A sizzling neo-noir that should have boosted Dennis Hopper into feature bankability goes a tad slack — my guess is that Hopper’s fine directing instincts got blurred in the editing process. Don Johnson, Virginia Madsen, Jennifer Connelly and others are well cast in Charles Williams’ hardboiled sex ‘n’ crime yarn, and the temperature indeed rises when Johnson gets near his co-stars. The narrative momentum breaks down somewhat, yet the great-looking show remains a favorite, atmospheric and oversexed.
The Hot Spot
Blu-ray
Kl Studio Classics
1990 / Color / 1:85 widescreen / 130 min. / Street Date May 4, 2021 / available through Kino Lorber / 24.95
Starring: Don Johnson, Virginia Madsen, Jennifer Connelly, William Sadler, Charles Martin Smith, Jerry Hardin, Barry Corbin, Jack Nance, Virgil Frye.
Cinematography: Ueli Steiger
Film Editor: Wende Phifer Mate
Original Music: Jack Nitzsche
Written by Nona Tyson, Charles Williams from the 1952 book Hell Hath No Fury by Charles Williams
Produced by Paul Lewis
Directed by Dennis...
The Hot Spot
Blu-ray
Kl Studio Classics
1990 / Color / 1:85 widescreen / 130 min. / Street Date May 4, 2021 / available through Kino Lorber / 24.95
Starring: Don Johnson, Virginia Madsen, Jennifer Connelly, William Sadler, Charles Martin Smith, Jerry Hardin, Barry Corbin, Jack Nance, Virgil Frye.
Cinematography: Ueli Steiger
Film Editor: Wende Phifer Mate
Original Music: Jack Nitzsche
Written by Nona Tyson, Charles Williams from the 1952 book Hell Hath No Fury by Charles Williams
Produced by Paul Lewis
Directed by Dennis...
- 4/24/2021
- by Glenn Erickson
- Trailers from Hell
Loyzo Smolinsky, who has worked behind the scenes on Saturday Night Live and The Leftovers, is hoping to make his screenwriting debut with Marathon, a film about marathon runner Vanderlei de Lima.
Marathon: The Story Of Vanderlei de Lima
In 2004, Lima competed in the Athens Olympics and was leading the Marathon Men’s Final race when a protestor attacked him, dragged him to the side of the road and derailed his trajectory with four miles to go. Lima was able to recover, but failed to maintain his lead. Lima did, however, manage to earn a Bronze Medal – the first marathon medal ever won by a Brazilian. Lima’s tenacity and willingness to keep going despite the freak attack and his humility on the podium helped make him a Brazilian national hero. He was also awarded the special Pierre de Coubertin medal for his demonstration of Olympic spirit.
Now, Smolinsky,...
Marathon: The Story Of Vanderlei de Lima
In 2004, Lima competed in the Athens Olympics and was leading the Marathon Men’s Final race when a protestor attacked him, dragged him to the side of the road and derailed his trajectory with four miles to go. Lima was able to recover, but failed to maintain his lead. Lima did, however, manage to earn a Bronze Medal – the first marathon medal ever won by a Brazilian. Lima’s tenacity and willingness to keep going despite the freak attack and his humility on the podium helped make him a Brazilian national hero. He was also awarded the special Pierre de Coubertin medal for his demonstration of Olympic spirit.
Now, Smolinsky,...
- 11/7/2014
- Uinterview
Dr. Jane Roscoe has been recently appointed as the new Director of The London Film School. She will take over from current Director Ben Gibson in August.
Jane Roscoe comes to The London Film School with over 20 years experience as an academic and broadcaster in Australia, New Zealand and the UK. At the Australian Film, Television & Radio School, she launched the Centre for Screen Studies & Research, and led a number of large-scale industry-focussed research projects. She has been Network Programmer at Australia's Sbs Television, and was responsible for launching Sbs Two. More recently, as the UK-based Head of International Content at Sbs, she acquired world feature films in a wide variety of languages, and brokered an impressive slate of international co-productions. She is a regular industry and academic commentator, and has published extensively on screen audiences, documentary and mock documentary.
Mike Leigh, Chair of Governors, said, “Jane is passionate about film education and innovation, and we are delighted that she is to join us to lead Lfs into our exciting new phase."
Jane Roscoe said, “I am thrilled to have the opportunity to lead Lfs as it approaches its 60th anniversary. The move to the Barbican will further enhance the School's ability to educate for creativity, and stay connected to a fast changing film industry. It's going to be an exciting and challenging journey .”
The London Film School combines its status as a major international conservatoire with its role as one of the two leading British graduate film schools supported by Creative Skillset and the BFI.
At the upcoming Cannes Film Festival, films by Lfs graduates are represented in all the official sections – in Competition, Mr Turner, written and directed by Mike Leigh; In Un Certain Regard, Xenia, directed by Panos H. Koutras and The Salt of the Earth, co-directed by Lfs graduate Juliano Ribeiro Salgado with Wim Wenders; in Shorts Competition, Lfs graduation film Leidi, directed by Simón Mesa Soto, one of only nine films chosen from 3,450 short films to compete for the Short Film Palme d’Or. Newton I. Aduaka is one of fifteen directors selected for the tenth edition of the Cinefondation Atelier co-production showcase, with his latest feature Oil on Water. Lfs graduate Aygul Bakanova, who was a participant on the Cannes Residence programme, is screening in Directors’ Fortnight, with the Nordic Film Factory short film Void, co-directed with Milad Alami.
In December, Lfs announced its first major funding from Creative Skillset towards the development of its plans to transfer its operations from Covent Garden to a new site within the Barbican Centre in the City of London. The move is planned for 2016, when the school will also celebrate its 60th birthday.
The London Film School
Founded in 1956, Lfs is one of the world's longest established graduate filmmaking schools. It is constituted as an international conservatoire with 70% of its Ma Filmmaking students coming from outside the UK. The School offers a core 2-year Ma Filmmaking , a 1-year Ma Screenwriting , a 1-year Ma International Film Business and a PhD Film by Practice with the University of Exeter, plus around 50 Continuous Professional Development courses each year as Lfs Workshops .
Lfs has been selected by Creative Skillset, the UK government agency for audio-visual training, as one of three ‘Film Academies’, accredited as a centre of excellence.
