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From the Short Stack: Ray Carney on John Cassavetes and The Method
Among other things, Cassavetes hoped to offer young actors an alternative to the Method.
Apropos of nothing but affection, here are some snippets from Cassavetes on Cassavetes, a book about actor-filmmaker John Cassavetes by Boston University professor, graduate studies director and film historian Ray Carney. Despite the straightforward title, it's not a collection of transcripts and articles, but sort of a mosaic biography that fuses interviews from various sources (including Carney) with a candid assessment of Cassavetes the actor, writer, director, small businessman, theater impresario and barroom philosopher. Cassavetes's first feature, 1959's Shadows is generally thought of as the first modern American underground indie, a stateside cousin of such pioneering French New Wave features as Hiroshima, Mon Amour and Breathless. His filmography would grow to include Faces, A Woman Under the Influence, Husbands, The Killing of a Chinese Bookie and Gloria.
The following is drawn from Chapter 2, which covers Cassavetes's transformation from rising theater turk to working film and TV actor and struggling filmmaker. He hadn't yet directed Shadows, and he'd only recently married his favorite leading lady, Gena Rowlands. But even then, Cassavetes's hunger for significance was palpable, his confidence staggering. By the mid 1950s, Cassavetes had cofounded a theater workshop with his friend, theater director Burt Lane (future father of Diane Lane), called "The Cassavetes-Lane Drama Workshop." Thanks to Cassavetes's disinterest in the day-to-day hassle of running a theater company, and his tendency to be clownish and disruptive during workshops, the experiment did not fulfill its original goal, which was to build a stable of new talent, put Cassavetes and Lane on the map as important theatrical figures and lure casting agents, directors and producers looking for fresh faces. ("So we said, all right, actors, come on in and work, do your scenes, and we'll invite the casting directors, writers, producers and directors along to see you," Cassavetes said later. "But everybody wants to discover for himself, nobody takes anybody else's word…Nobody showed up.")
The workshop was successful in one respect, though: it helped Cassavetes work through his notion of good acting, and define it in opposition to other popular approaches, including The Method, which had only been well-known for about a decade but had already hardened into a formula. Carney writes: "To an interviewer who visited the workshop, Cassavetes somewhat vaguely tried to describe the classes as being designed to teach students to 'act naturally,' so that their work didn't look 'staged' or 'artificial.' He said his goal was to bring 'realism' back to acting, and that the highest compliment that could possibly be paid to one of his actors was to say that he or she didn't appear to be 'acting,' but simply 'living' his character. The journalist regarded the explanation as fairly trite until Cassavetes added that the 'artificiality' of the expression of emotion was more than a dramatic problem. It was a problem in life. The young actor argued that most lived experiences were as 'staged' and 'artificial' as most dramatic experiences, and that the real problem 'for modern man' (as Cassavetes inflatedly put it) was 'breaking free from conventions and learning how to really feel again.' It was a daring leap: lived experience could be as much a product of convention as dramatic experience, and in fact one sort of convention could be the subject of the other. it was the first and most succinct statement of the subject of Shadows and of all Cassavetes' later work."
Among other things, Cassavetes hoped to offer young actors an alternative to the Method, a sensory- and memory-centered approach that was taught, in personalized form, by Actors Studio founder Lee Strasberg (whose students included James Dean, Robert Duvall, Robert De Niro, Elia Kazan, Shelley Winters and many others). Variants of the Method encouraged actors to draw heavily on their own experiences and feelings, and to treat hesitancy and inarticulateness as gateways to truth rather than obstacles to clear expression. A number of Method actors personalized this approach and had great success. But Cassavetes felt that the Method, and Strasberg's Studio in particular, had become a different sort of factory, and he was "…resentful about the power the Studio exerted over casting directors, which he felt was what had held him back early in his career," Carney writes. "He was scornful of what he called the 'guru' aspects of the Studio and pointedly described his and Lane's school as 'anti-guru.' He felt that the Method was more a form of psychotherapy than acting, and believed that although figures like (Montgomery) Clift, (Marlon) Brando and Dean had had a salutary effect on acting in the late '40s and early '50s, by the mid-'50s the Method had hardened into a received style that was as rigid, unimaginative and boring as the styles it had replaced ten years earlier. The slouch, shuffle, furrow and stammer had been turned into recipes for profundity. The actor filled the character up with his own self-indulgent emotions and narcissistic fantasies…Normal, healthy, extroverted social and sexual expression between men and women dropped out of drama. Inward-turning neuroticism became equated with truth. The result was lazy, sentimental acting."
Of course if we take the anti-guru at his word, we cannot uncritically accept every unkind word Cassavetes said about the Method. Even he conceded that when absorbed by an imaginative, disciplined actor, Strasberg's techniques could be—and still can be—a springboard to brilliance, a theorem proved not just by Strasberg's own pupils, but by future generations of actors who learned the Method by watching Strasberg's pupils. But one of Cassavetes's gripes still has teeth: The Method encouraged actors to get lost in their own mental space, lose touch with their fellow castmembers and the audience, and turn acting into a kind of joyless private experiment. "The Studio's sense of acting was that it was something serious, labored and earnest," Carney writes. "Cassavetes' understanding was that acting was fun. It could be zany, comical and madcap. In Strasberg's vision, the theater was a church; in Cassavetes', it was a playground."
