they're, too, concealing parts of themselves from each other, a byproduct of living in a part of the world where distrust is commonplace and secrecy a necessity. Which is why Omar's startling ending is both somewhat mystifying and also oddly perfect—we don't see it coming, and yet deep down, we're not surprised at all that it happened. —Tim Grierson
41. Oculus
Year: 2013 Director: Mike Flanagan
When one hears that the central focus point of Oculus is a haunted mirror, you expect a fairly self-contained ghost story, but this recent release proved to be a surprisingly ambitious concept from a promising horror director, Mike Flanagan. It simultaneously juggles accounts of the mirror's evil influence in two timelines, following the same characters as children and adults. The segments as children feel a tad by-the-books, but the pleasantly over-the-top performances in the adult portion are particularly enjoyable, as a young woman attempts to scientifically document and then seek revenge upon the source of her family's misery. The film begins to peter out just a bit by the end, as the two stories become intertwined to the point of confusion in an attempt to blur the lines of reality, but in general it's a stylish, creepy horror flick that goes out of its way to defy conventions. Look no further than the soul-sucking ending, which leaves the door wide open to all sorts of future possibilities if Flanagan ever wants to revisit the concept. —Jim Vorel
40. Nymphomaniac: Volume I
Year: 2014 Director: Lars von Trier "Which way do you think you'll get the most out of my story—believing me or not believing me?" asks the central character in writer-director Lars von Trier's new film. She's an emotionally broken, physically beaten sex addict recounting her life less ordinary to an ascetic bachelor with a passion for fly-fishing, but the words might as well be from the filmmaker himself. In Nymphomaniac: Volume I, he's inviting viewers to come along on a lurid trip, to submit to a survey of longing (emotional as much as sexual) threaded with intellectual riffs big and small, and allusions to dozens of other works. The movie's sex scenes are indeed the fulcrum on which the movie turns. But the film's graphic sequences are only shocking, really, insofar as how well they abut and serve the more discrete stories the narrator tells.—Brent Simon
39. The Imitation Game
Year: 2014 Director: Morten Tyldum
The historical thriller The Imitation Game is precisely the type of film studios love to dangle as Oscar bait. It focuses on a relatively unknown, yet significant, World War II code-cracking project and features a socially awkward genius as its protagonist. It doesn't hurt that the aforementioned hero and his compatriots are Brits. Noted mathematician and cryptanalyst Alan Turing is often considered the father of modern computer science, but his most consequential work—conducted as a WWII codebreaker—remained largely unknown until the British government declassified related documents in the 1970s. The Imitation Game, with Benedict Cumberbatch as the eccentric Turing, focuses on his wartime tenure at the Government Code and Cypher School in Bletchley Park, located about 50 miles northwest of London. In the confines of the nondescript Quonset Hut 8, Turing leads a team of prototype hackers to decipher Germany's Enigma machine codes. Their work is said to have shortened the length of the war by several years. Cumberbatch gives an intense performance as the brilliant loner with behavior that registers along the autism spectrum. While he indulges in too much scenery chewing and stammering, Cumberbatch creates a memorable character who is at once fascinating and off-putting. The only person squarely on Turing's side is Joan Clarke (Keira Knightley), an astute mathematician recruited for the testosterone-heavy team. Knightley shows off a dynamic range as she plays a dutiful daughter, torn between obligations to her parents and her country. Norwegian director Morten Tyldum, known best for 2011's Headhunters, and scribe Graham Moore keep the tension high, even when the hackers and decoders are conducting tedious work. The supporting actors transcend their one-note characters and capture the audience's attention.—Christine N. Ziemba
38. Cabin Fever
Year: 2002 Director: Eli Roth Cabin Fever is a darkly humorous story about a group of friends who head to an Evil Dead-style cabin in the woods and face not a slasher or demons, but a killer too small and invasive to avoid: A flesh-eating virus. It is, to describe in a single word: icky. People with phobias about communicable disease, especially in the wake of the Ebola panic, will find this movie especially horrifying, especially once peoples' faces start falling off. Everyone else is likely to laugh at the plight of the largely unlikable teens suffering this fate, and their understandably hysterical reactions to it. There's a lot to laugh at—the comic relief deputy, and especially the infamous and profoundly weird pancake kid. Of course, like most slashers, we ultimately want the villain to win. Even if the villain is a virus. —Jim Vorel
37. Wind River
Year: 2017 Director: Taylor Sheridan
2017's Wind River marked the directorial debut of screenwriter Taylor Sheridan (Sicario, Hell or High Water) and it stars Jeremy Renner as Cory Lambert—a veteran tracker for the Fish and Wildlife Service. After discovering the dead body of a young Native American woman, he joins Elizabeth Olsen's jane Banner, an FBI Agent, on a quest for answers and, for Lambert, personal redemption for something that happened in his past. What follows is nearly two hours of pure white-knuckle tension as the duo tries to solve the murder. It is a sparse, desolate thriller—a snow-covered neo-western—where violent acts bring about violent repercussions. In a land where hope hasn't existed for a while, or maybe it was never there to begin with, heinous acts go unpunished. Lambert and Banner want to fix that, trying to bring justice and redemption to the condemned few on the Wind River Indian Reservation. The film flirts with the all too real problems of life on Native American reservations, the blind-eye America turned to their once-perpetrated genocide and the real fact that the rape of young Native American women is a crime that rarely sees the perpetrator convicted. Wind River's thematic resonance and tonal texture is nearly post-apocalyptic in its spatial desperation and tangible sorrow. It is a quiet, methodically paced thriller where a metaphorical kettle is at a constant near boil until it reaches a fever-pitch punctuated by extreme violence, and one of the tensest and most nerve-wracking stand-offs in cinematic history. Nick Cave and Warren Ellis's somber score interrupt the film's haunting silence with equally haunting melody. Sheridan proves himself a capable director who frames most of the film in striking wide shots that capture the sheer nothingness of the landscape, and when lead starts flying, he keeps the camera steady—all of the action remains in frame, adding to the sense of desperation, sloppiness and overall pointlessness that each outburst of violence seems to harbor. As a whole, it may fall victim to an all-too-common "white savior complex," but it's a thriller that feels as necessary as it is riveting. —Cole Henry
36. Let Me In
Year: 2010 Director: Matt Reeves
Practically more supernatural a creature than its starring monster, Let Me In is not only an Americanized adaptation of a foreign film that isn't a waste of everyone's time, it's arguably superior than the film it's based upon. Like the original Swedish film, Let the Right One In, Matt Reeves' update teases a remarkable amount of tension and intrigue through meticulous plotting and arresting imagery. Though set in Los Alamos, New Mexico, rather than Stockholm, the choice of place for relocation initially seems an odd one—but it turns out it's not the icy Swedish darkness that harbors the sense of unease. It's the isolation of a 12-year-old boy, neglected by parents and any real parental figure. Owen's (Kodi Smit-McPhee) bond with the eternally youthful vampire Abby (Chloë Grace Moretz) is as effective and chilling here as it is in the original, thanks in no small part to its two phenomenal young leads. No question there's a modern horror classic here, from the unlikeliest of origins. —Scott Wold
