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Movie Reviews - 2010 postsSaturday February 12, 2011
Movie Review: "Biutiful" (2010)
The world of Alejandro González Ińárritu ("21 Grams," "Babel") tends to be a polyglot of crowded, marginal characters. It's a world where everyone ekes a living off of each other, and what light there is is fluorescent. Halfway through his latest, "Biutiful," the sun shines on a family eating breakfast together. "Ah, the sun," I thought. Then it goes away. The sun is for other people's movies.
Ińárritu is all about border crossings. At the start of "Biutiful," Uxbal (Javier Bardem) is facilitating between two immigrant groups, the illegal Chinese and the legal African, in Barcelona. The former make bootleg products in basement factories, which the latter then sell along Las Ramblas or in the Plaza Cataluńa. Uxbal bribes la policia to look the other way.
He's also clairvoyant. Did I mention that? He can communicate with the recently dead and help them cross that final border to the undiscovered country from which no traveler returns. I should add that never has such a gift been presented in such by-the-way fashion in a movie. Uxbal has an answer to the most profound question in human history—does the individual consciousness survive death?—and he views it like it's pro bono work, like it's a hobby. He does it on the side when he has the time.
Despite this gift, Uxbal's life is no great shakes. He lives in a cramped, basement apartment with his two kids. His ex-wife, Marambra (Maricel Alvarez), is bipolar, an addict, and sleeping with his brother. He's really only a step or two up from the immigrants he's helping or exploiting. Then he's diagnosed with cancer and given months to live.
So is this going to be that kind of story? The inconsequential man, forced, by the proximity and sudden inevitability of death, to see the beauty of life? Yes, there's some of that. Uxbal is a hulking figure for much of the first third of the film. (You realize what a powerful back, and what a huge head, Bardem has.) After his diagnosis, he softens a bit. He visits his clairvoyant mentor, who tells him, "Put your affairs in order." Both she and he know that the biggest problem for the recently dead is worry over unresolved matters, which get them to linger, to remain where they shouldn't, and neither wants that for Uxbal.
So Uxbal begins to put his affairs in order. He tries to help the Africans, who are being deported for selling drugs. He tries to help the illegal Chinese immigrants, who live in horrible conditions, by buying them space heaters. He reconnects with Marambra, who still loves him, and he and the kids move into her apartment. They have breakfast together. The sun shines through the window. Life is good.
But life, as short as it is, lasts longer than "good." The Africans are deported despite Uxbal's efforts. Marambra goes back to partying, and doing drugs, and she beats the youngest, Mateo (Guillermo Estrella), forcing Uxbal to move everyone back into his basement apartment, which he's already given to Ige (Diaryatou Daff), the wife of one of his deported Africans.
Most horrific: the heaters Uxbal buys for the Chinese immigrants—made, no doubt, by people under conditions similar to theirs—don't work properly. Ińárritu telegraphs the moment. Twice in the movie we see the Chinese foreman unlock the doors to wake the workers at 6:30 a.m., but both times we're inside the room. The third time Ińárritu places the camera outside the room, over the foreman's shoulder. The door opens and, lo and behold, dozens of dead bodies lying on the floor. Patricia, watching next to me, gasped in horror, but I was only surprised that it was an apparent gas leak. I was expecting charred bodies burnt to a crisp.
So now Uxbal has dozens of deaths on his conscience just as he's dying himself. How does he deal with the weight of all this? Poorly or not at all. He makes a few motions, feints in several directions, but he's really too busy dying to do anything proper. He withers, wears diapers, is confined to bed. Ige begins to watch his kids, to feed them. Will she be his savoir? On his deathbed, Uxbal gives her money to pay a year's rent, so at least his kids will have a place to live for a year, but she uses the money to travel back to Africa and her husband. She abandons his for hers.
Every attempt to put his affairs in order, in other words, leads to chaos and heartbreak. It's as if a sick God is foiling his every move. One is.
What is it about Ińárritu? He deals with themes I care about but his execution always bores me. His scenes are gritty but peculiarly weightless and airless. He shoves too many characters on the screen, shrinking them to make them all fit. He pisses me off.
I did like two scenes, however, shown both the beginning and end of the movie.
In the first scene, the camera focuses on two pairs of hands, male and female, and we hear voices, male and female, talking about a diamond ring. "Is it real?" she asks. Yes, he answers. She wants to wear it. He lets her. It could be a young couple, postcoital, at the beginning of their journey, but by the end of the movie we know it's Uxbal and his daughter, Ana (Hanaa Bouchaib), and the conversation is the last he will have in this world.
In the second scene, Uxbal is in the woods eyeing a handsome young man. They smoke cigarettes and have an odd conversation about owls. The man, younger than Uxbal, shorter than Uxbal, seems the dominant one, while Uxbal has a kind of shy, flirtatious love shining in his eyes. Initially confusing, by the end of the movie we know the man is Uxbal's father, who died when Uxbal was young, which means Uxbal is now dead. This is the afterlife. But it's almost like a dream, isn't it, pieced together from life in the way of dreams. Freud once observed that anything we hear in a dream we first hear in life, and so it is with the conversation about the owls. Initially it was Mateo's conversation to Uxbal. The woods themselves seem culled from a refrigerator drawing of Mateo's: childish woods beneath the word "biutiful."
But this is only the beginning of death. In the woods, Uxbal's father moves away, and Uxbal says "What's over there?" He follows him. The camera stays behind. And that's where the movie ends.
Patricia loved it. When the lights came up I looked over and her cheeks were soaked with tears. For a moment it made me question my own nonplussed reaction. But only for a moment.
Ińárritu is all about border crossings but his movies don't inspire any border crossings in me. They don't take me any place I haven't been or want to go. I remain (stubbornly? frustratedly?) on this side, in the place I started.
Posted at 06:44 AM on Feb 12, 2011 in category Movie Reviews - 2010 | Permalink
The Tardiest and Positively Last List of TOP 10 MOVIES OF 2010
The movie year increasingly reminds me of the old video game "Space Invaders." In the beginning, the invaders drop down intermittently and at a snail's pace—easy pickings—but as the game progresses they come fast and furious until you can't keep up, and then ... Blam! Game over.
That's my movie year. It starts out slowly, luxuriously, with huge gaps between one good film ("The Ghost Writer") and another ("Un Prophete"). The dashed hopes of spring ("Kick Ass") eventually give way to the heat of summer blockbusters ("Toy Story 3"; "Inception"). In fall, there's September pretenders ("The American"), October surprises ("The Social Network"), but before you know it you're inundated ("Black Fair Rabbit Fighter Job Speech Grit") until ... Blam! Game over.
Long way of sayng I should've posted this sooner but kept trying to pick up all those I missed. Then I looked around and it was February and I knew I had to go with what I've got.
This is what I've got.
10. "Inside Job" is the first of three documentaries in my Top 10. It's the least powerful but probably the most necessary since it goes into the whys and hows of the global financial meltdown, which most of us, including especially me, don't quite understand yet. The talking heads we want (Henry Paulson; Larry Summers) aren't talking, of course, but enough middle-management types, flattered to be asked, are. My favorite? Little Freddy Mishkin, tanned and suited up, who hems and haws through a series of questions, including one on a 2006 independent study he co-authored, for $125,000, for the Icelandic Chamber of Commerce. He called it "Financial Stability in Iceland." This was just before the Icelandic economy collapsed disastrously. So now in his CV it's called "Financial Instability in Iceland." When questioned on the switch, he responds with his usual grace: "Well, I don't know, if, whatever it is, is, the, uh, the thing—if it's a typo, there's a typo." Review excerpt:
Most of us struggle to find something we're good at, and for which we can get paid, and, if we're lucky, we do this thing for 40 to 50 years until we can hopefully retire with a bit of comfort. And while we're doing this thing, we're putting our money, bit by bit, into a room, which is where other people, bit by bit, are putting their money, too. So there's a huge pile of money in this room. Now there's another group of people who are attracted to this room for the pile of money. They believe they can take that pile of money, our money, and turn it into a bigger pile of money, a lot of which will be their money. But while they're doing this magic act, they don't want anyone to watch. Because we can trust them. Because they are self-regulating. Because what could possibly go wrong?
9. I had problems with "The Ghostwriter," particularly the ending, in which the Ghost (Ewan McGregor) figures it all out then gives it all up to his enemies, the faux-Bush administration, and dies two seconds later. It's as if U.S. government agencies are quick, coordinated and supersmart rather than the slow, clumsy battleships we know them to be. So I never thought this movie would make my top 10. It's the weight of it that finally won me over. It's the images that stayed in my head: the lone SUV, alarm blaring, on the ferry; McGregor next to the full-paned window revealing the dunes outside—making it appear he's half in the room and half out; the unsexy sex scenes; the investigation through GPS; the cold and the gray and the paranoia of it all. For all the problems with story, the feel of it was created by a true artist. Review excerpt:
In the 1970s, and in political thrillers such as "Three Days of the Condor," the CIA was viewed as the automatic villain of the left for immorally, conspiratorially involving itself in everything. In the 2000s, the CIA was viewed as the automatic villain of the right for immorally, conspiratorially involving itself in nothing. Bushies outed CIA agents. That's how crazy things got. In "The Ghostwriter," the CIA, FBI and the faux-Bush administration all work together in super-smart, super-efficient fashion. As soon as perceived enemies appear they are struck down. One ponders the sad history of this past decade, particularly before and after 9/11, and thinks: Right.
8. There are two big reasons why "Black Swan" is on my list. Half an hour after watching it, I still had to remind myself to "breathe" because I'd barely breathed at all during the last half hour of the film. And I'd barely breathed during the last half hour of the film because director Darren Aronofsky, and star Natalie Portman, get you into the head of the main character, Nina, as well as Dostoevsky gets you into the head of Raskolnikov in "Crime and Punishment." That's the realm of novels not movies. But Aronofsky is making it the realm of movies. Review excerpt:
No, Nina is hardly innocent. She's covetous. Early in the film, after Beth Macintyre (Winona Ryder) trashes her dressing room when she learns she's been summarily dismissed as prima ballerina of their New York ballet company, Nina sneaks in and sits at the vanity mirror and looks at herself and tries out Beth's lipstick; then she pockets Beth's lipstick. It seems a minor thing. Until later in the film when Beth is in the hospital and Nina brings out all the things, including diamond earrings, that Nina stole from her over the years. She's been coveting the role of prima ballerina for years, and now it's hers, but she can only see versions of herself ready to take it away again. She assumes the world is like her—we all do—and that's why she's paranoid. She knows how awful the desire to take.
7. I still think about it sometimes. What if the creators of "Toy Story 3" had not given us their deus ex machina at the junkyard and allowed the toys, our favorite cinemantic toys, to be pulled into the furnace? What if we had all watched the beloved face of Woody (Tom Hanks) melt away as if he were the Gestapo officer in "Raiders of the Lost Ark"? How much stronger the lesson would've been about our wasteful, throwaway culture. Of course: the howls of protest that would've emerged; the billions of dollars that wouldn't have been made. Instead we got our happy ending. Andy's life goes on but the toys are eternal. They will never die. It's a bit of a lie, but an argument can still be made that the "Toy Story" series is still the greatest trilogy Hollywood has ever produced. Each film builds on, and deepens, the previous one. Review excerpt:
Can we watch these movies and not think about ourselves? What the toys go through is essentially what we will all go through. First we're useful; then we're not; then we're taken to a home where we may be abused. We live in a throwaway culture where we're the last thing thrown away. "Toy Story 3" doesn't want us to think about this too much, of course, so it gives us its bittersweet ending, where Andy finally, reluctantly, takes his childish things and gives them to Bonnie, shy Bonnie forever hiding behind her mother's legs, where they will be both safe and useful. In Andy's reluctance to let go, one sees the reluctance of Pixar itself, which began its empire with Woody and Buzz, and finally has to put away its childish things.
6. There's always a hint of unreality when one leaves a movie theater—it's as if you are waking from a dream—but I felt this tenfold leaving Chris Nolan's "Inception," a movie which knows all about the connection between movies and dreams. And video games? Our inception team goes several levels into the unconscious of its victim and has to fight its way out of each level before surfacing in our own. Or is it our own? That's not just a question for Leonardo DiCaprio's Cobb at the end of the movie, or for us in the audience watching "Inception"; it's the question in our heads as we walk the streets afterwards. Why is this level the real one? I guess because we're stuck here. Until we aren't. Review excerpt:
There are parallels, certainly, between "Inception" and "Shutter Island," Leonardo DiCaprio's previous movie that included a crazy wife who kills herself and the protagonist's subsequent retreat from reality. But I felt "Inception" more. With "Shutter," the craziness is isolated in one character. With "Inception," it spreads. Like an idea. The sanest person in the movie, in fact, may be Mal, just before she kills herself. Once you navigate to the lower dream levels, who is to say that our level, the non-dream level, is the final level? Aren't we told, all of our lives, that there is another, higher level? Or levels? Who's to say that reality isn't the dream from which we need to wake up? The greatest philosophers have said just that. Most of us have felt just that. Nolan is actually tapping into the sense of unreality that reality has. Not bad for a summer blockbuster.
5. "A Film Unfinished" ran from August to November in the States, played in 16 theaters at one point, and grossed $320,000. What a shame. Everyone should see this documentary. It's not just about the Nazis, or the Warsaw Ghetto, or the Holocaust; it's about what propaganda truly means. It's about what evil truly is. The Nazis filmed Jews in the Warsaw Ghetto in the months before its liquidation in 1943. Why? Forty years later, historians realized they actually staged some of those scenes—creating scenes of comfortable and/or rich Jews. Again: Why? To hide what they were doing before they finished doing it? But hide ... from whom? And why film scenes of poor and starving Jews as well? The answer, when it hit me, hit me with a blow that both clarifies and sickens. Review excerpt (and spoilers):
The juxtaposition between rich Jews and poor Jews was justification. The Nazis were documenting a race of people so indifferent to the suffering of others that they didn't deserve to live. They were documenting an excuse for extermination. In that moment of horror, of revelation, one understands the true meaning of propaganda. It is the powerful blaming the powerless for the crimes of the powerful. The Nazis herded 600,000 Jews into a single zone of Warsaw. They gave them no way to live. They let them starve. They let them die by the hundreds of thousands. Then they staged scenes of Jewish indifference to the suffering of others.
4. "The Social Network" sizzles with intelligence, doesn't it? That's how I still think of it three months later. It begins with a tabletop conversation that Quentin Tarantino would slit his wrists to have written, goes into an all-night, intellectual, misogynistic bender, and doesn't stop. The first half is about the creation of a global phenomenon. What fun! The second half is a love triangle between three boys with Sean Parker playing homme fatal. That's less fun. If the first half is about getting ahead in the Internet age, the second half is about who gets left behind. Sorkin's Zuckberg may not be the true Zuckerberg, but Eduardo is us. Review excerpt:
The final scene, where Zuckerberg finds Erica on Facebook and sends her a friend request, then refreshers her page again and again, is a scene for our time. This thing has been sent out into the ether and we need something to come back. We need to be filled, constantly filled, by the online world, because we're social animals, and socializing online is like the thirsty drinking salt water. We keep doing it and it's only making us thirstier.
3. "True Grit" is a movie without adjectives or adverbs. It just tells its tale. It's not pushing us in any particular direction, it's just allowing us to ride along. The spectacle, if there is spectacle, is there in the main character, Rooster Cogburn, and in the language, most of it culled from Charles Portis' novel. But within its simple structure, its straightforward storytelling, the Coens make you feel things. You feel the violence of fingers chopped off and the heavy weight of hanged men. You feel the bark of trees and the biting cold of winter. You feel the power of a single gunshot. You feel the damp sweat of horses. Mostly, you feel the Old Testament logic to the world. As Mattie says: "You must pay for everything in this world, one way and another. There is nothing free except the grace of God." Review excerpt:
Each character surprises. Each has his own code. Cogburn, a U.S. Marshall, robbed banks in his youth, then dismisses it with a shrug and an excuse about never robbing a citizen. Lucky Ned, wearing the nastiest set of teeth in movies, and trading spittle-filled invective with Cogburn while pushing a boot into Mattie's face, later acts the man of honor. Bargains are made—you do this and I'll do this—but both Cogburn and Chaney go back on their word. Only Ned Pepper keeps his. This is a rough and absurd world, an Old Testament world, where a laugh is followed by the horror of fingers being chopped off; where an anticipated showdown with a killer becomes the absurdist image of a bear toddling through the woods on a horse. (Should the Coens adapt John Irving? Or is he too New Testament for them?)
2. You know how you hear, say, a political speech that moves you, and then the talking heads on cable news get our their knives and forks and cut it all up? That's how I felt during the Q&A for "Restrepo" after a Friday night showing at the Harvard Exit last May. Both directors were there, Timothy Hetherington and Sebastian Junger, and I was in the back row, still mesmerized by the power of this documentary; then the crowd, Seattle International Film Festival folks, got out their knives and forks. They wanted the doc to say what they wanted it to say. Why didn't it critique our Afghanistan policy? Why didn't it attack the Bush administration? They wanted it narrowed and defined. In the Stephen Daedalus sense, they wanted an improper art that is kinetic and didactic, and Hetherington and Junger merely gave them a painful ode to the fragility of the human condition. They gave us a tragic tale that arrests the mind above desire and loathing. They gave us art. Excerpt:
Finally, there's Cortez, who's smiling, always smiling in the post-deployment interviews. One wonders: "Why is this dude smiling?" Then you realize there's a disconnect between the look on his face and what he's saying. Near the end, he talks about how he can't sleep.
I've been on four or five different types of sleeping pills and none of them help. That's how bad the nightmares are. I prefer not to sleep, and not dream about it, than sleep and see the pictures in my head. It's...pretty bad.
The smile never leaves his face.
1. Am I too much a Francophile for reasons beyond Marion Cotillard? The French are now 2-for-2 on this site. Olivier Assayas's "L'heure d'ete" topped my list last year (posted Dec. 31st!), while, this year, it's Jacque Audiard's "Un Prophete," the story of Malik, a young, illiterate Muslim who survives prison, first, as assassin, and then as lacky and go-between for the powerful Corsican mob. It's a kind of Malcolm X story: deliverance, and ultimately redemption, through incarceration. Malik is a Muhammadian figure the way Cool Hand Luke is a Christ figure. He enters as the most marginal of figures and leaves a powerful one. But it's the moments of quiet beauty that ultimately recommend the film. Review excerpt:
The arc of its story is brilliant but it's the details that stay with me, such as Malik's first plane trip, sandwiched between two bored commuters, but trying to get a glimpse of the sky out the window. He's heading to Marseilles for a meeting, at Cesar's behest, with Brahim Lattrache (Slimane Dazi—one of the many amazing faces in this movie), where, again, he's the distrusted Arab courier, but where his vision of a deer saves his life. Afterwards the deer meat is washed in the Mediterranean, and Lattrache, eyeing him with new respect, is intrigued by this quiet, honest man who straddles cultures. "Let's get sucked before you go," he says, but Malik turns him down. "I'd like to stay on the beach," he says. He wades out into the water. One senses he's never seen the sea before. Back in the dark of his prison cell, he takes off his shoe, looks inside, upends it. Sand courses through his fingers.
Posted at 06:54 AM on Feb 07, 2011 in category Movie Reviews - 2010 | Permalink
Movie Review: "The Town" (2010)
You can tell Dougie McRay (Ben Affleck), the handsome bank robber, will wind up with Claire Keesey (Rebecca Hall), the pretty manager of the first bank we see him robbing, because, while the other robbers in scary skull masks yell at her to open the safe, and quickly, causing her to keep flubbing the combination, Dougie, ever sensitive to the situation, gently puts his hands on her hands and tells her to "breathe." We should all have such bank robbers.
Where did it come from—this sensitivity? Dougie's background belies it. When he was six, his mother ran away from home and he never saw her again. His father, Stephen (Chris Cooper), is currently serving five life sentences in federal prison for killing a guard during a robbery. His sometime-girl, Krista (Blake Lively), has a four-year-old girl of her own (his?), as well as a drug habit. Oh, and Dougie was a good enough hockey player ("hawkey playa") to make the NHL but had such a temper he fought with his own teammates and was cut loose. Claire sees a photo of him, the local star, at a youth hockey arena where she volunteers, and he just shakes his head. "I look at that picture and see a 20-year-old kid who thinks he's got it all figured out," he says, "right before he's about to throw it all away."
Not a bad line. Not a bad director, either. Affleck has written and directed two movies now worth seeing, and while "The Town" isn't as good as "Gone Baby Gone," it's not bad. Word of advice, though, for the writer-director: Get a better leading actor next time.
Affleck, as actor, can be awful ("Pearl Harbor," "Surviving Christmas"), but he can also be very good. Check out "Dazed and Confused," "Good Will Hunting," and, in particular, "Hollywoodland," in which he plays George Reeves, the 1950s Superman, who winds up caught and trapped by his role. He's good playing petty men or regretful men. But as leading man?
Admittedly it's a tough role. Doug McRay is supposed to have the quiet calm of a leader, and we see the quiet calm but we don't really see the leader. He's supposed to be capable of sudden violence—beating hoods with bats; killing gangsters—but we don't feel violence within him. His threats, when he makes them, sound hollow. Compare him, for example, with Fergie Colm (Pete Postlethwaite), the gangland boss inside the florist's shop, who keeps Doug in the game and in the town. He may be old, his arms may be shriveled, he may be in the act of trimming roses, but you still feel that this is a man capable of sudden and remorseless violence. He's scary. Dougie isn't. He has arms like oaks, and tats all over his body, but there's no threat in him, no killer inside him. The opposite. He's the guy who can put his hands on the hands of a flustered girl and tell her to "breathe."
His main partner, on the other hand, Jimmy (Jeremy Renner), is a dude you cross the street to avoid. Anyone else think of Cagney here? The short, volatile, Irish gangster? His ending, machine gun blazing as he's rattled with bullets, has a particular "Top of the world, ma!" quality to it.
The story: Charlestown is the bank-robbingest neighborhood in the world, and these guys, our four guys, are good at it. So good they get a slightly immoral FBI agent, Frawley (Jon Hamm, also without the killer instinct necessary for the role), on their tail.
The trailer tells you most of the first half of the movie. Robbers use Claire as hostage; Dougie subsequently romances Claire, who doesn't know what he does, or that he used her as a hostage. Jimmy, meanwhile, wants her scared. "Scared," in Jimmy's worldview, may equal "dead."
At this point we have three questions:
- Will these guys get caught?
- Will Claire forgive Doug when she finds out?
- Will Doug choose Jimmy or Claire?
The second half doesn't do poorly with these questions. Jimmy finds out about Claire, and he and Doug brawl about it, but it doesn't get any worse. Claire finds out about Doug, through Frawley, and has no forgiveness. Her reaction seems real. She refuses to listen to his explanations and throws him out.
Finally, yes, they get caught, stealing money from Fenway Park after a four-game Red Sox-Yankees series. (The fun Affleck must have had writing that.) Well, three of them get caught—"caught" as in "dead"—but Doug, the smart one, escapes. Then he wraps things up neatly. He kills Fergie and his bodyguard (too easily, to be honest), then calls Claire one last time. He can see her from his uncle's apartment across the street, surrounded by FBI agents, urging him to come over. She's ready to betray him. That's sad. But at the last instant she gives a verbal cue, one the agents won't suspect, to warn him away. She cares. That's good. He smiles. Me, I smiled at FBI agents so stupid they'd stand around in full view in a curtainless apartment while laying a trap. Your tax dollars at work.
All the compliments I have for "The Town" are in the negative. It's not bad, not poor, the second half is not cheesy. Has anyone compared "The Town" to "Good Will Hunting"? Two friends: one a tall, tracksuit-wearing goombah (Affleck in both), the other a volatile shrimpkin (Damon, Renner). Plus a girl. Here, Affleck takes Will's genius I.Q., halves it, and gives it to his character, along with the lead and the girl. Both movies are basically love letters to working-class Boston about getting the hell out of working-class Boston. Care is given to character, and story, but the ultimate goal for the lead is as inchoate and adolescent as an early Springsteen song. Just get out. Somewhere, maybe, there's a girl waiting.
Posted at 04:40 AM on Jan 31, 2011 in category Movie Reviews - 2010 | Permalink
Review: True Grit (2010)
There's an irony to how well "True Grit" is doing at the box office—$126 million after four weeks, by far the Coens highest-grosser—because, and with deep apologies to cinematographer Roger Deakins, this is a movie that needs to be seen on DVD, and with the subtitles most definitely on. It's not just that some of Jeff Bridges' better lines are swallowed in a drunken rumble; there's such richness to the language here that you don't want to miss anything. It's so specific to time and place. Examples:
- You cannot have your way in every particular.
- I do not entertain hypotheticals; the world, as it is, is vexing enough.
- You have got very little sugar with your pronouncements.
People speak without contractions. They are precise. Their language is the language of those raised on the poetry of the King James Bible and little else:
- I felt like Ezequiel walking in the valley of dry bones.
- The author of all things walks with me and I have a fine horse.
- I will meet him later walking in streets of glory.
Most of this comes from the source material, Charles Portis' 1968 novel, but the Coens knew enough not to mess with it, as Hollywood levelers and temperature-takers generally do. You could say this is true of all of the Coens' movies. Each has its own language specific to time and place. Darn tootin'.
In the Coens' previous western, "No Country for Old Men," they upended the genre's tropes—the hero is killed off screen, the sheriff, plagued by nightmares, retires, while the villain keeps on keeping on—and, at first glance, "True Grit" feels like a corrective. It feels like a more traditional western. It is, but those boys are still upending the genre's tropes.
For one, the story isn't set in the "west." It's set in Arkansas, and the Choctaw Nation, which eventually became Oklahoma.
More, most westerns are about lawless places getting law. The line is clear: there's chaos and then, generally after the hero arrives, there's order. "True Grit" has a mix more familiar to modern sensibilities. Yes, people are killed, and outlaws light out for the territory; but the law still reigns.
Mattie Ross (Hailee Steinfeld), a 14-year-old girl intent on avenging her father's death, uses her lawyer as both cudgel and bargaining tool with everyone she meets. Won't give her what she wants? She'll sic her lawyer on you. Won't tell her what she wants? Her lawyer can help you if you talk.
The first time she sees Rooster J. Cogburn (Bridges), drunkard and U.S. Marshall, he's in a courtroom, the prosecution's witness, and a defense lawyer, an almost strutting popinjay, who in anyone else's movie would be flicked aside by the hero without much trouble, gets the better of him. Cogburn gets off some good lines, some unintentional, and you can see him playing to the crowd; but in the end the defense lawyer confuses him, makes him backtrack and ruins his case. Cogburn is the man with true grit, who has, Mattie says later, "great poise"; but this is a West where words matter as much as guns. Maybe more.
Let's count the instances.
It's Mattie's words, along with the threat of her lawyer, which finagle $320 out of Col. Stonehill (Dakin Matthews) in a hilarious epic of bargaining; and it's Mattie's words, along with $100, which finally prompt Cogburn into pursuing Tom Chaney (Josh Brolin), her father's killer; and it's Mattie's words, along with her own true grit, and the true grit of her horse, Little Blackie, fording the cold waters of the Mississippi into Choctaw territory, that allow her to accompany both Cogburn and a Texas Ranger, LaBoeuf (Matt Damon), who has been, in Mattie's words, "ineffectually pursuing Chaney" for years for the murder (an assassination we would say now) of a Texas state senator.
Each of the main characters has his own vocabulary. Mattie's words are always straightforward and come with a purpose: these words to get this done. Cogburn's words are as rambling and shambling as he is. While they ride he goes on about his many wives, and in the midst of pursuit he makes promises to a dying man he doesn't keep. It's his very carelessness with words that allows the defense lawyer to run him in circles. LaBoeuf, meanwhile, makes grand, airy pronouncements like he's his own PR rep. He's forever in the midst of creating his own legend. "Never doubt a Texas Ranger," he says at the end, when he finally makes good. "Ever stalwart." He's Hollywood a half century before Hollywood.
A word almost causes Cogburn and LaBoeuf to come to blows. "Sounds to me like you are being hoo-rahed by a little girl," LaBoeuf says, and Cogburn can't abide it. They accuse each other of being "bushwackers" and "brushpoppers," and then they get on each other about the Civil War, only 11 years gone at this point, and the role of Capt. Quantrill, whom Cogburn served under, and who staged guerilla raids into neighboring territories—including an infamous raid on Lawrence, Kansas, in which 190 men and boys were executed. It's a passing reference that suggests the vast history beneath the small story we're watching. The Coens don't bother tidying it up. You either know or you don't, and if you don't you can look it up. (I looked it up.)
Do I need to say Bridges is monumental here? Cogburn's vanity is on display in the courtroom and Bridges' lack of vanity is on display everywhere else. He hangs out in his filthy longjohns, hair askew, bloated stomach threatening to burst past his buttons. His one visible eye looks confused at Mattie, annoyed at LeBoeuf, determined and deadly in a gunfight, and mean when he's on a drunk. His comic timing is impeccable: "Well," he says, dead bodies lying all around, "that didn't pan out."
No vanity for old men.
Steinfeld is a find, wonderfully forthright and proper and heroic; Damon suggests the hollow man LaBoeuf is, while Brolin is all low brow and grunts. He looks villainous and frightening but takes a while to get there.
When, after all that tracking and pursuit, Chaney is suddenly there in the creek in which Mattie has gone to get water, his reaction isn't frightening at all; it's dimwittedly friendly. "I know you," he says, pleased. He can't imagine why Mattie would be this far out in Choctaw territory. He sees it as a wonderful coincidence.
In the gang with which he hooked up, led by Lucky Ned Pepper (Barry Pepper), again, he's not frightening. He's the younger, stupider brother, forever ignored, disrespected and left behind. "Take me with you," he whines, to no avail. One member of the gang is a short pug of a man who can only make animal sounds, but even he gets the respect denied Chaney. Mattie needles him for this and almost succumbs to the same fate as her father. Because this is when Chaney becomes frightening and villainous. He's a man who takes out the disrespect he feels from more powerful people, such as Lucky Ned, on less powerful people, such as Mattie.
Each character surprises. Each has his own code. Cogburn, a U.S. Marshall, robbed banks in his youth, then dismisses it with a shrug and an excuse about never robbing a citizen. Lucky Ned, wearing the nastiest set of teeth in movies, and trading spittle-filled invective with Cogburn while pushing a boot into Mattie's face, later acts the man of honor with her. Bargains are made—you do this and I'll do this—but both Cogburn and Chaney go back on their word. Only Ned Pepper keeps his.
This is a rough and absurd world, an Old Testament world, where a laugh is followed by the horror of fingers being chopped off; where an anticipated showdown with a killer becomes the absurdist image of a bear toddling through the woods on a horse. (Should the Coens adapt John Irving? Or is he too New Testament for them?)
"You must pay for everything in this world, one way and another," the adult Mattie narrates at the beginning of the film. "There is nothing free except the grace of God." Indeed. Mattie gets her revenge—she's the one who shoots and kills Chaney—but in that exact moment, when she (and we) should be enjoying her revenge, she begins to pay. The kick of the gun propels her into a deep pit she's been twice warned about, and once she stops falling she looks up as if from the bottom of grave. (One can't help but think of her sleeping accommodations at the undertaker's place in Fort Smith.) Then she's snake-bit, and Cogburn takes her to the nearest doctor, riding Little Blackie through the day and into the night, and into death. That's the first way she pays. The second way is with her arm. She wanted to travel with these men and so becomes like them. LaBoeuf, the man full of hollow talk, loses part of his tongue; Cogburn, who likes to pull a cork, has a missing eye. She and her arm. No one gets through this life whole.
You must pay for everything in this world, one way or another.
Posted at 10:51 AM on Jan 17, 2011 in category Movie Reviews - 2010 | Permalink
Movie Review: "The King's Speech" (2010)
When I first saw a trailer for "The King Speech" (American trailer, not international), I was almost moved to tears. I thought, "Colin Firth seems amazing. Geoffrey Rush looks like he's having a ball." Then I thought, "Except it feels like I've seen the entire movie now but for the last 10 minutes. And I can guess those." (Psst: The speech goes well.)
And Colin Firth is amazing, Geoffrey Rush seems like he's having a ball, and the entirety of the movie is in the trailer except for the last 10 minutes. And you can guess those.
Once upon a time, trailers merely hinted at what a movie might be. It gave away a sense of the film, its genre, certainly, as well as first-act particulars. By the 1990s, it felt like the trailers were giving away second-act particulars as well. Now we get the whole bloody thing: first, second and third act, all tied up in a neat, two-minute package. For a sequel-mad culture, which only wants to see what it's already seen, this makes sense. In this way, trailers become a kind of first movie while the actual movie becomes a kind of sequel. Audiences are never forced to deal with the unfamiliar; they go away comforted. As for those of us who still want to be surprised by story? We're fucked.
(Aside: Among the differences between the international and American trailers, the one I find most amusing is the moment where Elizabeth Bowes-Lyon (Helena Bonham Carter), explains to unconventional speech therapist Lionel Logue (Geoffrey Rush) why her husband can't change jobs. International version: "And what if my husband were the Duke of York?" American version: "And what if my husband were [cut] the King?" Yep. We smart.)
The movie opens in 1925 as the Duke of York (Firth), son of King George V (Michael Gambon), and second-in-line to the throne after the Prince of Wales (Guy Pearce), attempts to give a speech at the British Empire Exhibition at Wembley. It goes poorly. Poor man can barely get a word out. Some in the audience look annoyed, some amused (these are the bad people), while his wife looks on with a pity (she's good). Yet isn't pity as awful a reaction as the others? Who wants pity?
Traditional speech therapists do nothing for him, and, as a last resort, under a pseudonym, his wife seeks out Logue. His office is in a dingy basement, he's not much for formalities (he has no secretary), and he greets the Duchess of York with a handshake after flushing the toilet.
Informality is key to his therapy. He insists on calling the Duke "Bertie" (as the royal family does) and being addressed as "Lionel." These early scenes—the clash between an uptight, stammering royal and an iconoclastic, unlettered therapist—are the best in the film. We get one good line after another from screenwriter David Seidler: My favorite exchange:
Bertie starts to light a cigarette from a silver case.
Lionel: Please don't do that.
Bertie: I'm sorry?
Lionel: I believe sucking smoke into your lungs will kill you.
Bertie: My physicians say it relaxes the throat.
Lionel: They're idiots.
Bertie: They've all been knighted.
Lionel: Makes it official then.
What Bertie needs, of course, is not just speech therapy but therapy. As a child he was mistreated by a nanny, who favored his older brother. He was made to wear braces on his legs and forced to correct a natural left-handedness. Supposedly this last is a common cause (was a common cause?) for stutterers.
Firth does an amazing job making us care about this man born to privilege. We get a sense of how trapped he is by circumstances. He is, in fact, doubly trapped: by his role, which he can never escape, and by his speech impediment, which won't let him carry out that role.
He's not wholly a victim, thank God. He lashes out, often, but even in that lashing out we maintain sympathy. We see the correlation. What we don't see, and what would've been interesting to see, is more of his life outside his attempt to correct the stammer. Yes, his father was impatient and demanding; yes, his older brother was dashing, slightly mad (for Wallis Simpson) and cruel to Bertie when he needed to be. Yes, his wife was supportive, and, yes, his children, Elizabeth and Margaret, were adorable, as was he when he stammered through a children's story for them. But I still don't have a sense of what it feels like to be a royal. The dailiness of it. You wake up and ... what? Who is there for you? What is the schedule like? How much of your time is your own? Any of it? All of it? Do you get to go to the bathroom by yourself?
Instead we get a relationship movie, along with the starts and stops typical of relationship movies. At one point, Lionel, the commoner, oversteps his bounds and they break up; at another, Bertie, the royal, discovers Lionel isn't properly credentialed and they nearly break up. Etc.
Ultimately it's Lionel's job to not only correct Bertie's stammer but his squashed ego: his belief that he doesn't deserve his position. In this he is the same as any pitching coach from Little League to the Majors. He has to make his charge believe he belongs where he is.
This very personal story is set against a backdrop of love and war. The "love" (and the movie would definitely put the quote marks there) is Edward's for Wallis Simpson's, which leads to his abdication, and the coronation, in 1936, of a reluctant Bertie as King of England. The war, meanwhile, is Hitler's, and then all of ours. In September 1939 it's up to Bertie, suddenly, to rally the country. But there's the stammer. "The nation believes that when I speak I speak for them," he says. "But I can't speak." That's the 10 minutes the trailer didn't reveal: how the titular speech goes.
And he blows it. His stammer reflects on a nation nervous about war, which plunges the Brits into depression and makes them easy pickings for the Nazis, who roll over the country and the world, ending the idea of democracy and freedom forever. Heil Hitler.
"The King's Speech" is a smart movie that's fun to watch. I expect Oscar and BAFTA nominations for Firth, Rush and Seidler. I was moved by the montage of the British people listening to the speech, all ears turned, all with a shared purpose. Other than that, there's not much to say. It's all in the trailer.
Posted at 06:33 AM on Jan 05, 2011 in category Movie Reviews - 2010 | Permalink
Twitter: @ErikLundegaardTweets by @ErikLundegaard
Opening Day 2019: Your Active Leaders
2019 Reviews
The Fall of the American Empire (2018)
Robin Hood of El Dorado (1936)
The Whole Town's Talking (1935)
Oil for the Lamps of China (1935)
The Phantom of the Opera (1925)
Something to Sing About (1937)
Recommended Movies
Three Billboards Outside Ebbing, Missouri