For more about John Cassavetes and Ray Carney, click here.
This article was originally published on The House Next Door.
Review: Nightmare Cinema Offers a Mishmash of Horror Mischief
The anthology justifies Mick Garris's passion for horror, though he ironically proves to be one of his project's liabilities.2.5
As he proved with the anthology shows Masters of Horror and Fear Itself, Mick Garris has no problem recruiting once-great filmmakers and getting them to enthusiastically recycle horror cinema's most obvious tropes. With only a few exceptions, such as episodes directed by Takashi Miike and Dario Argento, both of these productions often suggest the horror equivalent of an aging rock band at a stadium, playing music that's leeched of its former danger. With Nightmare Cinema, Garris semi-successfully brings this act to the increasingly figurative big screen, assembling directors Joe Dante, David Slade, Alejandro Brugués, Ryûhei Kitamura, and himself for more genre mischief.
Nightmare Cinema is generally of a higher caliber than Masters of Horror, and particularly of Fear Itself. The film starts almost in medias res, with Brugués's "The Thing in the Woods" approximating the third act of a slasher movie. It's a relief to skip the expositional throat clearing that usually gluts the opening of such a narrative, and Brugués stages the stalk-and-slash set pieces with style, energy, and a flair for macabre humor. There's also a twist that leads to a wonderfully irrational image. The murderer who stalks the requisitely attractive young people, called The Welder for his choice of mask and killing instruments, is revealed to be a sort of hero, having discovered that alien spiders are nesting in the skulls of his friends.
Dante's "Mirari," written by Richard Christian Matheson, is even more deranged. Anna (Zarah Mahler) is about to marry a handsome man (Mark Grossman) who manipulates her into undergoing plastic surgery so that she may live up to the ideal set by his mother. The joke, a good one that recalls a famous episode of The Twilight Zone, is that Anna is already quite beautiful, though tormented by a scar running down her face. The plastic surgeon is Mirari (Richard Chamberlain), who turns out to be the orchestrator of a surreal asylum of horrors. Chamberlain is pitched perfectly over the top, lampooning his own past as a pretty boy, and Dante's direction is loose and spry—authentically channeling the spirit of his best work.
Nightmare Cinema hits a significant speed bump with Kitamura's "Mashit," a tedious and nonsensical gothic in which a demon terrorizes a Catholic church, but rebounds beautifully with Slade's nightmarish "This Way to Egress," in which Elizabeth Reaser plays Helen, a woman who's either losing her mind or slipping into another realm of reality. Slade has directed some of the most formally accomplished hours of recent television, particularly Hannibal, and he brings to Nightmare Cinema a similarly sophisticated palette. "This Way to Egress" is filmed in stark black and white, and the clinic treating Helen suddenly becomes a setting of apparent mass murder, with blood-splattered walls that come to resemble a series of abstract paintings. Meanwhile, the people in the clinic become deformed monsters, talking in gurgles and plunging unseen masses out of sinks. (Giving Nightmare Cinema's best performance, Reaser ties all of this inspired insanity together with an emotional vibrancy.)
Garris directs "The Projectionist," Nightmare Cinema's framing episode, in which a theater portends doom for the film's various characters while Mickey Rourke saunters around, lending the production his usual found-object weirdness. Garris also concludes the anthology with "Dead," a grab bag of clichés in which a young piano student (Faly Rakotohavana) grapples with a near-death experience in a hospital while evading pursuit by a psychopath (Orson Chaplin). Characteristically, Garris over-telegraphs the scares with cheesy music and evinces no sense of specificity or reality even for a story that's set on such a heightened plane. (One may wonder how a boy recovering from a gunshot wound to the chest can defend himself against a much larger madman.) "Dead" also bears an unfortunate structural resemblance to the vastly superior "This Way to Egress," which is also a surreal journey of a character within an institution. There are notable, surprising highpoints in Nightmare Cinema that justify Garris's passion for horror, though he ironically proves to be one of his project's liabilities.
Cast: Mickey Rourke, Richard Chamberlain, Adam Godley, Orson Chaplin, Elizabeth Reaser, Maurice Benard, Kevin Fonteyne, Belinda Balaski, Lucas Barker, Reid Cox, Ezra Buzzington, Pablo Guisa Koestinger, Dan Martin, Zarah Mahler, Lexy Panterra, Faly Rakotohavana, Patrick Wilson, Sarah Elizabeth Withers Director: Mick Garris, Alejandro Brugués, Joe Dante, Ryûhei Kitamura, David Slade Screenwriter: Sandra Becerril, Alejandro Brugués, Lawrence C. Connolly, Mick Garris, Richard Christian Matheson, David Slade Distributor: Good Dead Entertainment Running Time: 119 min Rating: R Year: 2018
Review: Toni Morrison: The Pieces I Am Is an Engaging Tribute to a Legend
In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.3
Timothy Greenfield-Sanders's Toni Morrison: The Pieces I Am is rather literal-minded, opening as it does with an overhead shot of hands re-assembling black-and-white photographs of Toni Morrison that have been snipped into pieces. The documentary continues in a similar vein, reconstructing Morrison's life and work out of interviews, news clippings, and archival images that, like the reassembled photographs, comprise a structured and fairly straightforward whole. The meticulously organized film alternates between narrating Morrison's background and her writing career, jumping between her family history and her life and legacy to compile a nonlinear but coherent portrait of the author.