35. I don't feel at home in this world anymore.
Year: 2017 Director: Macon BlairWinner of the U.S. Dramatic Grand Jury Prize at Sundance, writer-director Macon Blair's debut feature is a tonally audacious genre outing unafraid to slip for a moment or two into the sweet relief of magical realism. Blair's premise is simple—Ruth (Melanie Lynskey, cast to perfection), a quiet loner, comes home to find her house robbed, and when the police won't help, she seeks vigilante justice with equally socially inept neighbor, Tony (Elijah Wood)—but his ever-increasingly sprawling plot is fueled by a myopic moral perspective rendered in black and white. Ruth wonders aloud why everyone is an asshole (moreso, why assholes so easily get away with being assholes), and Blair seemingly wonders the same thing, punctuating his mundane neo-noir with gruesome violence and unexpected physical comedy (a projectile vomit scene, in particular, rivals the classic back-alley puke-fest from Team America). Blair's worked extensively with his friend Jeremy Saulnier (Blue Ruin, Green Room), so the two share a startling sense of pace and a knack for making even the most sloppy action sequences feel precise, but Saulnier is so much bleaker, whereas Blair allows each of his film's supposed assholes a chance to redeem, or at least explain, themselves. A crappy cop is going through a messy divorce; a delinquent son acts out against the specter of an absentee father; a guy whose dog craps on your lawn just wasn't really paying attention—as Ruth struggles to confront the callousness of her cold world, she realizes that we're all pretty much doing the same thing too: We're struggling.—Dom Sinacola
34. Creep 2
Year: 2017 Director: Patrick Brice Creep was not a movie begging for a sequel. About one of cinema's more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his "art"—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not "let's do it again," but "let's go deeper"—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a "horror movie," remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film's only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel
33. Creep
Year: 2014 Director: Patrick Brice Creep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year's The Overnight. Starring the ever-prolific Mark Duplass, it's a character study of two men—naive videographer and not-so-secretly psychotic recluse, the latter of which hires the former to come document his life out in a cabin in the woods. It leans entirely on its performances, which are excellent. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist's life and haunts his every waking moment. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Anyone genre-savvy will no doubt see where it's going, but it's a well-crafted ride that succeeds on the strength of chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina.—Jim Vorel
32. Killing Ground
Yaer: 2016 Director: Damien Power
The term "slow burn" is most often applied to movies where nothing of note happens for about the first hour, and everything happens in the last ten to twenty minutes. But Damien Power holds our attention throughout Killing Ground. It's build-up is essential to the pay-off. Really, this isn't a slow burn at all: It's a really well-made genre movie, the product of a smart, obviously skilled filmmaker with a good sense of economy. Power treats every beat in the narrative as an opportunity for disquieting his viewers, using a collection of techniques to progressively raise the hairs on our arms, but more importantly he maintains an enduring harmony across multiple plot threads and perspectives without losing either himself or us. The film begins with our designated protagonists, married couple Ian (Ian Meadows) and Sam (Harriet Dyer), and slowly, precisely expands to include two other involved parties. They're on a camping trip, heading for a waterfall on New Year's to celebrate, take a load off and maybe even get engaged. As soon as they arrive at their destination, they notice that someone else has beaten them there, setting up their own campsite at the same spot Ian and Sam had in mind.Killing Ground's grand artistic statement isn't made until its final image, so just enjoy the film as an exemplary exercise in tension as you wait for Power to suck out your soul. Power hasn't re-invented the Australian outback thriller, but he has put his personal stamp on it, and in so doing distinguished his works from similar fare, a'la Wolf Creek and Wake in Fright. Killing Ground doesn't burn slowly. It just burns. —Andy Crump
31. Scream 2
Year: 1997 Director: Wes Craven
It was going to be hard to follow up the original Scream for plenty of reasons: Aside from it being one of the more innovative, self-aware horror films in years, Wes Craven killed off all of its bad guys in the final scenes of the movie. Here's where Scream 2—a respectable follow-up and one that sets the stage for all of the film's lesser sequels—comes into play. It follows a new string of "ghost face" murders, this time centering around the creation of Stab, a film based upon the Woodsboro murders. As always, the film is painfully critical of the horror movie genre while still scaring the pants off audiences in voice-morphed, quizzical phone calls and Ghost Face pop-ups. It remains the only Scream sequel to approach the original in terms of overall quality, thanks to its ability to turn over new leaves in examining the conventions of film sequels. —Tyler Kane
30. Gerald's Game
Year: 2017 Director: Mike Flanagan
Director Mike Flanagan's Gerald's Game trims fat, condenses and slims, stripping away some of the odder quirks of Stephen King's novel to get at the heart of themes underneath. The result is a tense, effective thriller that goes out of its way to highlight two strong actors in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. It's hard to overlook some of the recurring themes in his work, beginning with 2011's Absentia and all the way through the wildly imaginative Oculus, Hush and Ouija: Origin of Evil. Every one of these films centers around a strong-willed female lead, as does Gerald's Game. Is this coincidence? Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative? Either way, it made Flanagan an obvious fit for Gerald's Game, an unassuming, overachieving little thriller that is blessed by two performers capable of handling the lion's share of the dramatic challenges it presents. —Jim Vorel
29. The Transfiguration
Year: 2017 Director: Michael O'Shea
Michael O'Shea's The Transfiguration refreshingly refuses to disguise its influences and reference points, instead putting them all out there in the forefront for its audience's edification, name-dropping a mouthful of noteworthy vampire films and sticking their very titles right smack dab in the midst of its mise en scène. They can't be missed: Nosferatu is a big one, and so's The Lost Boys, but none informs O'Shea's film as much as Let the Right One In, Tomas Alfredson's unique 2009 genre masterpiece. Like Let the Right One In, The Transfiguration casts a young'n, Milo (Eric Ruffin), as its protagonist, contrasting the horrible particulars of a vampire's feeding habits against the surface innocence of his appearance. Unlike Let the Right One In, The Transfiguration may not be a vampire movie at all, but a movie about a lonesome kid with an unhealthy fixation on gothic legends. You may choose to view Milo as O'Shea's modernized update of the iconic monster or a child brimming with inner evil; the film keeps its ends open, its truths veiled and only makes its sociopolitical allegories plain in its final, haunting images. —Andy Crump
28. Tucker & Dale vs. Evil
Year: 2010 Director: Eli Craig