Lfs graduates are established in film and television production in more than eighty countries and include Mike Leigh, Michael Mann, Duncan Jones, Tak Fujimoto, Roger Pratt, Ueli Steiger, Iain Smith, Horace Ove, Ho Yim, Danny Huston, Franc Roddam, Brad Anderson, Ann Hui, Marius Holst and Bill Douglas.
In 2013, Lfs films had 232 festival entries across 179 events, winning 43 prizes, nominations or special mentions. The tally breaks Lfs records for global visibility and graduate success. The list covers Toronto, Venice, Tribeca, San Sebastian, Clermont Ferrand, The London Film Festival, San Francisco, the BAFTAs and the Student Academy Awards.
More info at www.lfs.org.uk
.
Jane Roscoe comes to The London Film School with over 20 years experience as an academic and broadcaster in Australia, New Zealand and the UK. At the Australian Film, Television & Radio School, she launched the Centre for Screen Studies & Research, and led a number of large-scale industry-focussed research projects. She has been Network Programmer at Australia's Sbs Television, and was responsible for launching Sbs Two. More recently, as the UK-based Head of International Content at Sbs, she acquired world feature films in a wide variety of languages, and brokered an impressive slate of international co-productions. She is a regular industry and academic commentator, and has published extensively on screen audiences, documentary and mock documentary.
Mike Leigh, Chair of Governors, said, “Jane is passionate about film education and innovation, and we are delighted that she is to join us to lead Lfs into our exciting new phase."
Jane Roscoe said, “I am thrilled to have the opportunity to lead Lfs as it approaches its 60th anniversary. The move to the Barbican will further enhance the School's ability to educate for creativity, and stay connected to a fast changing film industry. It's going to be an exciting and challenging journey .”
The London Film School combines its status as a major international conservatoire with its role as one of the two leading British graduate film schools supported by Creative Skillset and the BFI.
At the upcoming Cannes Film Festival, films by Lfs graduates are represented in all the official sections – in Competition, Mr Turner, written and directed by Mike Leigh; In Un Certain Regard, Xenia, directed by Panos H. Koutras and The Salt of the Earth, co-directed by Lfs graduate Juliano Ribeiro Salgado with Wim Wenders; in Shorts Competition, Lfs graduation film Leidi, directed by Simón Mesa Soto, one of only nine films chosen from 3,450 short films to compete for the Short Film Palme d’Or. Newton I. Aduaka is one of fifteen directors selected for the tenth edition of the Cinefondation Atelier co-production showcase, with his latest feature Oil on Water. Lfs graduate Aygul Bakanova, who was a participant on the Cannes Residence programme, is screening in Directors’ Fortnight, with the Nordic Film Factory short film Void, co-directed with Milad Alami.
In December, Lfs announced its first major funding from Creative Skillset towards the development of its plans to transfer its operations from Covent Garden to a new site within the Barbican Centre in the City of London. The move is planned for 2016, when the school will also celebrate its 60th birthday.
The London Film School
Founded in 1956, Lfs is one of the world's longest established graduate filmmaking schools. It is constituted as an international conservatoire with 70% of its Ma Filmmaking students coming from outside the UK. The School offers a core 2-year Ma Filmmaking , a 1-year Ma Screenwriting , a 1-year Ma International Film Business and a PhD Film by Practice with the University of Exeter, plus around 50 Continuous Professional Development courses each year as Lfs Workshops .
Lfs has been selected by Creative Skillset, the UK government agency for audio-visual training, as one of three ‘Film Academies’, accredited as a centre of excellence.
Lfs graduates are established in film and television production in more than eighty countries and include Mike Leigh, Michael Mann, Duncan Jones, Tak Fujimoto, Roger Pratt, Ueli Steiger, Iain Smith, Horace Ove, Ho Yim, Danny Huston, Franc Roddam, Brad Anderson, Ann Hui, Marius Holst and Bill Douglas.
In 2013, Lfs films had 232 festival entries across 179 events, winning 43 prizes, nominations or special mentions. The tally breaks Lfs records for global visibility and graduate success. The list covers Toronto, Venice, Tribeca, San Sebastian, Clermont Ferrand, The London Film Festival, San Francisco, the BAFTAs and the Student Academy Awards.
More info at www.lfs.org.uk
.
- 5/3/2014
- by Sydney Levine
- Sydney's Buzz
Shah Rukh Khan, the Badshah of bollywood who roped in reputed rap singer Akon to sing a number in his upcoming home production .Ra 1., has decided to cast the Senegalese singer in one of the important roles in the film. In fact, Shah Rukh Khan and Akon discussed the final contours of his character at the recently hosted party at Marriott. Presently, Akon is in Mumbai on Srk.s invitation and has been staying in the city as his valued guest. Sources say that it was in this connection that Shah Rukh arranged a big bash at Marriott to honor the guest.The major part of the shoot for this film will take place in Miami, USA, as Shah Rukh plays a Us based scientist Shekhar in the film. Director Anubhav Sinha has planned the flick on a big scale and special effects team has been hired from Hollywood. As...
- 3/9/2010
- Stardust Scoop of the Day
Nevada (Us), Feb 28 – American singer-songwriter Akon is reportedly appearing in Bollywood big-budget action film “Ra.One”, starring megastar Shahrukh Khan.
Akon, 36, and Filmfare winner Shahrukh reportedly recently met in Los Angeles (USA). Akon, besides one song, will reportedly also form part of the cast. Directed by Anubhav Sinha (Tum Bin), science-fiction superhero hi-tech film “Ra.One” is written by David Benullo (Shadow Man), cinematography by Ueli Steiger (The Maiden Heist), and music by Vishal-Shekhar. Besides Shahrukh,.
Akon, 36, and Filmfare winner Shahrukh reportedly recently met in Los Angeles (USA). Akon, besides one song, will reportedly also form part of the cast. Directed by Anubhav Sinha (Tum Bin), science-fiction superhero hi-tech film “Ra.One” is written by David Benullo (Shadow Man), cinematography by Ueli Steiger (The Maiden Heist), and music by Vishal-Shekhar. Besides Shahrukh,.
- 2/28/2010
- by News
- RealBollywood.com
Nevada, Feb 27- American singer-songwriter Akon is reportedly appearing in Bollywood big-budget action film “Ra.One”, starring megastar Shahrukh Khan. Akon, besides singing one song, will reportedly also form part of the cast.