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Posted in Other 30+ days ago.
This job brought to you by America's Job Exchange
Type: Full Time
Location: Plano, Texas
Job Code: 00058-102617
Days (rotating weekends)
Schedule: Full-Time from 5am-1pm or 1pm-11pm with Rotating Call & Weekends
Location: Medical City Plano
Medical City Plano is a full-service, 493-bed acute care hospital with more than 1,600 employees and over 1,000 physicians on staff, representing over 70 specialties and subspecialties. The medical staff at Medical City Plano is a diverse group of experienced professionals. They are dedicated and committed to using new technologies and keeping up-to-date on recent advancements in health care. Every member of our staff - including nurses, radiologists, therapists, pharmacists, support staff, management and administration - is focused on the health and comfort of every patient who comes through our doors.
EKG Tech Lead Job Summary:
Perform EKG and Holter monitors on all patient populations. Process ECG and Holter procedures for interpretation and entry into the medical record. Performs stress testing both walking and chemical. Perform data maintenance of the MUSE data management system.
EKG Tech Lead Job Responsibilities:
* Serve as preceptor for new EKG techs. Will complete orientation paperwork for new EKG techs.
* Responsible for annual EKG lead placement competency for all EKG staff.
* Serve as EKG liaison for the ED staff.
* Assist supervisor in daily maintenance of the Muse system and will help troubleshoot issues.
* Assist cardiologists with Muse issues.
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* Associates Degree
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subset: commoncrawl