Let's face it, hillbillies and their ilk have been getting the short end of the pitchfork in movies since the strains of banjo music faded in 1972's Deliverance. And whether due to radiation (The Hills Have Eyes) or just good old determined inbreeding (Wrong Turn and so, so many films you're better off not knowing about), the yokel-prone in film have really enjoyed slaughtering innocent families on vacation, travelers deficient in basic map usage skills, and, best of all, sexually active college students just looking for a good time. But fear not, members of Hillbillies for Inclusion, Consideration & Kindness in Screenplays (HICKS)—writer/director Eli Craig has your hairy, unloofahed back. His film, Tucker & Dale vs. Evil, answers the simple question: What if those hillbillies are just socially awkward fellows sprucing up a vacation home and the young college kids in question are just prone to repeatedly jumping to incorrect, often fatal, conclusions? Think Final Destination meets the Darwin Awards. —Michael Burgin
27. Okja
Year: 2017 Director: Bong Joon-ho Okja takes more creative risks in its first five minutes than most films take over their entire span, and it doesn't let up from there. What appears to be a sticking point for some critics and audiences, particularly Western ones, is the seemingly erratic tone, from sentiment to suspense to giddy action to whimsy to horror to whatever it is Jake Gyllenhaal is doing. But this is part and parcel with what makes Bong Joon-ho movies, well, Bong Joon-ho movies: They're nuanced and complex, but they aren't exactly subtle or restrained. They have attention to detail, but they are not delicate in their handling. They have multiple intentions, and they bring those intentions together to jam. They are imaginative works that craft momentum through part-counterpart alternations, and Okja is perhaps the finest example yet of the wild pendulum swing of a Bong film's rhythmic tonality. Okja is also not a film about veganism, but it is a film that asks how we can find integrity and, above all, how we can act humanely towards other creatures, humans included. The answers Okja reaches are simple and vital, and without really speaking them it helps you hear those answers for yourself because it has asked all the right questions, and it has asked them in a way that is intensely engaging. —Chet Betz
26. The Conjuring
Year: 2013 Director: James Wan
Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Several of his films sit just outside the top 100, if this list were ever to be expanded, but The Conjuring can't be denied as the Wan representative because it is far and away the scariest of all his feature films. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its haunted house/possession story is nothing you haven't seen before, but few films in this oeuvre in recent years have had half the stylishness that Wan imparts on an old, creaking farmstead in Rhode Island. The film toys with audience's expectations by throwing big scares at you without standard Hollywood Jump Scare build-ups, simultaneously evoking classic golden age ghost stories such as Robert Wise's The Haunting. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. It's interesting to note that The Conjuring actually did receive an "R" rating despite a lack of overt "violence," gore or sexuality. It was simply too frightening to deny, and that is worthy of respect. —Jim Vorel


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The straightening support is easily adjustable in the vertical beam (2) as well as adjusting the straightening rubber pads downwards, which allows straightening pull to the right direction. Choosing stepless pulling line speeds up the straightening.
When SmartPuller Silver set is equipped with Gripping multihook heads A-11+3, dent pulling can be performed simultaneously on a large area. This makes e.g. the straightening of long dent faster (see the picture).

subset: commoncrawl


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Man O' War Bay
A mix of sand and shingle, this is one of the hidden treasures at Lulworth. Aquamarine water with safe seas for gentle swimming and paddling.
Worbarrow Bay
An isolated shingle beach in a wonderful setting.
Kimmeridge Bay
The rocks at Kimmeridge were once the floor of a deep tropical sea. Rich in prehistoric life, many important fossils have been found here.
A tranquil National Trust pebble beach with lovely views across the Jurassic Coast to Portland


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The chase is on...
Title: At Large
Author: David H. Freedman
Genre: Technology
No. of pages: 320
Rating: 3/5
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They sound both cool and scary.
When most people think of a 'hacker' they think of someone in a dark room filled with old pizza boxes, totally focused on their computer screen, tapping away frenetically.
In this book, that is exactly what a hacker is!
At large tells the true story of the chase for a very elusive hacker in the United States that has the FBI, system admins and his family all scratching their heads.
The major advantage this book has is that there are so many perspectives in the book. From the FBI to the hacker himself, we are able to see what's going on at the same time in different locations. This helps us to understand the story from different points of view and because of this, this book doesn't just become about computer jargon, but about other aspects that take place in the investigation such as evidence, prosecution and hacker culture.
Like I said, for me being able to see different perspectives is always a huge thumbs up.
Now what I really liked about this book was that a third of the way through, we knew exactly who the hacker was and therefore we were able to see how he was feeling; his fears, achievements and generally what was going through his head. I still maintain, to prevent a crime, understand what the criminal is thinking, what their motivations are and then seeing if there is a way that you can fill these motivations without committing a crime.
For me, my main issue was that the book was slow. The reason for this I guess is that obviously, investigations take very long, and even though they knew who the suspect was they couldn't arrest them because of jurisdiction and laws and other blockers. But the book was frustratingly slow. It wasn't a book they kept me hooked, I kept reading because it was something that interested me, not because it was riveting.
I would say if you are interested in law or in computers and investigations, then this book is a very interesting read. I mean it will take you a while but I don't doubt you will come away feeling enlightened.
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Don't forget guys, I post every Mondays and Fridays so be sure to check in!
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by Marc Glassman.
Hot Docs 2008
April 17-27
Box office: 87 Avenue Road at Hazelton Lanes, upper level
Website: www.hotdocs.ca
Venues: Al Green Theatre (Mlles Nadal JCC); the Bloor; the Royal; Cumberland cinemas; Innis Town Hall; Isabel Bader; ROM; Winter Garden
Films: over 170 shorts and features
Producing countries: 36
Industry delegates: over 2000
Main industry event: TDF (Toronto documentary Forum)
Second most important: Doc Summit (NFB sponsored national dialogue)
Third: DocAgora: new technologies and the doc
Film Programmes:
International Spectrum: new docs worldwide
World Showcase: also global, these films have had more screenings
Canadian Spectrum: features and shorts from Canada
Made in Mexico: surveys Mexican docs
Spotlight in Iran: overview of Iranian non-fiction cinema
Outstanding Achievement Retrospective: Richard Leacock
Canadian Focus: Jennifer Baichwal
Next: films on art
Make me a believer: films on spirituality
Special Presentations: award-winners, master directors, special events
Coolest delegate bonus: The Doc Shop, where 1500 docs are available to be seen on DVD in small viewing stations
Number of stars: one, Isabella Rossellini
Number of years the festival has been running: 15
Hot Docs is the little festival that could. From an event that only showed Canadian docs, most of which had already been broadcast, to the hugely influential international festival that exists today is a leap of nearly galactic proportions. Starting out as a promotional and moderately successful fundraising tool for the Canadian documentary community, the festival grew slowly over its first six years. The big event, all that time, was a prize giving ceremony that functioned much as Guild awards nearly always do—local heroes, across the country, received recognition from their peers.