The Morrison work that emblematizes the film's approach, then, isn't so much one of her acclaimed novels, but The Black Book, a 1974 anthology Morrison edited in her role as a senior editor at Random House. As described by Morrison and other interviewees in the documentary, the book collects written and graphic work from the history of black life in America, seeking to fill in the gaps in the master narrative of American history. The purpose of The Black Book was to capture the good and the bad of the amorphous assemblage often referred to as "the" black experience, and similarly, The Pieces I Am aims to craft a portrait of the most significant black author of the last half-century without reducing her to "the" black author, the sole voice for African-Americans in an overwhelmingly white canon.
As such, Greenfield-Sanders and his interviewer, Sandra Guzman, call upon a range of significant black writers and intellectuals—Oprah Winfrey, poet Sonia Sanchez, and activist and author Angela Davis, among many others—to discuss Morrison's career and its significance in the context of black America. Even before she achieved fame as a novelist, Morrison was a crucial part of post-civil rights black literature as an editor at Random House, where she published Davis's widely read autobiography and Muhammad Ali's The Greatest: My Own Story. When they began appearing in the early 1970s, Morrison's novels articulated aspects of black life that had long been suppressed, ignored, or softened to tailor to white audiences, forcing into the view of the official culture a distinctly black, female voice.
Interviews with the writer herself, now a lively 88 years old, make up the better portion of this filmic collage. As Morrison emphasizes, one aim of her novels has been to escape the white gaze, which Greenfield-Sanders's documentary succinctly defines as cultural presumption that white approval is needed to sanction black cultural production. Novels like The Bluest Eye and Beloved humanize black people without relying on white characters to validate their personhood. They also cover a wide range of black life, spanning various historical periods and taking the perspective of both men and women, children and adults.
The film roots Morrison's ability to imagine and inhabit such an expanse of feelings and experiences not only in her sharp mind and democratic sensibility, but also in the way her life story itself is woven from the contradictory strands of 20th-century black life: from the Jim Crow South to an integrated town in the industrial North, from a historically black university to the overwhelmingly white and male environs of Random House. Aesthetically, The Pieces I Am tends to be a bit flavorless—there's no shortage of photographs presented via the "Ken Burns" tracking effect, and the interviews are conducted against monochromatic backdrops that sometimes make them resemble high school photos—but in verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
Distributor: Magnolia Pictures Running Time: 119 min Rating: PG-13 Year: 2019
Review: A Bigger Splash Finds Intimacy in the Space Between Life and Art
Jack Hazan's portrait of David Hockney stands between documentary and fictional film, reality and fantasy.3
Jack Hazan's A Bigger Splash stands between documentary and fictional film, reality and fantasy. Following influential pop artist David Hockney in a particularly uncreative period in the early 1970s as his relationship with muse Peter Schlesinger deteriorates, the film is ostensibly a portrait of the artist as an uninspired man. But Hazan dispenses with many of the familiar conventions of documentary filmmaking that would become de rigueur in years to come. Instead of having, say, talking heads discuss his subject's life and art, Hazan presents Hockney and the people in the artist's orbit as essentially living in one of his paintings.
A Bigger Splash, whose title is borrowed from one Hockney's seminal pieces, offers up a captivating pseudo-drama of alienated people living flashy lifestyles and who have much difficulty communicating with each other. And in its fixations, the film feels like an extension of Hockney's sexually frank art, which has consistently depicted gay life and helped to normalize gay relationships in the 1960s. Indeed, as Hazan's observational camera is drawn to the coterie of gay men who flit about Hockney's world—one notably protracted sequence captures two men stripping naked and intensely making out—it's easy to see why the film is now recognized as an important flashpoint in the history of LGBT cinema.
Even though he appears by turns vapid and seemingly indifferent to the feelings of those around him, Hockney unmistakably displays an acute understanding of human behavior. Hazan begins A Bigger Splash with a flash-forward of Hockney describing the subtextual richness of a male friend's actions, with the artist practically becoming giddy over incorporating what he's observed into one of his paintings. Hazan subsequently includes extended scenes of Hockney at work, eagerly attempting to capture a sense of people's inner feelings through an acute depiction of their body language and facial expressions. At its simplest, then, the documentary is a celebration of how Hockney turns life into art.