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Create a luxurious contemporary environment in your casual dining room or bar area with this counter chair. It is made out of maple birch solids and other veneers in a medium brown finish. The piece has been accented with a classic slat back and flared back legs. The microfiber padded seat will provide you with plenty of comfort while you enjoy a beverage with a few of your best friends. Coordinate this counter chair with the bench and storage pub table from this collection for a magnificent set.
The Brendan Counter Chair by New Classic at Wilcox Furniture in the Corpus Christi, Kingsville, Calallen, Texas area. Product availability may vary. Contact us for the most current availability on this product.
Elevate the contemporary design of your modern day casual dining area or bar area with the fantastic Brendan collection. These pieces are constructed out of maple birch solids and other veneers in a beautiful medium brown finish. Crisp straight lines emphasize the modern physique of the chairs, bench and storage pub table featured in this collection. Enjoy a glass of wine with a couple of friends while comfortably relaxing on the upholstered microfiber padded counter chairs and hide dining accessories conveniently in the pub table's storage base. Stylish and functional, the Brendan collection will be a mesmerizing addition to your home!
The Brendan collection is a great option if you are looking for Contemporary furniture in the Corpus Christi, Kingsville, Calallen, Texas area.
These images are representative of this group as a whole and may differ from this item.
Browse other items in the Brendan collection from Wilcox Furniture in the Corpus Christi, Kingsville, Calallen, Texas area.
This item has been tagged as: Stool, Bar Stool, Bar Stool Set, Counter Height Stool, Counter Height Chair, Stool and Table Set, Counter Height Stool and Table Set, Entertainment Furniture, Bar Furniture, Dining Room Furniture, Causual Dining Room Furniture
Nothing on this page may be copied or reproduced without explicit permission.