That all changed in 1999, when Chris McDonald left the Canadian Film Centre to take over the role as Executive Director. Quickly, the programme opened up to include international entries. Retrospectives on important directors became festival highlights as did focuses on national cinemas from Europe, Asia and South America. In a controversial but appropriate decision, Canadian films that had already been broadcast or screened became ineligible.
Within a few years, all films, apart from special screenings, became Toronto premieres. More and more filmmakers came to showcase their wares. Then, in a masterstroke, the TDF (Toronto Documentary Forum) was created. A private industry pitch session in which qualified filmmakers could present their new project to an international body of producers, fellow directors and commissioning editors for broadcasters, the Forum became a "must see" event in many a professional's calendar. Films—many of them quite important—got their funds increased due to the Forum.
Soon, Hot Docs became one of the most important events in international documentary circles. People from around the world come to the festival to buy and sell films, meet old friends and pitch new projects. Meanwhile, the Toronto audience, ever mindful of something new and significant has embraced Hot Docs.
Audience numbers are climbing. So are the international guests. And, indeed, so are the films.
And, as Kurt Vonnegut once put it, so it goes. Hot Docs just keeps getting hotter. There's no end in sight—and why would there be?
One pick per section. Yep, it's how I cover every major festival!
Here we go:
International Spectrum
The English Surgeon.
A brilliant profile of Dr. Henry Marsh, a neurosurgeon who has spent years operating on patients in the former Soviet Union. Sad and moving.
Canadian Spectrum
A compassionate, funny look at the folks who work carnivals today. Funky, interesting—and beautifully shot, in part, by still photographer Virginia Lee Hunter.
Made in Mexico
The Old Thieves
Fascinating profiles of old-time professional crooks. They're all good storytellers, in particular one "gent" called El Carrizo.
Spotlight in Iran
Tehran has no more pomegranates
A stylish look at the history of Iran's major city. Uses fake and real archival footage and is quite experiment—all of which slightly disguises a very real critique on Iranian society.
Outstanding Achievement Retrospective: Richard Leacock
Jazz Dance
Frenetic movement to up tempo jazz beats. Kinetic cinema
Canadian Focus: Jennifer Baichwal
The Holier it Gets
Filmmaker Baichwal and her siblings find out much about each other as they travel through India to bury their father's ashes in the Ganges
World Showcase
Be Like Others
A compassionate look at Iranian transsexuals who go through sex change operation to "be like others"
Next: films on art
General Idea: Art, AIDS and the fin de siecle
Tells the riveting story of a Toronto based conceptual art group that became international art stars and then fell apart when two of them died of AIDS
Make me a believer: films on spirituality
Shadow of the Holy Book
A marvelously absurd look at a crazed Turkmenistan dictator who created his own religion and insisted that everyone—including international corporations—pay lip service to his beliefs
Special Presentations
The tale of the Uruguayan rugby team that resorted to cannibalism to survive after their plane crashed in the Andes. Excellent reconstructions of the events and story telling make this a great film


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Minutes of the Aboriginal Advisory Committee
Meeting Date: Monday, 6 February 2017
Location: Seven Mile Room, City Administrative Centre, Bridge Road, Nowra
Time: 4.31pm
The following members were present:
Sue-Anne Cutmore – Chairperson
Clr Cheyne
Clr White
Clr Kitchener
Sylvia Timbery
Janet Atkins
Patricia Lester
Noel Wellington
Leonie Ebzery – left 5.06pm
Shane Brown
Valda Corrigan – NPWS
Christine Finney
Others present:
Margaret Simoes - Aboriginal Community Development Officer
Ray Massie – Coast and Estuaries Officer
Apology was received from Leslie Halls
That the Minutes of the Aboriginal Advisory Committee held on Thursday 24 November 2016 be confirmed.
That That the Minutes of the Aboriginal Advisory Committee held on Thursday 24 November 2016 be confirmed, noting the following corrections:
HPERM Ref: D17/13702
Item dealt with later in the meeting.
AA17.2 Membership Requests - Natalie Lloyd and Les Bursill OAM
HPERM Ref: D17/14679
1. The Aboriginal Advisory Committee accept the membership applications from:
a. Natalie Lloyd
b. Les Bursill OAM
2. That they be notified of their appointment and invited to all future meetings.
Note: Following the completion of the Agenda an additional three (3) nominations were received and dealt with in conjunction with this item.
The following applications were received and considered by the Committee:
1. Natalie Lloyd
2. Les Bursill
3. Charlie Ashby
4. Paul McLeod
5. William Smith
Note: Leonie Ebzery left the meeting at 5.06pm
Note: Valda Corrigan excused herslef from the meeting at 5.06pm
Recommendation (Clr White / Patricia Lester)
Note: Council has received applications in excess of the adopted Terms of Reference, the following recommendations be made:
1. The Terms of Reference be amended to change five (5) of the remaining positions for two (2) community positions and three (3) being for representatives of each Local Aboriginal Land Council's (LALC).
The application from Charlie Ashby be accepted and appointed.
RESOLVED (Clr White / Patricia Lester)
1. Due to limited membership the following applications not be accepted:
a. William Smith
b. Les Bursill OAM
c. Natalie Lloyd
d. Paul McLeod
2. Council write to Jerrinja LALC asking if Natalie Lloyd will be their representative on the Committee.
Note: Paul McLeod's application is pending further advice and information.
Note: Anyone wishing to become a member of the Aboriginal Advisory Committee must complete the required application form.
The Committee discussed how they have a good working relationship with the community and it is time the bring the Youth on board and engage with them.
Note: Valda Corrigan returned to the meeting at 5.45pm
The Committee discussed public attendance at meetings and deputations to the Committee. It was noted that the meetings are open to the public and anyone can attend, however cannot contribute or speak to the meeting without the permission of the Chair. It was also noted that if any member of the public wishes to address the meeting they must go through the formal process of contacting Council through the Governance Unit.
Valda addressed the meeting and the Committee discussed the importance of identifying the five (5) key issues for focus, going forward.
Members are to nominate and send key issues to Margaret Simoes by 10 March 2017. These will be collated and form a report to the next meeting for consideration and will identify the five (5) key issues for focus going forward.
Note: It was requested that the next meeting of the Aboriginal Advisory Committee in April 2017 commence at 3.30pm to allow for any business arising from previous minutes.
Note: The Committee advised that Mondays are preferred days to hold Advisory Committee Meetings.
That future meetings of the Aboriginal Advisory Committee be held on a Monday where possible..
Clr Cheyne advised the Committee that she had attended the recent Australia Day Awards and it was brought to her attention that no Aboriginal people were nominated for the awards. She also said that it would be good for the Shoalhaven to have a special day for Indigenous Awards. Margaret Simoes advised that we are involved in NAIDOC Awards.