Notably, Hockney is seen in the film working on Portrait of an Artist (Pool with Two Figures), incorporating into his now-iconic painting the pensive visage of a friend. It's here that the film homes in on Hockney's uncanny ability to transform a seemingly innocuous moment into a profound expression of desire. And throughout these and other mostly dialogue-free sequences, it's as if Hazan is trying to put us in Hockney's shoes, forcing us to pay as close attention as possible to the details of so many lavish parties and mundane excursions to art galleries and imagine just what might end up in one of the artist's masterworks.
Toward the end of A Bigger Splash, surreal dream scenes sandwiched between shots of a sleeping Hockney and staged like one of his pool paintings show the accumulation of people and details the artist witnessed and absorbed throughout the film. An expression of the totality of Hockney's dedication to drawing inspiration from the world around him, these passages also evince Hazan's refusal to be bound to documentary convention. In these moments, it's as if the filmmaker is trying to tell us that no talking head can make us understand Hockney's genius the way living and dreaming like him can.
Director: Jack Hazan Screenwriter: Jack Hazan, David Mingay Distributor: Metrograph Pictures Running Time: 105 min Rating: NR Year: 1973
Review: The Quiet One Conspicuously Doesn't Say Enough About Bill Wyman
In the end, the film feels like a sketch that's been offered in place of a portrait.2.5
Detailing the life of Rolling Stones bassist Bill Wyman, writer-director Oliver Murray's documentary The Quiet One offers an appealing stream of photographs and footage, quite a bit of which are culled from the musician's own formidable archives. Particularly notable are beautiful black-and-white photos that gradually dramatize the Rolling Stones's ascension from a shaggy blues band to an iconic rock n' roll act, as well as haunting home footage of Wyman's father, William Perks, sitting on his lawn with his dog.
Born William Perks Jr. in Lewisham, South London, Wyman was distant with his father, and the aforementioned footage of the elder Perks distills years of alienation and miscommunication into a few singular images. The Quiet One includes other such resonant emotional information, and interviews with various collaborators offer telling encapsulations on the cultural effect of the Rolling Stones. One person, for instance, remarks that the Beatles made it in America, while America truly made the Rolling Stones, allowing them to connect with the land that nourished their treasured R&B heroes, such as Chuck Berry and Bo Diddley.
Throughout, The Quiet One's stream of information flows too smoothly, often allowing factoids to drift by unexamined, denying the narrative a dramatic center. Most curiously, Murray imparts virtually no impressions as to what it was like for Wyman to collaborate with the other Stones. For one, the band's decision to stop touring for seven years in the 1980s is summed up with a few words to the effect of "Mick and Keith got into an argument."
Elsewhere, the fascinating story behind the creation of 1972's Exile on Main Street is reduced to a few seconds of footage—though Murray does include, in an inspired touch, a handful of detailed pictures of the band sweating their asses off in the basement of Keith Richards's French home, where much of the album was recorded. Generally, Wyman's personal life is given even shorter shrift: The beginning, middle, and end of his first two marriages each comprise a few moments of screen time, with elusive remarks that demand elaboration, such as the implication that Wyman's first wife was unfit to raise their son.
The present-day Wyman is a poignant, commandingly humble presence—he contrasts starkly against the enormous presences, and egos, of Mick Jagger and Richards—yet he's kept largely off screen until the film's third and strongest act. At this point, the slideshow slickness of The Quiet One gives way to a bracing study of faces, especially when Wyman begins to cry when recollecting that Ray Charles once invited him to play on an album. Wyman declined, saying that he wasn't "good enough," and this willingness to so directly face this insecurity is brave. At this juncture, The Quiet One comes to vibrant life, however briefly.
Perhaps the most egregious of The Quiet One's missed opportunities is the way that Murray takes much of Wyman's memorabilia for granted, incorporating it into the film as aural-visual flutter. Early images, of Wyman in his artistic man-cave, recall Errol Morris's more personal and eccentric The B-Side: Elsa Dorfman's Portrait Photography, which offered a prolonged and rapturous survey of an artist in her environment. Morris captured an artist's interaction with her materials as a source of inspiration, while Murray reduces Wyman's cultivation to fodder for pillow shots. In the end, the film feels like a sketch that's been offered in place of a portrait.
Director: Oliver Murray Screenwriter: Oliver Murray Distributor: Sundance Selects Running Time: 98 min Rating: NR Year: 2019
Review: Wild Rose Both Honors and Upends the Beats of the Star-Is-Born Story
Tom Harper's film empathetically probes the growing pains of self-improvement.3
At the start of director Tom Harper's Wild Rose, Rose-Lynn (Jessie Buckley) puts on her white leather fringe jacket and matching cowboy boots before strutting out of the Glasgow prison where she's just finished serving a one-year stint on a drug-related charge. The 23-year-old hits the ground running upon her release, immediately resuming the pursuit of her lifelong dream of crossing the Atlantic to become a country singer in Nashville. In no small part due to Buckley's dynamic voice and emotionally charged performance, it's obvious that Rose-Lynn has all the charisma, spunk, and talent it takes to become a star. Pity, then, that the young woman's pursuit of fame is always at risk of being stymied by her impulsiveness. As her mother, Marion (Julie Walters), is quick to remind her, she also has two young children for whom, whether she likes it or not, she's still responsible.