Directed by Anubhav Sinha, science-fiction superhero hi-tech film “Ra.One” is written by David Benullo, cinematography by Ueli Steiger and music by Vishal-Shekhar.
Besides Shahrukh, it also stars Kareena Kapoor and Vivek Oberoi. Shahrukh reportedly plays a Miami software engineer Shekhar in the film, who as a video-game hero takes on his self-created techno-monster “Ra.One”.
Shooting locations include Miami, and Shahrukh’s.
Directed by Anubhav Sinha, science-fiction superhero hi-tech film “Ra.One” is written by David Benullo, cinematography by Ueli Steiger and music by Vishal-Shekhar.
Besides Shahrukh, it also stars Kareena Kapoor and Vivek Oberoi. Shahrukh reportedly plays a Miami software engineer Shekhar in the film, who as a video-game hero takes on his self-created techno-monster “Ra.One”.
Shooting locations include Miami, and Shahrukh’s.
- 2/27/2010
- by News
- RealBollywood.com
Jackie Chan reportedly will spread his wings in Bollywood. According to Mid-Day, the Hong Kong-born actor has been approached to play in upcoming action entitled "Ra. One". If the deal is sealed, he will star opposite famous Indian star Shahrukh Khan.
"They are hoping Jackie agrees to be part of the film. The production house has sent him a detailed script with the action scenes and a brief synopsis of his character," a source claimed. As for the role that is offered to Jackie, reports suggested that he may play a scientist who helps Shahrukh fight off the bad guys.
This Bollywood financed production will be set in Miami and use Hollywood crew. Anubhav Sinha will serve behind the cameras while David Benullo ("Shadow Man") will provide the script and Ueli Steiger ("The Maiden Heist") will be responsible of the cinematography. In addition to Shahrukh Khan, this superhero thriller has...
"They are hoping Jackie agrees to be part of the film. The production house has sent him a detailed script with the action scenes and a brief synopsis of his character," a source claimed. As for the role that is offered to Jackie, reports suggested that he may play a scientist who helps Shahrukh fight off the bad guys.
This Bollywood financed production will be set in Miami and use Hollywood crew. Anubhav Sinha will serve behind the cameras while David Benullo ("Shadow Man") will provide the script and Ueli Steiger ("The Maiden Heist") will be responsible of the cinematography. In addition to Shahrukh Khan, this superhero thriller has...
- 1/30/2010
- by AceShowbiz.com
- Aceshowbiz
The movie's title is 10,000 B.C., but its characters and story line hark back to the first two decades of the last century, the era of D.W. Griffith. You have an outcast and an orphan, a boy who needs to become a man, a girl who needs rescuing, evil slave traders, noble savages and a revolt of the suffering masses.
What is new here, of course, is a state-of-the-art production in three countries plus CGI and other visual effects that place everything in a fictitious prehistoric world. Director Roland Emmerich and his cohorts pretty much make this up since 10,000 B.C. extends far beyond any archeological discoveries.
As one might expect, there are campy moments and far too much reliance on God-like interventions in the affairs of Early Man. Less expected is that 10,000 BC works just fine as an action Western with handsome actors in striking costumes and a few CG predators, which are giddy fun.
With strong marketing and high awareness, Warner Bros. should enjoy a strong opening weekend. The film might reach the $100 million mark domestically, but international box-office should be strong.
The story begins among a remote mountain tribe, who are white, speak English and hunt mammoths. Except that those woolly beasts are descending into their snowy valley with greater infrequency because of, yes, climate change.
A prophecy by its spiritual leader, Old Mother (Mona Hammond), lays out all three acts: Four-legged demons -- slave traders on horses -- will raid the village and capture many young people, including the beautiful orphan girl Evolet (Camilla Belle), who caught the eye of young hunter D'Leh (Steven Strait) when she was a child.
His pursuit of her and her captors along with his mentor Tic Tic (Cliff Curtis) and the very young Baku (Nathanael Baring) will turn him into a warrior and galvanize other tribes to join in the quest to overthrow an evil civilization and religion that has enslaved so many people.
Getting to the riverside home of this Aztec-like civilization, intent on building pyramids through slavery and human sacrifice, is half the fun. En route, D'Leh -- pronounced Delay -- and his gang encounter fierce beasts such as a thing that looks like a giant turkey buzzard and another one that looks like a giant saber-toothed tiger.
Then the motley crew hits a primordial jungle, where they encounter a black tribe. Its leader, Nakudu (Joel Virgel), whose ability to speak English is reasonably explained, sees D'Ley as the answer to his tribe's own prophecy, so the invasion force gets that much bigger. Next comes a vast desert, where more tribes join the rebellion.
Strait makes a convincing hero as his youth, athleticism and earnestness stand in him in good stead. Belle does manage to suggest a bit more depth to her character as she is anything but a poor girl quietly acquiescing to her captivity. Curtis and Virgel are solid as aging tribal leaders looking to pass on their dearly purchased wisdom.
Of course, the imaginative creation of everything from the handmade wardrobes and crude weapons to makeshift housing and huge animals, all lensed in classic movie style by Ueli Steiger, makes the film a continual visual entertainment. Clearly, Emmerich's crew borrows from everywhere -- be it from old movies, various cultures or ancient cave paintings.
Omar Sharif intones an overly grave narration.
10,000 B.C.
Warner Bros.
Warner Bros. presents in association with Legendary Pictures a Centropolis production
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Harald Kloser
Producers: Michael Wimer, Roland Emmerich, Mark Gordon
Executive producers: Harald Kloser, Sarah Bradshaw, Tom Karnowski, Thomas Tull, William Fay, Scott Mednick
Director of photography: Ueli Steiger
Production designer: Jean-Vincentn Puzos
Music: Harald Kloser, Thomas Wander
Co-producer: Ossie Von Richthofen
Costume designers: Odile Dicks-Mireaux, Renee April
Editor: Alexander Berner
Cast:
Evolet: Camilla Belle
D'Leh: Steven Strait
Tic Tic: Cliff Curtis
Nakudu: Joel Virgel
Warlord: Ben Badra
Ka'ren: Mo Zinal
Baku: Nathanael Baring
Old Mother: Mona Hammond
Narrator: Omar Sharif
Running time -- 108 minutes
MPAA rating: PG-13...