Staff advised that the Awards are open to all members of the public from the Shoalhaven for the following categories:
3. Citizen Award
4. Young Citizen Award
5. Sports Award
6. Young/Junior Sports Award
It was requested that for future events the nominations for the Australia Day Awards are sent to all members of the Aboriginal Advisory Committee for distribution to the Aboriginal Community.
HPERM Ref: D17/13702
It was noted that all members of the Committee were encouraged to renew their membership.
All current members wishing to remain a member of the Committee must complete the required form, if an application is not forthcoming their position will expire.
Recommendation (Item to be determined under delegated authority)
1. That current members express an interest to renew their membership on the Aboriginal Advisory Committee
2. That new expressions of interest for membership be promoted and advertised to the community
RESOLVED (Clr White / Clr Kitchener)
1. Current members express an interest to renew their membership on the Aboriginal Advisory Committee, for the next 12 months, being the first of a four year term under the Terms of Reference.
2. Should vacancies arise from resignations, expressions of interest for membership be promoted and advertised to the community.
There being no further business, the meeting concluded, the time being 6.13pm.
Ms Sue-Anne Cutmore


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There is a regular pattern of services amongst the churches in our group. At St James Christow the regular services are on the third Sunday of the month (8.30am Holy Communion) and the fourth Sunday of the month (10am Parish Communion) and we often join with other churches in our mission community for services together. We welcome everyone in the community including those visiting from further afield. Children are welcome to play or do some colouring in our Children's Corner at the rear of the church.
(14th April Palm Sunday 10am in Bridford or Dunchideock or 6.30 pm Group Evensong in Dunsford)
18th April Maundy Thursday 7.30pm in Christow
19th April Good Friday 10am Celebration of the Lord's Passion in Christow (or a Journey with Jesus at Dunsford Church 2pm)
21st April Easter Sunday in Christow at 10 am and in all other churches
28th April 10am Parish Communion in Christow
AGM – 30th April in Church at 7.45pm
Baptisms, Thanksgivings, Weddings and Funerals
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Sample text
11 For the claim that He is unable to do what He wishes deserves ridicule, because if He were able sometimes and not able at others, then it would follow that He admits of change and affection. For His losing the ability would be the reason for His receiving an affection. Whatever alters from not being able to being able has changed, because both power12 and lack of power belong to [the category of] quality, and change is alteration of quality. If He is everlastingly able 34,3 5 10 15 35,1 20 5 Chapter 1, Section 2 to create, and everlastingly wishes to create, then it is absolutely necessary that He everlastingly creates and that the universe is everlastingly created, and that the world is everlastingly existent (mawjûdan), just as the Creator13 is everlastingly creating.
The unity of providence], remaining stationary and undivided in [its] unity, also knows all things in this same mode, and not only man and sun and everything whatsoever of that kind, but also each particular thing. 136 And the philosopher Plotinus in On the Intelligibles, or, On the Good137 says similar things about the creative and providential power of God in these words: Nevertheless, if it is necessary that each activity [of his] should not be imperfect and it is not right to think of anything belonging to God as other than whole and entire, all things must be present in anything of his.
If He wants all things to be like Himself, then He is able to make all things like Himself, since He is the ruler and lord of all things. But if He wants to make all things like Himself, and He is able to make all things like Himself, then He makes them everlastingly. For, everything that does not make refrains from making either because it does not wish to make or because it is unable to make – if it is susceptible to one of these two. So if the Creator – may He be exalted10 – makes the world from His generosity, He makes it everlastingly.


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November 19, 2018, Cairo - Special screening of a documentary Wild Edens: Russia, first in a new series that highlights the issue of climate change, takes place in Cairo, Egypt. Focusing on the flora and fauna in the one-of-a-kind natural habitats of Russia, the documentary highlights the unique and delicate habitat of the Altai Mountains, the Kamchatka Peninsula, the Arctic. The Wild Edens project is initiated by Rosatom and broadcast by National Geographic.
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Alexander Voronkov, Rosatom Middle East and North Africa CEO, said during the opening of the evening: "We have set two goals for ourselves within the Wild Edens project. Firstly, we want to raise awareness of the abundance of natural beauty this planet currently has to offer – both in Russia and other corners of our beautiful planet which will be featured in the consecutive series of this project. We're consciously choosing locations that may have been otherwise neglected by documentary filmmakers to bring you the real wild edens. Secondly, we want to remind global audiences that these authentic habitats may soon fall victim to the devastating effects of humanity's environmental footprint and increasing CO2 emissions".
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Almost one year passed since Egypt became the 152nd country to join The Paris Agreement. Consistently the environmental dimension became one of the three key pillars of the Egypt Vision 2030 programme which follows the sustainable development principle as a general framework for improving the quality of lives and welfare. The decision on constructing El Dabaa NPP is a significant step towards its realization. "At Rosatom, we are happy to assist Egypt on its way to fulfill the nuclear dream, as nuclear power not only ensures the availability of environmentally friendly, reliable and affordable base load power, but also allows Egypt to unlock its considerable potential for economic growth" - pointed Alexander Voronkov.


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Unit has been completely remodeled, All New Black SS appliances, paint, floors, cabinets, mirrors, fixtures, Chinese quartz counter tops and energy saving doors and double hung windows. This is a corner unit with large private deck at the end of a dead end street. Has a walk out crawl space that could easily be finished for workshop or extra storage.
Listing courtesy of Vylla Home.