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Yesterday I participated in the 2015 ONN conference, hosted by the Canadian Embroiderers' Guild, Guelph chapter. It was another well organized and productive meeting. Thank you to all who were involved in organizing the day!
In addition to the meeting itself, each guild attending sets up a display of of members' work to showcase what they have been doing, so I thought I'd share with you our display. There are only nine of us in our Group of Eight Fibre Artists group, but I am always awestruck by the incredible talent and versatility of our members!
For those of you keeping up on my foster puppies, that is 4 month old Wafer, practising her down-stay in the first photo.
Wednesday, May 6, 2015
Ontario Network of Needleworkers (ONN) Conference
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Get free assistance preparing and filing your income taxes at Thomas Dunn Learning Center with the help of the St. Louis Tax Assistance Program.Read more
Events for February 13, 2019
Day Navigation
Thomas Dunn Learning Center's Art Lab is now open Monday through Thursday! Come in to work on your own piece or participate in the focus of the day.Read more
Join Dutchtown resident Cheryl every Wednesday for Yoga Flow at Flow Yoga and Art. Beginners are welcome and yoga mats are provided.Read more
Sip 'n Sketch is a life drawing open studio for people of any skill level. The instructor will demonstrate a variety of techniques and participants will have a chance to model.Read more
Join the Dutchtown West Neighborhood Association for their monthly meeting. The meeting will feature updates from 25th Ward Alderman Shane Cohn, the SLMPD neighborhood liaison officer, 25th Ward Neighborhood Improvement Specialist Christian Saller, and the Circuit Attorney's office.Read more