What is new here, of course, is a state-of-the-art production in three countries plus CGI and other visual effects that place everything in a fictitious prehistoric world. Director Roland Emmerich and his cohorts pretty much make this up since 10,000 B.C. extends far beyond any archeological discoveries.
As one might expect, there are campy moments and far too much reliance on God-like interventions in the affairs of Early Man. Less expected is that 10,000 BC works just fine as an action Western with handsome actors in striking costumes and a few CG predators, which are giddy fun.
With strong marketing and high awareness, Warner Bros. should enjoy a strong opening weekend. The film might reach the $100 million mark domestically, but international box-office should be strong.
The story begins among a remote mountain tribe, who are white, speak English and hunt mammoths. Except that those woolly beasts are descending into their snowy valley with greater infrequency because of, yes, climate change.
A prophecy by its spiritual leader, Old Mother (Mona Hammond), lays out all three acts: Four-legged demons -- slave traders on horses -- will raid the village and capture many young people, including the beautiful orphan girl Evolet (Camilla Belle), who caught the eye of young hunter D'Leh (Steven Strait) when she was a child.
His pursuit of her and her captors along with his mentor Tic Tic (Cliff Curtis) and the very young Baku (Nathanael Baring) will turn him into a warrior and galvanize other tribes to join in the quest to overthrow an evil civilization and religion that has enslaved so many people.
Getting to the riverside home of this Aztec-like civilization, intent on building pyramids through slavery and human sacrifice, is half the fun. En route, D'Leh -- pronounced Delay -- and his gang encounter fierce beasts such as a thing that looks like a giant turkey buzzard and another one that looks like a giant saber-toothed tiger.
Then the motley crew hits a primordial jungle, where they encounter a black tribe. Its leader, Nakudu (Joel Virgel), whose ability to speak English is reasonably explained, sees D'Ley as the answer to his tribe's own prophecy, so the invasion force gets that much bigger. Next comes a vast desert, where more tribes join the rebellion.
Strait makes a convincing hero as his youth, athleticism and earnestness stand in him in good stead. Belle does manage to suggest a bit more depth to her character as she is anything but a poor girl quietly acquiescing to her captivity. Curtis and Virgel are solid as aging tribal leaders looking to pass on their dearly purchased wisdom.
Of course, the imaginative creation of everything from the handmade wardrobes and crude weapons to makeshift housing and huge animals, all lensed in classic movie style by Ueli Steiger, makes the film a continual visual entertainment. Clearly, Emmerich's crew borrows from everywhere -- be it from old movies, various cultures or ancient cave paintings.
Omar Sharif intones an overly grave narration.
10,000 B.C.
Warner Bros.
Warner Bros. presents in association with Legendary Pictures a Centropolis production
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Harald Kloser
Producers: Michael Wimer, Roland Emmerich, Mark Gordon
Executive producers: Harald Kloser, Sarah Bradshaw, Tom Karnowski, Thomas Tull, William Fay, Scott Mednick
Director of photography: Ueli Steiger
Production designer: Jean-Vincentn Puzos
Music: Harald Kloser, Thomas Wander
Co-producer: Ossie Von Richthofen
Costume designers: Odile Dicks-Mireaux, Renee April
Editor: Alexander Berner
Cast:
Evolet: Camilla Belle
D'Leh: Steven Strait
Tic Tic: Cliff Curtis
Nakudu: Joel Virgel
Warlord: Ben Badra
Ka'ren: Mo Zinal
Baku: Nathanael Baring
Old Mother: Mona Hammond
Narrator: Omar Sharif
Running time -- 108 minutes
MPAA rating: PG-13...
Michael Moore meets Irwin Allen courtesy of "The Day After Tomorrow", a curious hybrid of sociopolitical cautionary tale and good old-fashioned disaster flick complete with state-of-the-art special effects and the kind of hokey dialogue that, for better or worse, often tends to go with the territory.
While all producer Allen needed were capsized cruise ships ("The Poseidon Adventure"), flaming skyscrapers ("The Towering Inferno") and killer bees ("The Swarm") to have audiences quivering in their seats, filmmaker Roland Emmerich has upped the ante considerably, dealing with no less than an imminent deep-freeze of the entire, globally warmed planet.
Ultimately, the message aspect and the human drama aspect aren't nearly as persuasive as the truly awesome special effects, which aren't burdened by hokey dialogue that lands with all the subtlety of one of the picture's mighty hailstorms.
Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods, though it's easy to see why Fox could be a little uncertain of the outcome.
In light of the current international political climate, not to mention an ongoing spate of natural disasters closer to home, are people willing to rush out and see what portions of the country are experiencing in what's left of their own back yards?
Then again, the seismic ratings generated by NBC's "10.5" miniseries would seem to bode well for "Tomorrow" particularly given the picture's comparatively compact $125 million budget.
Mother nature may be the real star of the show, but Dennis Quaid provides the trusted human element as Jack Hall, a climatologist whose research on the subject of global warming would indicate that a catastrophic shift in the world's climate could occur much sooner than anybody had anticipated.
His warnings fall on the deaf ears of the current administration, as personified by Vice President Becker (Kenneth Welsh), a man who bears an unmistakable resemblance to a certain Mr. Cheney.
But a series of freak weather occurrences -- snow falling in New Delhi, record hurricane-force winds whipping Hawaii, hail the size of Toyotas pelting Tokyo -- suggest that Hall's forecast of disaster could actually be mere days away.
In short order, multiple tornadoes sweep through Los Angeles, picking off the letters of the Hollywood sign and paring down the famed Capitol Records building.
Meanwhile, on the other coast, the mother of all floods takes Manhattan, followed by precipitously plunging temperatures. Among those fleeing into the Manhattan Public Library for shelter is Hall's son, Sam (Jake Gyllenhaal), who's in town for an academic competition.
As a mass evacuation sends half the country scurrying for the Mexican border, Hall heads in the opposite direction, pledging to his son that he'll come and get him before the new Ice Age beats him to it.
Although it lacks the us-vs.-them bravado of Emmerich's "Independence Day", the film is a considerable improvement over the last time he laid Gotham to waste with his noisy 1998 "Godzilla" remake.
Environmental activists will certainly applaud the film's message, even if it's accompanied by some of that corny dialogue provided by Emmerich and co-screenwriter Jeffrey Nachmanoff.