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New Forest Pony Show Results
Derbyshire Festival, 9th-10th June
HOYS M&M Ridden, New Forest
1st, Hurtstock Cornish Amber (2009 chestnut mare, Farriers New Flame x Voadens Verity) - Laurel Booth - Lucy Booth - Q HOYS
2nd, Ashley Rancher (2011 chestnut gelding, Willoway Dancing Gold x Ashley Celebrity II) - Owen & Val Dibdin - Sam Roberts
3rd, Okedene Justin (2010 bay gelding, Lovelyhill Hendrix x Oke Dene Megan) - Karyn Thomas - Hayley Reynolds
4th, Lovelyhill Folklore (2011 blue roan colt, Applewitch Pure Magic x Yewtree On-High) - Penny Sutton & Peter Rowe - Alex Hawkins
5th, Harvey's Magic Moment (2004 bay roan gelding, Oke Dene Red Alert x Eleanor Rigby) - Clare Davies - Shelbie Ann Mcculloch
6th, Newcopse Tigger (2007 bay gelding, Furzey Lodge Zennica x New Copse Honey Bee) - Ben & Liz Mansbridge - Liz Mansbridge
7th, Woodfidley Saint George (2005 bay stallion, Lovelyhill Cranborne Heights x Cassy) - Stephanie Carney - Jessica Carney
8th, Knavesash Divine (2011 brown mare, Knavesash Alchemist x Little Miss Merry) - Lauren Burgess (was Povey)
9th, Wanstead Dark Side Of The Moon (2007 dark brown gelding, Wanstead Tarquin Moon x Patti Pinchbeck) - Kirstie Wright
10th, Simones Firecracker (2009 bay gelding, Wayland Cranberry x Wootton Firefly) - Serena Crump - Clare Fitch
HOYS M&M WHP 133cm
9th, Fidleywood Marmite (2005 bay roan gelding, Furzey Lodge Zennica x Fidleywood Fern) - Lorraine Craven
HOYS M&M WHP 143cm
1st, Willoway Free Spirit (2002 bay stallion, Peveril Peter Piper x Mercury Amy) - Laura Avery - Q HOYS
8th, Cadland Autumn Promise (2011 bay gelding, Warren Play-Away x Rushmoor Rose Bay) - Anne Bebbington - Sammy Bebbington
HOYS M&M WHP exceeding 143cm
2nd, Furzley Mermaide (2007 bay mare, Luckington Sportaide x Sophia) - Sandra Kilford - Laura Avery
M&M WHP 143cm
1st, Knavesash Divine (2011 brown mare, Knavesash Alchemist x Little Miss Merry) - Lauren Burgess (was Povey)
N.B. As at 3rd August, Derbyshire Festival have not published their results. The above results were worked out from mark sheets and a copy of the relevant catalogue pages. It is possible that there were New Forests placed in other classes, but I have no way of telling.


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SUBJECTS: Labor's plan to tackle unfair labour hire practices and protect workers; Trevor Ruthenberg; AEMO report; Long by-election; US/Russia meeting.
JO BRISKEY, LABOR CANDIDATE FOR BONNER: G'day, my name is Jo Briskey, I am the Labor candidate for the Federal seat of Bonner which is where we are here today, and I'm absolutely thrilled to be here today and with Bill. What a fantastic announcement that's going to make such a significant difference in the lives of families right across the electorate of Bonner, especially here at the Port of Brisbane, and right through the communities from the bay to the motorway here in Bonner. So I'd like to welcome Bill to Bonner, and I'll pass over to Bill to say a few words.
BILL SHORTEN, LEADER OF THE OPPOSITION: Thanks Jo and thanks to ACFS for having us here, and the Transport Workers Union. I'm accompanied today by my Workplace Relations spokesperson Brendan O'Connor and Assistant Shadow Minister Lisa Chesters and of course, Labor's fantastic candidate for Bonner Jo Briskey.
Today is an important day because Labor is fundamentally committed to getting the wages of Australians moving again, to improving the job security of everyday Australians, and tackling the scourge of insecure and casualised employment in Australia. Labor has a very simple principle which we apply to the use of labour hire in Australian workplaces. If you have two people working side by side with each other, two people of the same skills and the same experience, doing the same job, you should get the same pay.
So I'm pleased to announce today that an incoming Labor Government will legislate the principle same job, same pay. We think this is a very sensible proposition and one which good employers and Australian workers will be happy to see written in black and white in the law. Labour hire has become a prevalent form of employment in many Australian workplaces. The problem is that all too often labour hire employees are taken advantage of by dodge labour hire business practices. I mean, the research is in and there has been study after study which shows that labour hire workers have a higher risk of unemployment, they have a greater exposure to workplace injury, they have less chance of returning to work, if in fact they are injured. They often don't get redundancy, they have no unfair dismissal rights, they frequently have less training and they frequently have lower pay than the people they work alongside.
And this is actually a problem for them and their families - the idea that a significant proportion of the Australian population has to wait until they get the text the night before to find out if they've got hours of work the next day. You can't build a family or start a living around that sort of employment circumstances, it's just simply too precarious. And there's lots of good things about America, but one of them which I don't want to see Australia go down the path of, is a more Americanised system of work, where you've got a permanent underclass of Australian workers who don't have any job security. If you don't have proper job security and proper pay, it's very hard to get a car loan or a home loan. It's very hard for your family to be able to make solid decisions and get a really decent go in life. So Labor is proposing today that if we get elected we will legislate, same job, same pay.
Now what I'd like to do briefly is ask Brendan O'Connor, my shadow spokesperson to talk further about the details of this and some further propositions we're going to do to look after every day Australian workers and the good employers who shouldn't be undercut by the scallywags in the industry.
BRENDAN O'CONNOR, SHADOW MINISTER FOR EMPLOYMENT AND WORKPLACE RELATIONS: Thanks very much Bill. Well, as Bill has already outlined this is a very important policy because it's going to really address the problem with job security in this country and it's going to make sure that Australians get a pay rise. Wherever you go around this great country, when you speak with workers they say we want a pay rise, just a decent, fair pay rise and we want to be more secure at work.
Well this announcement by Labor will ensure that labour hire workers will be given the same opportunities and provided the same pay and conditions as direct employees, and that's absolutely critical. Now we've seen the Reserve Bank Governor talk about wage stagnation and there's a number of reasons for that. One of them is the misuse and overuse of certain forms of employment and that includes labour hire. It's also the misuse of casualisation and the over use of temporary workers. We see that each and every day. Well this decision, this announcement today and indeed this policy if Labor is elected, will ensure that labour hire workers will get treated equally at work. It will ensure that they are not exploited. It will also mean that their fellow workers who are directly employed are not undermined and it will also mean as importantly, employers who are doing the right thing in paying their labour hire staff, or making sure their labour hire staff are being paid the same, are not being disadvantaged in a competitive sense, against employers who choose not to do that.
So this is a very important policy announcement for those workers, and I want to add and Bill has asked me to add the other element of this policy, which is to regulate labour hire. Now we've already seen State Labor governments seek to fill the void left by Malcolm Turnbull and the Liberals in regulating labour hire. We have bottom feeders, we have rogue employers in this industry that are undermining standards of employment. In fact they're basically putting people at risk too often by endangering them without sufficient health and safety regulations and indeed without paying them properly. So we will regulate, we will expect licences to be issued to labour hire companies and labour hire companies who do not comply with the law, whether it's paying superannuation, whether it's complying with health and safety regulations, whether it's paying conditions of employment, they will not get their licences or if they breach fundamentally those requirements they will have their licences revoked. We want a national scheme. It's very good of the State governments to seek to bring in a scheme for their jurisdiction but having spoken to the ministers of those governments, they agree with Federal Labor that we need a national scheme and today's announcement will certainly ensure that if we elect a Shorten Labor Government we will see that happen.
We have not seen any movement by the government and by Malcolm Turnbull to address job insecurity and ensuring that Australians get a decent pay rise. Malcom Turnbull is on the record saying he believes wages should be as low as possible. He doesn't believe in a fair days pay for a fair days work, it will only be Labor that will provide that and for that reason, this is critical policy for working people around this country.