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J.B. Priestley (Routledge Modern and Contemporary by Maggie B. Gale
By Maggie B. Gale
J. B. Priestley is the 1st publication to supply a close and recent research of the big contribution made by way of this playwright, novelist, journalist and critic to 20th century British theatre. Priestley used to be frequently criticised for being both too populist or too experimental and this research unpicks the contradictions of a playwright and theatre theorist well-liked by audiences yet too usually brushed off by means of critics; describing and analysing intimately not just his performs but additionally their particular historic and modern productions. utilizing a mixture of archive, assessment and significant fabrics, the ebook re-locates Priestley as a theatre theorist of substance in addition to a playwright who challenged theatre conventions and assumptions approximately viewers expectancies, at a time whilst theatre was once thought of either conservative and missing in innovation.
Read Online or Download J.B. Priestley (Routledge Modern and Contemporary Dramatists) PDF
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As public tastes switch, so does the character of well known drama. within the 5th century BCE, Aristophanes' "Lysistrata" attracted censors for its subject matters of wifely uprising and intercourse. From the fifteenth to the 18th centuries, performs have been censored basically for non secular or political purposes. within the nineteenth century, social and sexual purposes for censorship emerged, and sleek moralists have objected to works via such playwrights as Arthur Miller, Eugene O'Neill, and Lillian Hellman.
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Extra info for J.B. Priestley (Routledge Modern and Contemporary Dramatists)
Sample text
And expenses . . a proportion of the managerial expenses out of a share of the weekly returns that amounts to 55 per cent . . as things are at present, the theatre-owner (or as often happens, the gang of speculators who have moved in to secure leases) risks nothing and contributes nothing, and marches off with most of the profit. (Priestley 1947b: 29–30) The managements and theatre owners received the financial benefit of theatrical production from the initial rental and payment of recurrent costs, and from their agreed percentage of box office sales, regardless of any profit gained from the production.
Is all wrong . . gambling has taken the place of policy . . this private commercial enterprise in the Theatre . . builds up no new loyalties, shows itself incapable of sensible planning, and largely creates a feeling of insecurity and uncertainty. (Priestley 1947b: 36–9) The emphasis and focus of criticism varied at different points in his career, but still in the late 1940s, he suggested that the theatre needed to organise itself more effectively, and challenged the lack of substantial funding for drama during the early years of the Arts Council: drama received 30 per cent of the total funding awarded to music in 1944–5 (Priestley 1947b: 23).
Shaw, objected to (see Kennedy 1989). Priestley joined the well-established line of playwrights who called for some kind of 'national theatre' rather than have the industry run by managements with predominantly economic as opposed to artistic interests. Tracy C. Davis has remarked that although the 'entertainment industry was so radically altered by the outbreak of war in 1914, many businesses experienced difficulty on the home front' before the war. B. Shaw's view that the popularity of 'nonlegitimate theatre' – the music halls and associated entertainment venues – represented 'consumer choice' (Davis 2000: 354).