Credit visual effects supervisor Karen Goulekas and production designer Barry Chusid with delivering the film's biggest bang for the buck -- the staggering visuals, which combine mammoth set-pieces (constructed on Montreal soundstages) that were considerably enhanced by Digital Domain's CGI assist. Many of those sequences, including a frostbitten New York, are a thing of nightmarish beauty.
There's also strength in cinematographer Ueli Steiger's framing and composer Harald Kloser's quietly stirring score, which is reasonably low-key for the genre. Even more remarkably restrained is the decision not to include the obligatory love theme, no matter how tempting it might have been to have Maureen McGovern singing, "There's got to be a morning after the day after tomorrow."
The Day After Tomorrow
20th Century Fox
20th Century Fox presents a Centropolis Entertainment/Lions Gate/Mark Gordon Co. production
A Roland Emmerich film
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Jeffrey Nachmanoff
Story: Roland Emmerich
Producers: Mark Gordon, Roland Emmerich
Executive producers: Stephanie Germain, Ute Emmerich, Kelly Van Horn
Director of photography: Ueli Steiger
Production designer: Barry Chusid
Editor: David Brenner
Costume designer: Renee April
Visual effects supervisor: Karen Goulekas
Music: Harald Kloser
Casting: April Webster
Cast:
Professor Jack Hall: Dennis Quaid
Sam Hall: Jake Gyllenhaal
Terry Rapson: Ian Holm
Laura Chapman: Emmy Rossum
Dr. Lucy Hall: Sela Ward
Jason Evans: Dash Mihok
Frank Harris: Jay O. Sanders
Vice President Becker: Kenneth Welsh
MPAA rating PG-13
Running time -- 124 minutes...
While all producer Allen needed were capsized cruise ships ("The Poseidon Adventure"), flaming skyscrapers ("The Towering Inferno") and killer bees ("The Swarm") to have audiences quivering in their seats, filmmaker Roland Emmerich has upped the ante considerably, dealing with no less than an imminent deep-freeze of the entire, globally warmed planet.
Ultimately, the message aspect and the human drama aspect aren't nearly as persuasive as the truly awesome special effects, which aren't burdened by hokey dialogue that lands with all the subtlety of one of the picture's mighty hailstorms.
Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods, though it's easy to see why Fox could be a little uncertain of the outcome.
In light of the current international political climate, not to mention an ongoing spate of natural disasters closer to home, are people willing to rush out and see what portions of the country are experiencing in what's left of their own back yards?
Then again, the seismic ratings generated by NBC's "10.5" miniseries would seem to bode well for "Tomorrow" particularly given the picture's comparatively compact $125 million budget.
Mother nature may be the real star of the show, but Dennis Quaid provides the trusted human element as Jack Hall, a climatologist whose research on the subject of global warming would indicate that a catastrophic shift in the world's climate could occur much sooner than anybody had anticipated.
His warnings fall on the deaf ears of the current administration, as personified by Vice President Becker (Kenneth Welsh), a man who bears an unmistakable resemblance to a certain Mr. Cheney.
But a series of freak weather occurrences -- snow falling in New Delhi, record hurricane-force winds whipping Hawaii, hail the size of Toyotas pelting Tokyo -- suggest that Hall's forecast of disaster could actually be mere days away.
In short order, multiple tornadoes sweep through Los Angeles, picking off the letters of the Hollywood sign and paring down the famed Capitol Records building.
Meanwhile, on the other coast, the mother of all floods takes Manhattan, followed by precipitously plunging temperatures. Among those fleeing into the Manhattan Public Library for shelter is Hall's son, Sam (Jake Gyllenhaal), who's in town for an academic competition.
As a mass evacuation sends half the country scurrying for the Mexican border, Hall heads in the opposite direction, pledging to his son that he'll come and get him before the new Ice Age beats him to it.
Although it lacks the us-vs.-them bravado of Emmerich's "Independence Day", the film is a considerable improvement over the last time he laid Gotham to waste with his noisy 1998 "Godzilla" remake.
Environmental activists will certainly applaud the film's message, even if it's accompanied by some of that corny dialogue provided by Emmerich and co-screenwriter Jeffrey Nachmanoff.
Credit visual effects supervisor Karen Goulekas and production designer Barry Chusid with delivering the film's biggest bang for the buck -- the staggering visuals, which combine mammoth set-pieces (constructed on Montreal soundstages) that were considerably enhanced by Digital Domain's CGI assist. Many of those sequences, including a frostbitten New York, are a thing of nightmarish beauty.
There's also strength in cinematographer Ueli Steiger's framing and composer Harald Kloser's quietly stirring score, which is reasonably low-key for the genre. Even more remarkably restrained is the decision not to include the obligatory love theme, no matter how tempting it might have been to have Maureen McGovern singing, "There's got to be a morning after the day after tomorrow."
The Day After Tomorrow
20th Century Fox
20th Century Fox presents a Centropolis Entertainment/Lions Gate/Mark Gordon Co. production
A Roland Emmerich film
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Jeffrey Nachmanoff
Story: Roland Emmerich
Producers: Mark Gordon, Roland Emmerich
Executive producers: Stephanie Germain, Ute Emmerich, Kelly Van Horn
Director of photography: Ueli Steiger
Production designer: Barry Chusid
Editor: David Brenner
Costume designer: Renee April
Visual effects supervisor: Karen Goulekas
Music: Harald Kloser
Casting: April Webster
Cast:
Professor Jack Hall: Dennis Quaid
Sam Hall: Jake Gyllenhaal
Terry Rapson: Ian Holm
Laura Chapman: Emmy Rossum
Dr. Lucy Hall: Sela Ward
Jason Evans: Dash Mihok
Frank Harris: Jay O. Sanders
Vice President Becker: Kenneth Welsh
MPAA rating PG-13
Running time -- 124 minutes...
Michael Moore meets Irwin Allen courtesy of "The Day After Tomorrow", a curious hybrid of sociopolitical cautionary tale and good old-fashioned disaster flick complete with state-of-the-art special effects and the kind of hokey dialogue that, for better or worse, often tends to go with the territory.
While all producer Allen needed were capsized cruise ships ("The Poseidon Adventure"), flaming skyscrapers ("The Towering Inferno") and killer bees ("The Swarm") to have audiences quivering in their seats, filmmaker Roland Emmerich has upped the ante considerably, dealing with no less than an imminent deep-freeze of the entire, globally warmed planet.