SHORTEN: Thanks Brendan, thanks Jo. Are there any questions on this or on any other matters?
JOURNALIST: Mr Shorten, are you happy that this medal controversy has taken the focus off yourself?
SHORTEN: Listen, I have my own views about whether or not it was an honest mistake but I'm going to - I think I'm going to leave that to the voters of Longman to work out what they think about it. My concern is more Mr Trevor Ruthenberg's record as a Campbell Newman Member of Parliament. Queenslanders haven't forgotten that Campbell Newman did his best to wreck the essential services of this state. Terrible cuts to hospitals and all the jobs lost in the Queensland health system and the hospital system, which meant a worse deal for patients and their families. Mr Ruthenberg's record as a person who always voted for every cut that Campbell Newman wanted, I think that's probably the most worrying issue for the voters of Longman.
JOURNALIST: So you don't accept that it was an honest mistake?
SHORTEN: No listen, I'm going to leave that to the voters of Longman. In my experience, most people know what they got their military medals for.
JOURNALIST: Just on President Trump's visit with Putin. How concerned are you about the conviviality of the meeting that we saw?
SHORTEN: I'm not going to start trying to second guess everything that President Trump does, that's longer than I think this press conference. But in terms of Putin, the head of Russia, I don't trust him. Both Malcolm Turnbull and I are on the same page there, as I was with Tony Abbott. I have never been satisfied that President Putin has ever satisfactorily told the truth to the families of the victims of the Malaysian flight which was shot down over eastern Ukraine where Australians were killed.
JOURNALIST: The Government is seizing on a report from AEMO saying that coal is essential to maintaining cheap and reliable energy, and warning against early closure of power plants. Do you support keeping them running?
SHORTEN: I think there seems to be a report where everyone seems to like something in it. Let me just go to what I think the AEMO report actually does say. It says that renewable energy is the future. It essentially supports Labor's policy to prioritise renewable energy as being the future of low cost energy in Australia. Now Labor has always said that coal and coal-fired power stations are going to be a part of the foreseeable future of Australia's energy mix. But Labor has said that we need to set a goal of 50 per cent by 2030. What this report doesn't say, is that we should be engaging in expensive investment in coal-fired power stations, or new coal-fired power stations beyond their technical operating life, beyond the end of their technical operating life. So I think that the message is clear and a lot of policy does reflect what Labor has been saying; renewable energy zones around Australia; recognising that storage and renewable energy is going to be the solution to lower cost energy in the future. What I don't want to see done with this report, is it sacrificed again on the altar of the civil war within the Liberal Party by various factions of the Liberal Party arguing about what it means for investing in new coal-fired power stations. It's black and white, there is nothing in this report which says that we should be investing in new, expensive coal-fired power stations. Coal as it is, is going to be part of the energy mix going forward; tick, that's what Labor said. But it is all about renewable energy, the future is renewable energy, and Labor has got policies to help get us to a lower cost energy, with a better climate and more jobs in renewable energy.
JOURNALIST: Did Labor leak the medal controversy to the media?
SHORTEN: I have no idea about that, no.
JOURNALIST: Bill Shorten, back to Trump, for Canberra. What approach would you take? I mean, you want people to vote for you as a Prime Minister, they deserve to know what your views are about Trump. And do you think he undermines US credibility from what we've seen overnight?
SHORTEN: The view which we would take is that the US/Australian alliance and relationship is stronger than individual personalities. We've got a lot in common with the democratic values of the United States. The United States has been important to Australia's foreign security, and of course, we're alliance partners through the ANZUS treaty. I'm not going to start diving into every aspect of American domestic politics, or indeed, trying to second guess body language in a meeting in Helsinki. But I also have to say, and it's with great regret, that President Putin has not been forthcoming, as he should have been, to explain to the families of murdered Australians what he knows and what role Russia had, and what role they had in supplying weapons to separatists in Eastern Ukraine, which saw the dreadful murder of so many Australians and people who lived in Australia, and of course, Malaysian citizens, Dutch citizens, innocent people in the skies above Ukraine.
JOURNALIST: Are you prepared to stoke your leadership on the result of Longman?
SHORTEN: Well, first of all by-elections come and by-elections go. We've got the best candidate in Longman, we've got the best policies. But Mr Turnbull didn't even bother running in Western Australia. That's amazing. I mean, when was the last time the Liberals didn't run in the seat of Perth? I think you'll find that very unusual. So if we're going to have debates about the sort of question you're asking, Mr Turnbull has already surrendered hasn't he, by not even turning up to two of the by-elections.
JOURNALIST: Is that a no or a yes?
SHORTEN: Let's be clear, I intend to lead Labor. But what we're going to do is - because we've got the best policies. The voters in Longman – you know, you guys want to talk about personalities, that's your choice. I want to talk about the issues which affect people. Caboolture Hospital has had a cut of $2.9 million. Labor wants to put in new chemotherapy treatment, eight extra chemo beds in Caboolture hospital so people don't have to make the drive elsewhere to be able to get cancer treatment. We want to propose an urgent care clinic on Bribie Island. What that will mean, is that the thousands of emergency department visits where people from Bribie and the areas near there, with their long drive to Caboolture hospital, there will be no need for that because because they can get urgent care in their own area, and that means that the emergency department at Caboolture can be used for life-threatening illnesses, and not for some of the illnesses they currently have to because there is a lack of health care in Bribie Island.
I mean, if you ask me what's most important about the by-elections, it's not the internal matters of political parties, it's about getting better health care for Queenslanders, better health care for people in Caboolture and surrounding areas - Bribie Island. And if Mr Turnbull thinks his policy of giving $17 billion to the banks are so good, I challenge him to a debate. I mean, he loves to say that we talk in Parliament but let's talk in front of the people. He doesn't have to talk in front of his backbench, let's talk in front of the real people, Malcolm. Let's you and I have a debate about our vision for health; my vision for health care and your vision for $17 billion for the big banks, and I'd love to hear what he's going to do for labour hire workers in Australia, because we have a plan, which is same job, same pay.
JOURNALIST: Back to energy, do you think the National Energy Guarantee will delivery reliable energy and reduce emissions?
SHORTEN: I think that there are some good points in the National Energy Guarantee, but I think that if Mr Turnbull really wanted to persuade the states rather than treat energy prices as a political football and the blame game, he should present the draft legislation which he put to the Parliament, he should present that to the state Premiers. Because sometimes what happens is Mr Turnbull starts at one point on energy, and then as his political party beat him up, he retreats and retreats and retreats. Whenever we've offered bipartisanship to Mr Turnbull, be it on a Clean Energy Target, the Chief Scientist report, when we've said we're willing to sit down and talk about the National Energy Guarantee, he walks away from dealing with Labor because he's spending all his time trying to appease the right wing knuckle draggers of his own party. That's not good energy policy.