As soon as Rose-Lynn starts invigorating local crowds with her performances, Wild Rose seems ripe for setting her on a predictable trajectory toward fame. Instead, the film turns its focus to the tensions that arise from Rose-Lynn's attempts to balance the hefty demands of the two seemingly incompatible worlds of a professional singer and a single mother—not to mention the incongruousness of being a country musician in Glasgow. In the end, Wild Rose is less concerned with whether or not Rose-Lynn will "make it" than it is with discreetly observing how this gifted spitfire tackles the moral and emotional challenges she faces.
As Rose-Lynn fights to gain traction in her career, Wild Rose empathetically probes the growing pains of self-improvement. In a scene where Rose-Lynn, who's supposedly just re-established her commitment to being a present mother, pawns her kids off on various friends and family over the course of a week so she can practice for an important gig, one is given a sense not just of the children's anger and disappointment, but of the emotional toll that Rose-Lynn's virtual double life is taking on her. In portraying such conundrums, the filmmakers resist the temptation to moralize or presuppose that she must choose between music and her kids and, instead, merely examine the harsh realities that come from her desiring both.
Wild Rose moves beyond the struggles of Rose-Lynn's daily grind with an array of captivating musical numbers that illustrate her incredible stage presence and joy she experiences whenever she's performing. After she takes up a job as a housekeeper for an upper-middle class family to help pay the bills, a cleverly shot sequence captures the all-consuming nature of her love for singing. Thinking she's alone in the house, Rose-Lynn begins to sing along to the music wafting through her headphones, and while she carelessly vacuums, the camera pans around the room in a simple but expressive shot that reveals various musicians from an imaginary backing band tucked away in the background, playing alongside her.
Ironically, it's through this performance, rather than any that she gives in clubs around town, that Rose-Lynn finds a true believer in her talent, in the form of her kind-hearted boss, Susannah (Sophie Okonedo). In an all-too-tidy bit of wish fulfillment, Susannah almost immediately becomes Rose-Lynn's benefactor, going out of her way to jump start the musician's career and provide the unqualified support and encouragement she craves from her mother. But this dash of sunshine isn't quite the panacea it first appears to be, and similar to Rose-Lynn's relationship with Marion, this newfound friendship eventually develops into something more conflicted and complicated than its simplistic origin initially might suggest.
The same could be said of much of Wild Rose, which takes on certain clichés of the traditional star-is-born story but often uses them to upend audience expectations. The skeleton of Nicole Taylor's screenplay may be quite familiar, but the additional elements of single motherhood, class disparity, and geographical dislocation (Rose-Lynn firmly believes she was meant to be born in America) lend the proceedings a certain unpredictability that's very much in tune with the gutsy woman at the film's center. As its title suggests, Harper's film has a bit of outlaw in its blood, and it allows Rose-Lynn's myriad imperfections to shine just as brightly as her talent. And that certainly makes her a more textured, authentic character, defined not by a clear-cut transformative arc but her constant state of flux.
Cast: Jessie Buckley, Julie Walters, Sophie Okenodo, Maureen Carr, James Harkness, Adam Mitchell, Daisy Littlefield, Jamie Sives, Craig Parkinson, Bob Harris, Doreen McGillivray Director: Tom Harper Screenwriter: Nicole Taylor Distributor: Neon Running Time: 101 min Rating: R Year: 2019
Review: Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
The true shock of Rolling Thunder Revue is in how good, how alive, Dylan is on stage.3
Early in Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, Bob Dylan reflects on the rotating tour he embarked on in 1975 with Joan Baez, Ramblin' Jack Elliott, Ronnie Hawkins, Allen Ginsberg, and other legends. The tour was ostensibly intended to commemorate the bicentennial of the United States, but one may assume after watching this quasi-documentary that it was really about recharging Dylan's creative battery a few years after his tour with the Band, which Scorsese filmed for 1978's The Last Waltz. When asked about the tour here, Dylan looks away from the camera, uttering the cryptic pseudo-profundities that have been his brand for decades, his voice as mythically raspy as ever. Then, breaking character, he says the tour meant nothing and that he barely remembers it. Dylan insists that the Rolling Thunder Revue was so long ago that it was before he was born.
Anyone familiar with Dylan will recognize that last sentiment as only partially figurative, as this is an artist who has been born again many times, who arguably initiated the now routine ritual of superstar reinvention. The ultimate concept of "Bob Dylan," after all, is that there's no ultimate concept, as he has morphed, throughout his career, from folk icon to electric rocker to social justice crusader to burn-out to settled elder statesmen. Nevertheless, Dylan's violation here of the reverential tone that's expected of this sort of autumnal documentary comes as something of a gleeful shock to the system, while affirming the legend's propensity for self-conscious pranks. And this moment lingers over Rolling Thunder Revue, which is informed with a low-thrumming snideness that's uncharacteristic of Scorsese's work.