Ultimately, the message aspect and the human drama aspect aren't nearly as persuasive as the truly awesome special effects, which aren't burdened by hokey dialogue that lands with all the subtlety of one of the picture's mighty hailstorms.
Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods, though it's easy to see why Fox could be a little uncertain of the outcome.
In light of the current international political climate, not to mention an ongoing spate of natural disasters closer to home, are people willing to rush out and see what portions of the country are experiencing in what's left of their own back yards?
Then again, the seismic ratings generated by NBC's "10.5" miniseries would seem to bode well for "Tomorrow" particularly given the picture's comparatively compact $125 million budget.
Mother nature may be the real star of the show, but Dennis Quaid provides the trusted human element as Jack Hall, a climatologist whose research on the subject of global warming would indicate that a catastrophic shift in the world's climate could occur much sooner than anybody had anticipated.
His warnings fall on the deaf ears of the current administration, as personified by Vice President Becker (Kenneth Welsh), a man who bears an unmistakable resemblance to a certain Mr. Cheney.
But a series of freak weather occurrences -- snow falling in New Delhi, record hurricane-force winds whipping Hawaii, hail the size of Toyotas pelting Tokyo -- suggest that Hall's forecast of disaster could actually be mere days away.
In short order, multiple tornadoes sweep through Los Angeles, picking off the letters of the Hollywood sign and paring down the famed Capitol Records building.
Meanwhile, on the other coast, the mother of all floods takes Manhattan, followed by precipitously plunging temperatures. Among those fleeing into the Manhattan Public Library for shelter is Hall's son, Sam (Jake Gyllenhaal), who's in town for an academic competition.
As a mass evacuation sends half the country scurrying for the Mexican border, Hall heads in the opposite direction, pledging to his son that he'll come and get him before the new Ice Age beats him to it.
Although it lacks the us-vs.-them bravado of Emmerich's "Independence Day", the film is a considerable improvement over the last time he laid Gotham to waste with his noisy 1998 "Godzilla" remake.
Environmental activists will certainly applaud the film's message, even if it's accompanied by some of that corny dialogue provided by Emmerich and co-screenwriter Jeffrey Nachmanoff.
Credit visual effects supervisor Karen Goulekas and production designer Barry Chusid with delivering the film's biggest bang for the buck -- the staggering visuals, which combine mammoth set-pieces (constructed on Montreal soundstages) that were considerably enhanced by Digital Domain's CGI assist. Many of those sequences, including a frostbitten New York, are a thing of nightmarish beauty.
There's also strength in cinematographer Ueli Steiger's framing and composer Harald Kloser's quietly stirring score, which is reasonably low-key for the genre. Even more remarkably restrained is the decision not to include the obligatory love theme, no matter how tempting it might have been to have Maureen McGovern singing, "There's got to be a morning after the day after tomorrow."
The Day After Tomorrow
20th Century Fox
20th Century Fox presents a Centropolis Entertainment/Lions Gate/Mark Gordon Co. production
A Roland Emmerich film
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Jeffrey Nachmanoff
Story: Roland Emmerich
Producers: Mark Gordon, Roland Emmerich
Executive producers: Stephanie Germain, Ute Emmerich, Kelly Van Horn
Director of photography: Ueli Steiger
Production designer: Barry Chusid
Editor: David Brenner
Costume designer: Renee April
Visual effects supervisor: Karen Goulekas
Music: Harald Kloser
Casting: April Webster
Cast:
Professor Jack Hall: Dennis Quaid
Sam Hall: Jake Gyllenhaal
Terry Rapson: Ian Holm
Laura Chapman: Emmy Rossum
Dr. Lucy Hall: Sela Ward
Jason Evans: Dash Mihok
Frank Harris: Jay O. Sanders
Vice President Becker: Kenneth Welsh
MPAA rating PG-13
Running time -- 124 minutes...
While all producer Allen needed were capsized cruise ships ("The Poseidon Adventure"), flaming skyscrapers ("The Towering Inferno") and killer bees ("The Swarm") to have audiences quivering in their seats, filmmaker Roland Emmerich has upped the ante considerably, dealing with no less than an imminent deep-freeze of the entire, globally warmed planet.
Ultimately, the message aspect and the human drama aspect aren't nearly as persuasive as the truly awesome special effects, which aren't burdened by hokey dialogue that lands with all the subtlety of one of the picture's mighty hailstorms.
Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods, though it's easy to see why Fox could be a little uncertain of the outcome.
In light of the current international political climate, not to mention an ongoing spate of natural disasters closer to home, are people willing to rush out and see what portions of the country are experiencing in what's left of their own back yards?
Then again, the seismic ratings generated by NBC's "10.5" miniseries would seem to bode well for "Tomorrow" particularly given the picture's comparatively compact $125 million budget.
Mother nature may be the real star of the show, but Dennis Quaid provides the trusted human element as Jack Hall, a climatologist whose research on the subject of global warming would indicate that a catastrophic shift in the world's climate could occur much sooner than anybody had anticipated.
His warnings fall on the deaf ears of the current administration, as personified by Vice President Becker (Kenneth Welsh), a man who bears an unmistakable resemblance to a certain Mr. Cheney.
But a series of freak weather occurrences -- snow falling in New Delhi, record hurricane-force winds whipping Hawaii, hail the size of Toyotas pelting Tokyo -- suggest that Hall's forecast of disaster could actually be mere days away.
In short order, multiple tornadoes sweep through Los Angeles, picking off the letters of the Hollywood sign and paring down the famed Capitol Records building.
Meanwhile, on the other coast, the mother of all floods takes Manhattan, followed by precipitously plunging temperatures. Among those fleeing into the Manhattan Public Library for shelter is Hall's son, Sam (Jake Gyllenhaal), who's in town for an academic competition.
As a mass evacuation sends half the country scurrying for the Mexican border, Hall heads in the opposite direction, pledging to his son that he'll come and get him before the new Ice Age beats him to it.
Although it lacks the us-vs.-them bravado of Emmerich's "Independence Day", the film is a considerable improvement over the last time he laid Gotham to waste with his noisy 1998 "Godzilla" remake.