Thanks everybody, I think we've covered that.


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Juneau County Life Committee invites you to pray with them every first Monday at 4 outside of Health First in Mauston, WI. View the flyer for more information.
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The Thomas More Society is looking for a Communications Coordinator to help manage the firm's national communications and implement a long-term communications plan. The Communications Coordinator will also be responsible for identifying short-term and long-term objectives, orchestrating day to day communication matters, overseeing firm branding and managing fundraising events. A bachelor's degree, three to five years relevant experience and excellent verbal and written communications skills a must. For more details visit the website.
job posting
The Thomas More Society is looking for a Manager of Donor Relations to develop and execute major and planned gift strategies. The Manager of Donor Relations will also be responsible for creating and coordinating stewardship efforts and assist with development events. A bachelor's degree, three to five years of relevant experience and excellent writing and public speaking skills a must. For more details visit the website.
For inclusion on this list or our events list, please send a PDF or JPEG of the event flyer along with a short write-up about your event to firstname.lastname@example.com


text: 113 HR 5050 RH: May 31, 1918 Act Repeal Act U.S. House of Representatives 2014-12-01 text/xml EN Pursuant to Title 17 Section 105 of the United States Code, this file is not subject to copyright protection and is in the public domain. IB Union Calendar No. 471 113th CONGRESS 2d Session H. R. 5050 [Report No. 113–631] IN THE HOUSE OF REPRESENTATIVES July 9, 2014 Mr. Simpson introduced the following bill; which was referred to the Committee on Natural Resources December 1, 2014 Additional sponsor: Ms. McCollum December 1, 2014 Committed to the Committee of the Whole House on the State of the Union and ordered to be printed A BILL To repeal the Act of May 31, 1918, and for other purposes. 1.Short titleThis Act may be cited as the May 31, 1918 Act Repeal Act. 2.DefinitionsIn this Act: (1)1918 ActThe term 1918 Act means the Act of May 31, 1918 (40 Stat. 592, chapter 88). (2)Fort Hall TownsiteThe term Fort Hall Townsite means the land that was taken out of trust by being set aside or set apart under the 1918 Act on the Fort Hall Reservation, consisting of approximately 120 acres in the East Half of the Northeast Quarter in Section 35 and the West Half of the West Half of the Northwest Quarter in Section 36, Township 4 South, Range 34 East, Boise Meridian, Idaho, based upon a survey completed on May 19, 1921, and depicted on the document entitled Plat of the Townsite of Fort Hall on file with Bingham County, Idaho and the Tribes. (3)TribesThe term Tribes means the Shoshone-Bannock Tribes of the Fort Hall Reservation. 3.RepealThe 1918 Act is repealed. 4.Right of first refusal (a)In generalThe Tribes shall have the exclusive right of first refusal to purchase at fair market value any land— (1)within the Fort Hall Townsite; and (2)offered for sale. (b)Acquired land held in trustThe United States shall hold in trust for the benefit of the Tribes or a member of the Tribes, as applicable— (1)any land owned or acquired by the Tribes or a member of the Tribes within the Fort Hall Townsite before the date of enactment of this Act; and (2)any land owned or acquired by the Tribes or a member of the Tribes within the Fort Hall Townsite on or after the date of enactment of this Act. 5.EffectNothing in this Act affects any valid right to any land set aside or set apart under the 1918 Act. December 1, 2014 Committed to the Committee of the Whole House on the State of the Union and ordered to be printed


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Contact Us
- Phone: 703.539.2393
- Email:
- Mailing Address: PO Box 3560, Fairfax, VA 22038
- Office Address: 10560 Main St, Ste 315, Fairfax, VA 22030
- Sunday Gatherings: Frost Middle School - 4101 Pickett Rd, Fairfax, VA 22032
Hello family,
I hope your week is off to a good start even though it is kind of dreary outside.
This week we will be continuing on in our Philippians sermon series, but focusing on just one verse.
This week we will be in Philippians 4:4.
Here are some questions for you to consider as you study the text ahead of Sunday:
Have a great week!
.grace and peace.
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Andy Burnham
Andy Burnham is the shadow secretary of state for education and member of parliament for Leigh
Northern MPs should not vote for a third runway if it pushes back plans to revitalise our neglected rail system, say Andy Burnham, the mayor of Greater Manchester, and Richard Leese, leader of Manchester city council
The test for assessing projects is biased against poorer regions. The north must no longer be ignored, writes former chief secretary to the Treasury Andy Burnham
The referendum was a vote against free movement. Now the national interest requires a balance to be found between border controls and single market access
For too long the north has languished in the shadow of London. Now is the time for Theresa May to pledge support – and money – to Manchester and beyond
Like the Bloody Sunday inquiry, the Hillsborough verdict proves that determined working people can shame the powers that be
Brexit would be a disaster. We need to hear passion for the pro-European cause
We need to revive technical training, writes Labour leadership contender Andy Burnham
Andy Burnham: The government's economies have wreaked a dreadful price on healthcare
Andy Burnham: Without being knee-jerk or top-down, Labour must learn lessons from the failings at Stafford hospital
Andy Burnham MP played a key part in uncovering the scandal behind the death of 96 football fans. Last week he watched David Cameron deliver his powerful apology to the people of Liverpool, then savoured the delight of the vindicated relatives
Andy Burnham: Keeping fit is a simple goal, and the whole of Britain must get behind it
Letters: If ministers are asking for parliament's approval to implement their decisions, they should at very least be required to provide MPs and peers with all relevant information
Andy Burnham: The health and social care bill proposes a system that will destroy all the advantages of the centrally planned NHS
Andy Burnham: Clegg's white paper will restate a commitment to social mobility, but that won't convince those losing access to the next step
Andy Burnham: In his obsessive drive to push through schools reform, Michael Gove is neglecting what really matters. Parliament must stop him
Response: A real-terms cut per pupil means school budgets do not match up to coalition boasts, says Andy Burnham
Andy Burnham: Through coalition, the Lib Dems have broken not one but two major education promises: university fees and the pupil premium
Andy Burnham: It is time for the Labour party to embrace radical tax reform and put aspirational socialism into practice
About 23 results for Andy Burnham
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Huntington St. Joseph Girls Topple Ashland 59-39 in Invitational Basketball Tournament
Friday, January 28, 2011 - 18:32 by Chris Spencer, HNN Photographer
Huntington St. Joe meets South Point that won 69-51 over Boyd County for the Girls Gold Bracket Championship at 9 PM on Saturday (Jan, 29). Boyd County and Ashland will play in the consolation game starting at 7 PM.
Huntington St. Joe came from being down 28-21 to Ashland at the intermission to win the game. The Irish came out in the third period and allowed no score from Ashland until the Irish took the lead.
St. Joe's Sara Sang scored 26 points to lead all scorers.