The film appears to be split between awe and contempt. The former perspective innately belongs to Scorsese, our poet laureate of cinematic rock n' roll, who's rendered the rockers of his generation with the same conflicted adulation that he's extended to gangsters. Meanwhile, the latter attitude belongs to Dylan, who seems ready to admit that the countercultural revolution didn't amount to much beyond various statements of aesthetic. This war of temperaments yields a fascinating mixed bag. Much of Rolling Thunder Revue is composed of footage shot at the tour by cinematographers David Myers, Howard Alk, Paul Goldsmith, and Michael Levine, who have a collective eye that's uncannily in sync with Scorsese's own feverishly expressionistic sensibility. Watching this film, it's easy to forget that Scorsese wasn't involved in the production of this footage, as he was with other concert films.
The footage of the Rolling Thunder Revue has a wandering, druggy intensity, with explosively lurid colors and smoky jam sessions that are occasionally punctuated with a sharp close-up that allows an icon to reveal an unexpected element of their persona. Initially, we see Dylan, Ginsberg, and Baez hanging out in clubs, seemingly patching the Rolling Thunder idea together in between beer and joints and poetry. In a hypnotic image, Dylan and Patti Smith, framed through bars that suggest a prison, discuss the mythology of Superman, with Smith suggesting that the character could crush coal into a diamond. The two artists are clearly playing the role of flake pop-cultural shamans, but they're also revealing the obsession with power and influence that drives performers of all kinds, including flower-child liberals.
Contextualized by Scorsese as a kind of narrator and presiding god, Ginsberg speaks near the end of the documentary of the fragments we've just seen and which we should assemble to make sense of them—a process that mirrors Dylan's obsession with reinvention and ownership of his audience's perception of him. Ginsberg's preoccupation with fragments is reflected in his style of prose, with the beat style of reading poems in a way that emphasizes the isolation of each word, and Rolling Thunder Revue is assembled in such a way as to underscore the similarity between Ginsberg's style and that of Dylan, Baez, and the other musicians.
These artists are all occupied with totems, with iconography that suggests found art, which they assemble into new arts. When Dylan describes the gorgeous and intimidating violinist Scarlett Rivera, who played with him on this tour and is prominently featured on his brilliant 1976 album Desire, he speaks of the objects he remembers her having, such as trunks and swords. (She's billed in the film's credits as the Queen of Swords.) Of course, Dylan is obsessed with bric-a-brac, painting himself in white makeup and wearing a kind of outlaw wardrobe, which is playfully linked here to both kabuki and the band KISS.
Even the title of the tour suggests a kind of multi-purposed phrasing as found art. Operation Rolling Thunder, we're reminded, is the code name for Richard Nixon's bombing campaign in North Vietnam, though it's also the name of a Native American chief whom Dylan honors while on the tour. This duality is almost too neat, reflecting America's genocidal tendencies as well as its appropriation of its native cultures. But one is intentionally inclined, by Dylan as well as by Scorsese, to wonder: So what? Aren't these musicians just more earnest and self-righteous kinds of appropriators? After all, they live in their own world, going from one cavernous town hall to the next, enjoying drugs, sex and adulation, while America is consumed with Nixon's resignation and the end of the war in Vietnam.
Scorsese culls various images together to offer a startlingly intense vision of America as place that, to paraphrase Dylan, essentially believes in nothing, following one demoralizing crisis after another. Rolling Thunder Revue gradually collapses, mutating from a freeform document of the concert into a series of essays and anecdotes, such as on the origin of Dylan's Rubin Carter tribute "Hurricane." The film attains a shaggy shapelessness that suggests the haze of travel, as Dylan and his cohorts push on, delving deeper into their micro worlds.
The true shock of Rolling Thunder Revue, however, is in how good, how alive, Dylan is on stage. All of the make-up and masks he wears—other allusions to reinvention, to the essential, simultaneously nourishing and damaging textures of pop culture—seem to liberate him. On this tour, Dylan performs quite a bit of material from Desire, and his singing is clear and urgent and stunningly divorced of his ironic parlor games; he's connecting with these songs, using the revue concept to channel his canniest and most sincere instincts as an actor and storyteller. And Scorsese frequently contrasts this full-throttle Dylan with the aloof sex symbol who lingers at backstage parties—a pose that's startled by Joni Mitchell and Baez, two of the rare people who appear to be capable of humbling the maestro.
There's enough poetry here, in the music and in the artists' descriptions of one another, to fill 10 movies. (Dylan on Ronnie Hawkins: "He looked like a shitkicker, but he spoke with the wisdom of a sage.") So it's a shame that the film gets bogged down in fictional gimmickry. There's a tone-deaf cameo by Sharon Stone, who pretends to be a young Rolling Thunder groupie, and by Michael Murphy, who reprises his politician role from Robert Altman's Tanner series, which is perhaps intended to complement another Altman cross-pollination: the presence of Ronee Blakely, who sang back-up on this tour and appeared in Nashville. Worst of all, Martin von Haselberg appears as the filmmaker who supposedly shot the footage we're seeing, pointlessly obscuring the efforts of real people with a Euro-snob stereotype.