Environmental activists will certainly applaud the film's message, even if it's accompanied by some of that corny dialogue provided by Emmerich and co-screenwriter Jeffrey Nachmanoff.
Credit visual effects supervisor Karen Goulekas and production designer Barry Chusid with delivering the film's biggest bang for the buck -- the staggering visuals, which combine mammoth set-pieces (constructed on Montreal soundstages) that were considerably enhanced by Digital Domain's CGI assist. Many of those sequences, including a frostbitten New York, are a thing of nightmarish beauty.
There's also strength in cinematographer Ueli Steiger's framing and composer Harald Kloser's quietly stirring score, which is reasonably low-key for the genre. Even more remarkably restrained is the decision not to include the obligatory love theme, no matter how tempting it might have been to have Maureen McGovern singing, "There's got to be a morning after the day after tomorrow."
The Day After Tomorrow
20th Century Fox
20th Century Fox presents a Centropolis Entertainment/Lions Gate/Mark Gordon Co. production
A Roland Emmerich film
Credits:
Director: Roland Emmerich
Screenwriters: Roland Emmerich, Jeffrey Nachmanoff
Story: Roland Emmerich
Producers: Mark Gordon, Roland Emmerich
Executive producers: Stephanie Germain, Ute Emmerich, Kelly Van Horn
Director of photography: Ueli Steiger
Production designer: Barry Chusid
Editor: David Brenner
Costume designer: Renee April
Visual effects supervisor: Karen Goulekas
Music: Harald Kloser
Casting: April Webster
Cast:
Professor Jack Hall: Dennis Quaid
Sam Hall: Jake Gyllenhaal
Terry Rapson: Ian Holm
Laura Chapman: Emmy Rossum
Dr. Lucy Hall: Sela Ward
Jason Evans: Dash Mihok
Frank Harris: Jay O. Sanders
Vice President Becker: Kenneth Welsh
MPAA rating PG-13
Running time -- 124 minutes...
- 5/27/2004
- The Hollywood Reporter - Movie News
"Austin Powers: The Spy Who Shagged Me" is bigger and funnier than the original film -- which means, of course, that the jokes are much worse. Few moviemakers have elevated sheer badness to a comic art form as have Mike Myers and his cohorts in the two "Austin Powers" films. Indeed, they have done the seemingly impossible: given badness -- dare we say it? -- a good name.
Every summer needs its silly movie, and at least until Adam Sandler turns up later this month, "Austin Powers" has the silly market cornered. Although at times numbingly one-notish and repetitive, this New Line release looks like it will shag a sizable boxoffice yield then turn into a highly rentable video.
The basic joke to the "Austin Powers" series lies in the transitory nature of pop culture. In our media-mad world, everything from the clothing and hairstyles to the social mores of a mere generation ago appears hilariously off-the-mark today. If you doubt this, just take a look at that photo in your high school yearbook.
So when Myers' James Bond-like character, a cryogenic relic of the Swinging '60s, is plunked down in the end-of-the-millennium London, he's a walking antiquity. Worse yet, Austin refuses to recognize that anything has changed.
The time-travel element from the original 1997 film gets overworked in the sequel as various time machines scoot people back and forth across three decades with a trip to the moon thrown in for good measure.
Sometimes this back-to-the-future zaniness sets up truly inspired comedy such as Rob Lowe playing a young Robert Wagner with deadly accuracy. (Is it a compliment to say an actor plays Robert Wagner very well?) But the film relies far too heavily on anachronisms, which grow increasingly flat as the movie wears on.
Myers and his writing partner, Michael McCullers, certainly know little if any shame in their pursuit of jokes in the bathroom, bedroom and anywhere else bad taste can prevail. There are more gags here about bodily functions than in a Farrelly brothers flick. There is even, God help us, a gerbil joke.
The movie eliminates Vanessa (Elizabeth Hurley) -- Austin's lust interest from the original film -- in the first scene, which permits him to take up with Felicity Shagwell (Heather Graham). Felicity eagerly joins Austin's campaign to free the world from Dr. Evil (also played by Myers), whose plans for world domination inevitably run afoul of Austin's mojo.
So Dr. Evil time-travels back to the '60s to steal his nemesis' mojo. Austin follows him in his own time machine -- a psychedelic VW Beetle -- to get his mojo back and block Dr. Evil's plan to zap Earth from the moon with a laser (in 1969?). One could only wish Austin and Felicity also found time to eliminate the movie's most annoying character, Mini-Me (Verne J. Troyer), a pint-size clone of Dr. Evil.
In Austin Powers, Myers has clearly touched a comic nerve with audiences. By seeing James Bond not as a worldly sophisticate but rather as an ageless adolescent ruled by his genital urges, Myers has created a character that amuses men and convulses women. In also playing Dr. Evil and a new character, Fat Bastard, an obese Scottish spy, Myers further exploits his gifts for comic exaggeration.
But when one actor produces, writes and plays three parts, it tends to reduce his supporting cast to straight-man roles. The two actors who do manage to stand out are, interestingly enough, women. Graham's fab vixen exudes charm and wit. She is game for all the silliness but maintains a sweetness that is genuinely alluring.
And Mindy Sterling, a veteran actress and a member of the Groundlings improv troupe, makes Dr. Evil's henchwoman Frau Farbissina into an improbable but hilarious sex kitten.
The film also delights in its cameos with such people as Burt Bacharach, Elvis Costello, Woody Harrelson, Willie Nelson, Tim Robbins and Jerry Springer turning up either as themselves or as inspired casting.
As with the initial movie, Jay Roach's directorial style equates busyness with energy. He prefers visual onslaught to, say, the slapstick inventiveness of the Farrelly brothers or the subtle, multilayered gags of the early Zucker brothers.
There is also an inherent laziness born of the anything-can-happen approach. The moviemakers see no reason to explain how Frau Farbissina can witness Dr. Evil's rocket launch on Earth only to be present at his moon station when he arrives.
The gospel of badness is also honored by production designer Rusty Smith and cinematographer Ueli Steiger. Smith has outfitted a host of California locales and the Universal backlot to not even resemble '60s England in the slightest. (One can even glimpse the Hollywood Hills behind the London store fronts.) And Steiger uses high key lighting to capture the overripe Carnaby colors in all their true garishness.
The film's final moments leave the way open to further sequels -- at least until audiences cry uncle.