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Publicado el
Onboarding: "the experience a customer has when they become oriented to a product or service." Experiences included in the Onboarding phase could be a self install kit, a getting started guide, a first time user experience, or contextual help mid-use. After a few months of working on a new Onboarding experience for Comcast, I came to the conclusion that designing for this phase in the user experience is more psychological than other kinds of interface design. It's about tying into the emotional state of the user: like playing a game or having a conversation. This talk provides a core set of principles for designing Onboarding experiences that tie into this psychological approach.


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Chapman Fire Department in Nebraska
Chapman Fire & Rescue
Organization of the Fire Department:
Chapman Fire & Rescue is a Volunteer type of Fire Department.
Chapman Fire & Rescue is a Local organization.
Number of Fire stations constituting Chapman Fire & Rescue: 1 Fire Station(s)
Chapman Fire & Rescue
Address of the Fire Department:
207 Ninth ST
PO Box 88
State of Nebraska
Chapman Fire & Rescue
Phone & Fax of the Fire Department:
Phone: 308-986-2282
Fax: NULL
Dial 911 for Emergenices, the call will be routed to the local public safety answering point.
Chapman Fire & Rescue
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I am a mixed media artist - this is how I create
My Process as a Mixed Media Artist.
What are some things that come to mind when working with acrylics to create mixed media art? Acrylics are very versatile for the mixed media artist who wants to work quickly, yet still have the same feel and responsiveness of working with oil paints. The same pigment can be found in different mediums, from watercolor to mixed media collage. It's the vehicle used to carry the pigments that changes. Acrylics dry fast. Acrylic paint can be layered one on top of the other when creating abstract collage art without waiting too long for the layers to dry. This means that layers of mixed media collage materials can be placed and glued down easily and quickly. The speed this medium gives to the mixed media artist allows her to respond more intuitively to her collage art. I don't get caught up TOO much in thinking TOO hard about my next move. I just get in there and create mixed media collage.
As a result of this speed, it is easy to play more with the process of creating abstract collage art rather than keying in on the final product. This is what I like to focus on as a mixed media artist - to combine the process of creating abstract collage and product so that both are equally important. The process allows me to put emotions into my collage paintings.
Unlike some mixed media artists, I do not use mediums or gels with my acrylic work. I am more of a purest mixed media artist in this regard. Give me some paint and let me paint. That's all I need to do. The collage painting adds another dimension to my work.
I generally like to work on either stretched canvas or 140 lb or 300 lb watercolor paper to create my mixed media collages. The canvas is gallery wrapped and is one and a half inches deep. I usually add sawdust to all my canvases for some added texture to the collage painting. I paint the side edges by continuing the content of the abstract collage onto the edges. It is more difficult to do this than painting the edges black but I think the former effect is a much nicer addition to my mixed media collage than the latter.
For some of my collage art I choose work on heavy watercolor paper which I have primed with several coats of white gesso. This surface reacts in the same way as a canvas primed with gesso. After I have completed the collage painting I glue this paper down to a two and a half inch deep painted wood panel. A one inch margin of painted wood shows all the way around the mixed media art. After pressing it for twenty four hours under heavy weights the abstract collage is finally adhered to the wood panel. Lastly, I apply several coats of polycrylic water-based varnish over the entire piece; collage art work and panel. This seals in the collage painting so that I do not have to bother with framing the paper and putting it under glass. I find this process to be the most time consuming aspect of creating abstract collage art but the effect is so stunning on mixed media art that I take the time to do it.