These sorts of satirical interludes are probably meant to further embody Dylan's own discomfort with the import associated with his legacy (an import he never fails to profit from), and further muddy the film's already ambiguous and diaphanous grasp of "reality." But these themes have already been wrestled by Scorsese and the original cinematographers onto the screen. Dylan's pranks can be tedious, as his astonishing Rolling Thunder performances require no window dressing. On stage, Dylan accesses the brutal, beautiful heart of America.
Director: Martin Scorsese Distributor: Netflix Running Time: 142 min Rating: TV-MA Year: 2019
Review: Tim Story's Shaft Reboot Is a Weirdly Regressive Family Affair
Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.1
Director Tim Story's Shaft certainly makes no effort to disguise its ignorance and prejudice, as it's chockablock with racist stereotypes, sexist pseudo-wisdom, and tone-deaf jokes picking on gay and trans people. The screenplay by Kenya Barris and Alex Barnow even features a plot that bizarrely and nonsensically treats legitimate concerns about the F.B.I.'s Islamophobic practices as some ginned-up media sideshow. Where both Gordon Parks's gritty 1971 original and John Singleton's slick 2000 sequel injected a measure of social conscience into their respective tales of swaggering black men dishing out vigilante justice, this film is nothing more than a tired buddy-cop comedy in blaxploitation drag.
Samuel L. Jackson revives his role as the tough-talking ex-cop John Shaft from Singleton's film, only now he's teamed up with his estranged son, JJ (Jessie T. Usher), an M.I.T.-trained cybersecurity analyst for the F.B.I. who, after not having seen his father in nearly 25 years, suddenly reaches out to him for help in investigating the mysterious death of a childhood best friend, Karim (Avan Jogia). The two eventually join forces with JJ's great uncle, the O.G. John Shaft Sr. (Richard Roundtree), completing a multi-generational family reunion.
Shaft likes guns and confrontation, while JJ prefers spycams and hacking, but despite their differences in approach, they work together effortlessly in torturing Mexican drug lords, prying into the nefarious dealings of a Muslim organization, and engaging in some indifferently directed shootouts that are scored to waka-chicka funk music in a desperate attempt to lend the film's textureless visuals a semblance of '70s-ish stylistic vision. As for the jokes about the lothario Shaft and his nebbish offspring, they practically write themselves. Shaft thinks JJ's Gap-slacks-and-coconut-water lifestyle means he's gay, and so he interrogates his son about his love for the ladies, while JJ is offended by his dad's regressive views, such as "Women want a man to be a man." But as every joke is targeted at JJ's awkwardness and effeminacy, the film simply gives license to Shaft's anachronistic foibles.
The film is strangely committed to proving Shaft right about everything. His use of violence and intimidation to get what he wants always works, as does his advice on women no matter how piggish it may be. Shaft avoids ever having to answer for the fact that he abandoned JJ as a baby, and, in a ridiculous narrative sleight of hand, the film even tries to absolve Jackson's rogue-ish P.I. of any parental guilt by suggesting the man was always deeply motivated by the urge to protect his son. How? Because he sent condoms and porno mags to JJ on his birthdays.
Unsurprisingly, JJ eventually adopts the trappings of his forebears, walking around with a newfound swagger in in his family's trademark turtleneck-and-leather-trench-coat combo. Story seems to think this transformation into a Shaft represents the ultimate in retro cool, but ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
Cast: Samuel L. Jackson, Jessie Usher, Richard Roundtree, Alexandra Shipp, Regina Hall, Avan Jogia, Method Man, Matt Lauria, Robbie Jones, Lauren Vélez Director: Tim Story Screenwriter: Kenya Barris, Alex Barnow Distributor: Warner Bros. Running Time: 111 min Rating: R Year: 2019
All 21 Pixar Movies, Ranked from Worst to Best
Upon the release of Pixar's Toy Story 4, we're counting down the animation studio's 21 films, from worst to best.