AUSTIN POWERS: THE SPY WHO SHAGGED ME
New Line Cinema
An Eric's Boy, Moving Pictures
and Team Todd production
A Jay Roach film
Producers: Suzanne Todd, Jennifer Todd, Demi Moore, Eric McLeod, John Lyons, Mike Myers
Director: Jay Roach
Writers: Mike Myers & Michael McCullers
Executive producers: Erwin Stoff, Michael De Luca, Donna Langley
Director of photography: Ueli Steiger
Production designer: Rusty Smith
Music: George S. Clinton
Casting: Juel Bestrop & Jeanne McCarthy
Costumes: Deena Appel
Editors: John Poll, Debra Neil-Fisher
Color/stereo
Cast:
Austin Powers/Dr. Evil/Fat Bastard: Mike Myers
Felicity Shagwell: Heather Graham
Basil Exposition: Michael York
Number Two: Robert Wagner
Young Number Two: Rob Lowe
Scott Evil: Seth Green
Frau Farbissina: Mindy Sterling
Mini-Me: Verne J. Troyer
Running time -- 95 minutes
MPAA rating: PG-13...
Every summer needs its silly movie, and at least until Adam Sandler turns up later this month, "Austin Powers" has the silly market cornered. Although at times numbingly one-notish and repetitive, this New Line release looks like it will shag a sizable boxoffice yield then turn into a highly rentable video.
The basic joke to the "Austin Powers" series lies in the transitory nature of pop culture. In our media-mad world, everything from the clothing and hairstyles to the social mores of a mere generation ago appears hilariously off-the-mark today. If you doubt this, just take a look at that photo in your high school yearbook.
So when Myers' James Bond-like character, a cryogenic relic of the Swinging '60s, is plunked down in the end-of-the-millennium London, he's a walking antiquity. Worse yet, Austin refuses to recognize that anything has changed.
The time-travel element from the original 1997 film gets overworked in the sequel as various time machines scoot people back and forth across three decades with a trip to the moon thrown in for good measure.
Sometimes this back-to-the-future zaniness sets up truly inspired comedy such as Rob Lowe playing a young Robert Wagner with deadly accuracy. (Is it a compliment to say an actor plays Robert Wagner very well?) But the film relies far too heavily on anachronisms, which grow increasingly flat as the movie wears on.
Myers and his writing partner, Michael McCullers, certainly know little if any shame in their pursuit of jokes in the bathroom, bedroom and anywhere else bad taste can prevail. There are more gags here about bodily functions than in a Farrelly brothers flick. There is even, God help us, a gerbil joke.
The movie eliminates Vanessa (Elizabeth Hurley) -- Austin's lust interest from the original film -- in the first scene, which permits him to take up with Felicity Shagwell (Heather Graham). Felicity eagerly joins Austin's campaign to free the world from Dr. Evil (also played by Myers), whose plans for world domination inevitably run afoul of Austin's mojo.
So Dr. Evil time-travels back to the '60s to steal his nemesis' mojo. Austin follows him in his own time machine -- a psychedelic VW Beetle -- to get his mojo back and block Dr. Evil's plan to zap Earth from the moon with a laser (in 1969?). One could only wish Austin and Felicity also found time to eliminate the movie's most annoying character, Mini-Me (Verne J. Troyer), a pint-size clone of Dr. Evil.
In Austin Powers, Myers has clearly touched a comic nerve with audiences. By seeing James Bond not as a worldly sophisticate but rather as an ageless adolescent ruled by his genital urges, Myers has created a character that amuses men and convulses women. In also playing Dr. Evil and a new character, Fat Bastard, an obese Scottish spy, Myers further exploits his gifts for comic exaggeration.
But when one actor produces, writes and plays three parts, it tends to reduce his supporting cast to straight-man roles. The two actors who do manage to stand out are, interestingly enough, women. Graham's fab vixen exudes charm and wit. She is game for all the silliness but maintains a sweetness that is genuinely alluring.
And Mindy Sterling, a veteran actress and a member of the Groundlings improv troupe, makes Dr. Evil's henchwoman Frau Farbissina into an improbable but hilarious sex kitten.
The film also delights in its cameos with such people as Burt Bacharach, Elvis Costello, Woody Harrelson, Willie Nelson, Tim Robbins and Jerry Springer turning up either as themselves or as inspired casting.
As with the initial movie, Jay Roach's directorial style equates busyness with energy. He prefers visual onslaught to, say, the slapstick inventiveness of the Farrelly brothers or the subtle, multilayered gags of the early Zucker brothers.
There is also an inherent laziness born of the anything-can-happen approach. The moviemakers see no reason to explain how Frau Farbissina can witness Dr. Evil's rocket launch on Earth only to be present at his moon station when he arrives.
The gospel of badness is also honored by production designer Rusty Smith and cinematographer Ueli Steiger. Smith has outfitted a host of California locales and the Universal backlot to not even resemble '60s England in the slightest. (One can even glimpse the Hollywood Hills behind the London store fronts.) And Steiger uses high key lighting to capture the overripe Carnaby colors in all their true garishness.
The film's final moments leave the way open to further sequels -- at least until audiences cry uncle.
AUSTIN POWERS: THE SPY WHO SHAGGED ME
New Line Cinema
An Eric's Boy, Moving Pictures
and Team Todd production
A Jay Roach film
Producers: Suzanne Todd, Jennifer Todd, Demi Moore, Eric McLeod, John Lyons, Mike Myers
Director: Jay Roach
Writers: Mike Myers & Michael McCullers
Executive producers: Erwin Stoff, Michael De Luca, Donna Langley
Director of photography: Ueli Steiger
Production designer: Rusty Smith
Music: George S. Clinton
Casting: Juel Bestrop & Jeanne McCarthy
Costumes: Deena Appel
Editors: John Poll, Debra Neil-Fisher
Color/stereo
Cast:
Austin Powers/Dr. Evil/Fat Bastard: Mike Myers
Felicity Shagwell: Heather Graham
Basil Exposition: Michael York
Number Two: Robert Wagner
Young Number Two: Rob Lowe
Scott Evil: Seth Green
Frau Farbissina: Mindy Sterling
Mini-Me: Verne J. Troyer
Running time -- 95 minutes
MPAA rating: PG-13...
- 6/10/1999
- The Hollywood Reporter - Movie News
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