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Check the date/
When organizing a client's pantry, the first step in my process to check the expiration dates on each and every item. Doing so ensures that 1) the food in the pantry is still good, and 2) I know exactly what items need a home.
This same process also applies to the refrigerator. I check the date on the salad dressing, ketchup and mustard, pickles, mayonnaise, and so on.
Everything has a shelf-life, and some items, like canned goods, live longer than others. But keep in mind, even canned soup expires eventually.


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Shrove Tuesday // Celebrate!
The day before Ash Wednesday is known as Fat Tuesday or, if you grew up across the pond, Shrove Tuesday—and it's a day to INDULGE! Most people know about Fat Tuesday or Mardi Gras, but what you may not know is that historically there has been a purpose behind this party, despite the lack of purpose that this day seems to currently possess.
The purpose of this day is to indulge a bit in all the things you are planning on giving up. Eat some extra candy, drink all the coffee you can, watch all the TV your mind can handle and most importantly, party with your friends! (I might add, in a way that doesn't break any commandments! We are Christians, after all!)
Until a couple of years ago, I had never heard of Shrove Tuesday or its traditions. While I lived in Nashville, however, I was fortunate to be in a community group with a great family from across the pond, and they introduced me to Shrove Tuesday and some of these crazy traditions.
The deal is that traditionally all the families would bring their flour, sweets and other goodies that might not keep over Lent and eat it all! During Lent, they wanted to refrain from foods they enjoyed and that gave them the most pleasure as a way to embrace the season of Lent. It's my understanding that because the typical things they brought to purge themselves of—butter, flour, sugar, etc.—were mostly the goods to make pancakes, that's what they made … and that's what they played!
As you can see in the video above, we practiced some pancake games ourselves. It was such an amazing time of fun and fellowship. I miss my Nashville community group and will be looking to have some fun tonight in Texas!
Here's is what i ate for lunch... Let the Pancake festivas begin!
I would encourage you to start a tradition with your community. Flip some cakes, have a party, do something fun because Lent is coming.
So yea, INDULGE!
What are you giving up this year?
Eat up, drink up, make it count!
Grace and peace


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Android Ads Blocker Apk
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Android Ad Blocker Apps: Hey TechTrickSeo Readers, I am back again with new Tutorial, In this Tutorial I will tell you about some most important and best Ad Blocker apps for Android. Ad Blockers are very useful if you hate to see ads on your Android. Some websites use pop-up ads, which may so irritate some users. So if you are looking for some of the best Ad Blocker apps for your Android, then you can easily read this full article. Previously, I was posted Best Torrent Downloader Apps for Android. If you are use any Internet on daily basis use, then you may have noticed that some websites like movie download websites have irritating ads, which anyone don't want to see. Most of the websites owner are earn money by show Ads on their Website, So it's not really recommended to block ads. But if you are really want to do that, then you can simply check some of the best Ad blocker apps list from below.
Best Ad Blocker Apps for Android
So You are already know that There are so many Ads Blocker Apk Available for Android. But Guys, Here I am going to share with you some of the best ever Ad Blocker apps for android. I have posted about Some Best ad blocker apps for both rooted & Non-Rooted Android devices. You can easily download & Install on any of the apps from below according to your choice. This Ad Blocker can work on various Android devices and help you have great experience while using Internet on your Android devices. So let's have a look at some best of the Ads Blocker applications for Android. Dolby Atmos Apk
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When an important and compelling message needs to be conveyed to the public, there are a number of approaches that can be taken.
We've all seen many examples of campaigns consisting of strong visuals coupled with static facts, figures and impacts statements. This appeals to our intellectual side as we process the information and consider whether we want to become involved or not.
Another approach is to place the unexpected consumer in a situation where they are forced to "feel" the message. The thought being, if one can be impacted emotionally, it is more likely to persuade them to action.
I came across a very strong example of that recently.
The question that comes to my mind is; has this gone too far or is this important enough of a message that it needs to be taken this far?
What do you think? I'm interested in hearing your thoughts.


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Travel and Culture in Tuscany
Firenze was founded in 59 B.C. by the Romans and its name makes reference to the season of Ludi Floreales, in honour of the goddess Flora. The town was built on a square plant and, in ancient times, it had a forum, the thermal baths and the Capitol.
In 570 it was occupied by the Longobards, that guaranteed stability and independence to the town, but only with the supremacy of the Carolingians the two counties Firenze and Fiesole were unified
In 570 it was occupied by the Longobards, that guaranteed stability and independence to the town, but only with the supremacy of the Carolingians the two counties Firenze and Fiesole were unified and gave origin to the greatest county ever existed in Tuscany.
After the end of the Carolingian dinasty, the town had a difficult period and, only about 1000, it started again its expansion and continued to gain more and more independence from the empire, aiming to become rich and powerful.
At that time Firenze was enriched by walls and monuments in order to become, in 1183, a free commune, despite the division of the citizens into two factions: on one side the Guelphs allied with the Pope and, on the other side, the Ghibellines, allied with the emperor. So the two factions alternated in the town power, until the definite dominion of the Guelphs in 1267.
In 1300 Firenze was a flourishing town and was enriched by important churches such as
St Croce, St Maria del Fiore and St Maria Novella and even by Palazzo dei Priori (the priors' palace) and the Casa del Popolo (the people's house), later called Palazzo Vecchio. Then Piazza del Popolo became a building masterpiece, later called Piazza della Signoria.
In 1400 Firenze continued its explosive blooming, that made appear the powerful Medici family who, after Cosimo I, would rule until the first half of the eighteenth century, except a short period.
Under Lorenzo de Medici, called the Magnifico (the Magnificent), who was an intellectual and a patron of arts, Firenze was called "the second Athens" and thanks to his grand personality, the Renaissance could definetely flourish.
After the conclusion of the Renaissance, notwithstanding the changed political conditions because of Lorenzo's death, the sixteenth century was just as positive and rich as the period before: Michelangelo, Brunelleschi, Vasari, Buontalenti and others created splendid works of art and architecture, as the Uffizi open arcade and the Dome.
From 1737 on the Lorena family took the place of the Medicis and continued to rule with liberalism and temperance. After the unity of Italy Firenze became the capital of the new State only for a short time. During the second world war the old town centre underwent serious damages and some important buildings were lost for ever but, despite of this, Firenze has succeeded in maintaining its charme, untouched until today.


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This exercise can be explained in different ways. I'm wondering whether the aim is to show how you can show different stories in one image or show how to construct a story from different scenes within one image. I'll just do both!
To find an image that has a lot of story telling in it, I decided it would be a good idea to choose one with a lot of different people in it that seemingly are not connected. I took this photo in a fishing village a few months ago:
There are a few things going on and the image can sort of be divided in three parts, the part with the horse cart and the men, the two ladies standing on the left side and the mother and child in the middle. Here are the smaller images:
All images can tell a completely different story.
1. Two women have just run away after burning down their house and are now waiting for somebody to pick them up and move to a different town.
2. A woman has bought some fish on the market that she keeps fresh in a bucket. Her child wants to touch the fish, but the mother tells her not to.
3. After a long day of fishing, two men have loaded up the catch of the day on their cart and are on their way to the market to sell their fish.
Then, the images could also be used to tell a story on its own:
A woman and a child have got their bucket with fish ready to sell them to the guys with the horse cart. They walk off to the next set of boats where two other women are waiting for the cart to buy fish from them (I need an other image in which you can see women buying fish!)
What I like about this exercise is that instead of looking at an image as a whole, I am learning to divide an image in different frames that can each have a completely different function, stand on its own, be the beginning of a completely different story, or add important information to the story of the image itself. It's quite exciting to realize that every frame has so much potential, on the other hand, it asks for firm decision making and knowing on what to focus in order to tell the story that wants to be told.


text: Share: Comments Print November 26, 2014 at 2:54 PM At a glance: Ski areas open Thanksgiving weekend Posted by Brian J. Cantwell Lifts weren't running yet, but that didn't stop Blake Taylor, 18, of Kirkland, from trying a jump at Stevens Pass ski resort Monday, Nov. 24. (photo by Erika Schultz / The Seattle Times) Are slopes opening for the holiday weekend? Here's what's been announced as of 3 p.m. Wednesday. Click on the links for latest updates. WASHINGTON Summit at Snoqualmie: No Crystal Mountain: No Stevens Pass: No White Pass: No Mount Baker: Yes, 9 a.m.-2 p.m. Thursday, and maybe on weekend Mission Ridge: Chair 1 open with manmade snow, Friday-Sunday, Nov. 28-30 BRITISH COLUMBIA Whistler: Yes Cypress Mountain: Yes, Friday-Sunday, Nov. 28-30 Sun Peaks: Yes Red Mountain: T-bar only Big White: No OREGON Mount Hood Meadows: Not on Friday, maybe Sat.-Sun. Mount Bachelor: Closed Thursday, maybe open Friday and beyond. Timberline: Open Friday and through the weekend. Comments | More in Northwest, ski areas | Topics: Northwest ski areas, thanksgiving skiing, what ski areas are open


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Tuesday, November 11, 2008
Penny Arcade
Wiki sums it up: "The strip features Holkins and Krahulik's cartoon alter egos, Tycho Brahe and John Gabriel ('Gabe') respectively. ... The two characters spend much of their time playing and commenting on computer and video games, forming the basis of the humor in the strip. Most of the time, Gabe serves the purpose of the comic foil, and Tycho is the straight man. The strip can feature in-jokes that are explained in the news posts accompanying each comic, written by the authors."
Out of this week's comics, while it does dive deep into game-core territory, it's probably the best-drawn comic with the widest appeal. Plus the website is not overly clunky. Most would consider it web-comic royalty, alongside XKCD. Enjoy!
(From Guy, Wikipedia)
Unrelated bonus! Irish Barak Obama song.
5 comments:
- Liz said...
Another one my husband will love!! He always said that if we ever had a son, he wanted to name him Tycho Brahe. When we actually had a son, he changed his mind... I even offered to do Tycho as a middle name but he refused...
- November 11, 2008 at 6:07 AM
- Maeve said...
Are you going to post any comics that are actually any good, or just the ones we who dwell on the internet already read religiously?
- November 11, 2008 at 7:19 AM
- Ed said...
It's worth noting that this is the original (or one of the original) gaming webcomics, and that CAD is a derivative (though still enjoyable) version of this. Also, PA is 100% miscarriage free.
- November 11, 2008 at 9:15 AM
- kesha said...
Based on the popular comic strip penny arcade, on the rain slick precipice of darkness is an episodic RPG/Adventure where you join with gabe and tycho of the startling developments detective agency to solve strange mysteries lurking in New Arcadia. Set in the 1920s, the game places the familiar penny arcade protagonists in an alternate pulp horror setting reminiscent of the works of H. P. Lovecraft.
Internet Marketing
- November 12, 2008 at 2:55 AM
- W. E. B. Du Blag said...
:) Liz, & Ed.
Maeve: I'm not sure what it says about you internauts if all the comics you dwell on are bad... Haha.
Kesha: Shamwow?
- November 12, 2008 at 10:44 AM


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Getting Started
Investing in your retirement
Dalhousie University provides a defined benefit plan to help you invest in your future. Review the information below and discover how we can support you on your journey to retirement.
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Find out in our Pension Info for New Employees section.
What is included in the plan?
Discover more in our Plan Summary section or download the complete Pension Plan [PDF-190KB]
Additional resources
- Notice of Pension Plan Amendment - dated January 2018 [321KB]
- Amendment to Reflect Changes to the NS Pension Benefits Act – January 2018 [315KB]
- Notice of Pension Plan Amendment - August 2016 [337KB]
- Amendment Change to Interest Crediting - August 2016 [PDF-10KB]
- Employee Pension Contribution Notice (2%) - January 2013 [PDF-186KB]
- Employee Pension Contribution FAQs (2%) - January 2013 [PDF-186KB]
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Projection resources
If you are currently contributing to the Dalhousie Pension Plan, you are considered an Active member of the Dalhousie University Staff Pension Plan. As a member, you have access to your annual statement and projection/planning tools to assist in your retirement planning.
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Craig Campbell Previews New 'Fish' Video
Craig Campbell's new song 'Fish' is one that leaves fans anticipating a video after the very first listen. The bluesy, laugh-out-loud-funny love story about fishing is somehow silly and sexy, too. For the first time, fans can sneak a peak at how risky Campbell will make his second music video.
At first glance, it looks like the 'Family Man' singer plays it pretty safe. These photos indicate Campbell won't push the innuendo further than his already suggestive lyrics:
"The first time we did it I was scared to death / She snuck out in that cotton dress / Jumped on in and we drove to the lake / Put her hand on my knee and said, 'I can't wait' / I had everything we needed in the back of my truck / Turns out my baby loves to … Fish."
Both Campbell and the cute blonde love interest (played by Mariko Izumi, star of 'Hooking Up with Mariko' on the World Fishing Network) seem to stay covered, even when the singer is dreaming about "her silhouette reflecting off the water / With her hooks and her sinkers and her pretty pink bobbers."
To be honest, the two hardly seem interested in any late night activity that doesn't involve a rod and reel. Could this song truly be about fishing?
One suspects Campbell may be giving a wink, one still-shot at a time. He looks handsome in a plaid, country dress-shirt and white cowboy hat, and there's no doubt that his female fans will multiply after watching this video and hearing this song on the radio.
This month, look for Campbell as one of the openers on Willie Nelson's Country Throwdown Tour, where he'll perform 'Fish' and more!
Go Behind the Scenes of Craig Campbell's Video for 'Fish'


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All study-related tests and evaluations will be provided to you at no cost.
What are the potential risks and benefits of study participation?
The study staff will explain all of the potential risks and benefits of study participation. Before choosing to take part in the study, read all the information the study staff provides and ask questions about the study. The study staff can answer any questions you may have about study procedures or potential risks and benefits of study participation.


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Scalloped Beaded Trained Dressing Robe - S/M
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Mixed Bag On Christmas Morning
Normally Christmas day is one of excitement and anticipation, but I can't help but be a little disappointed that the Young Action were defeated yesterday on the Aboriginal Super Bowl quite handily. LT was shut out for the first time in many weeks, and my gamble of playing Alex Smith over David Carr or Trent Green did not pay off. That, combined with the fact that all three of his WRs caught touchdowns (Harrison, Fitzgerald, and Bruce), spelled a 104-77 beat down. Very sad.
But, on the bright side of things, it IS Christmas morning, and below is a collage of the dogs last night, and the environment this morning. To anyone who actually reads this blog, Merry Christmas! May you be surrounded by peace and love.