Among the familiar elements on display throughout Josh Cooley's Toy Story 4 is the abandoned and resentful toy as a villain who holds the heroes hostage, which easily invites comparison to Lee Unkrich's brilliant Toy Story 3. It's a comparison that doesn't favor the new film, which isn't as impactful in terms of story or image. Cooley's direction is fluid, seamlessly interweaving the fun escapades and the earnest emotions, but it lacks the visual power of the prior film. There's no equivalent to the moment in Toy Story 3 when, headed into a blazing incinerator, Woody and his friends silently grasp hands, taking comfort in one another as they face their ends head-on. On the occasion of the film's release, join us in revisiting the Pixar canon, ranked from worst to best. Pat Brown
21. Cars 2 (2011)
The effect of the Toy Story films is practically primal. They appeal to anyone who's ever cared about a toy—one they outgrew, gave away, or painfully left behind somewhere. These films, with scant manipulation and much visual and comic invention, thrive on giving toys a conscience and imagining what adventures they have when we turn our backs to them. Conversely, the effect of Cars and its infinitely worse sequel, toons about dudes-as-cars not quite coping with their enormous egos and their contentious bromances, is entirely craven in the way it humorlessly, unimaginatively, and uncritically enshrines the sort of capitalist-driven desires Pixar's youngest target audience is unable to relate to. Unless, that is, they had a douchebag older brother in the family who spent most of his childhood speaking in funny accents and hoarding his piggy-bank money to buy his first hot rod. Ed Gonzalez
20. Cars (2006)
Maybe it's my general aversion to Nascar, or anything chiefly targeted at below-the-line states. Maybe it's that Larry the Cable Guy's Mater is the Jar Jar Binks of animated film. Or maybe it's just that a routinely plotted movie about talking cars is miles beneath Pixar's proven level of ingenuity, not to mention artistry (okay, we'll give those handsome heartland vistas a pass). Whatever the coffin nail, Cars, if not its utterly needless sequel, is thus far the tepid, petroleum-burning nadir of the Pixar brand, the first of the studio's films to feel like it's not just catering, but kowtowing, to a specific demographic. Having undeservedly spawned more merchandising than a movie that's literally about toys, Cars's cold commercialism can still be felt today, with a just-launched theme park at Disneyland. And while CG people are hardly needed to give a Pixar film humanity, it's perhaps telling that this, one of the animation house's few fully anthropomorphic efforts, is also its least humane. R. Kurt Osenlund
19. The Good Dinosaur (2015)
The Good Dinosaur has poignant moments, particularly when a human boy teaches Arlo, the titular protagonist, how to swim in a river, and there are funny allusions to how pitiless animals in the wild can be. But the film abounds in routine, featherweight episodes that allow the hero to predictably prove his salt to his family, resembling a cross between City Slickers and Finding Nemo. There's barely a villain, little ambiguity, and essentially no stakes. There isn't much of a hero either. Arlo is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency. The Good Dinosaur is the sort of bland holiday time-killer that exhausted parents might describe as "cute" as a way of evading their indifference to it. Children might not settle for it either, and one shouldn't encourage them to. Chuck Bowen
18. Monsters University (2013)
It's perfectly fair to walk into Monsters University with a wince, wondering what Toy Story 3 hath wrought, and lamenting the fact that even Pixar has fallen into Hollywood's post-recession safe zone of sequel mania and brand identification. What's ostensibly worse, Monsters University jumps on the prequel, origin-story bandwagon, suggesting our sacred CGI dream machine has even been touched by—gulp—the superhero phenomenon. But, while admittedly low on the Pixar totem pole, Monsters University proves a vibrant and compassionate precursor to Monsters, Inc., the kid-friendly film that, to boot, helped to quell bedroom fears. Tracing Mike and Sulley's paths from ill-matched peers to super scarers, MU boasts Pixar's trademark attention to detail (right down to abstract modern sculptures on the quad), and it manages to bring freshness to the underdog tale, which is next to impossible these days. Osenlund
17. Cars 3 (2017)
Cars 3 is content to explore the end of Lightning McQueen's (Owen Wilson) career with a series of pre-packaged sports-film clichés—an old dog trying to learn new tricks, struggling with a sport that seems to have passed him by, and facing, for the first time in his career, a sense of vulnerability. The template turns out to be a natural fit for the Cars universe, organically integrating racing into the fabric of the film and rendering it with a visceral sense of speed, excitement, and struggle. Cruz Ramirez (Cristela Alonzo) is a welcome addition, a plucky foil to McQueen who's also a three-dimensional presence in her own right, much more richly developed than one-joke characters like Mater (Larry the Cable Guy) and Luigi (Tony Shalhoub). Cruz's presence also allows the filmmakers to bring some social conscience to this sometimes backward-looking franchise, exploring the discouraging pressures placed on young female athletes while also nodding toward the historical exclusion of women and racial minorities from racing. Watson
Review: Toy Story 4, Though Moving, Sees a Series Resting on Its Plastic Laurels
The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor.3
It's probably uncontroversial to claim that Toy Story's Woody (Tom Hanks), a flawed leader whose genuine concern for his compatriots intermingles with a narcissistic streak that can get him and his fellow toys into trouble, is one of the great characters in the history of cinema. That this animate, outdated cowboy toy continues to feel just as compelling and just as layered and relatable four entries into this series is a major achievement, and speaks not only to the dedication of his creators, but also to the strength of his original conceptualization. While other Pixar sequels have run their concepts and characters into the ground, or cheapened them for laughs, the Toy Story sequels have remained true to Woody, even deepening his character by finding new existential crises to throw him into.
Toy Story 4, though, finds the series suffering from brand fatigue. While prior entries put new spins on the fear of obsolescence that drove Woody in the original Toy Story, this film is a compendium of elements from its predecessors. We've already witnessed Woody desperately try to regain the love of a child, intentionally become a "lost toy" in order to chase down a missing friend, escape from monstrous (but probably just misunderstood) toys, and face the temptation of a new life outside of a child's toy box. That all of these moments recur in Toy Story 4 is one reason the film doesn't quite pack the emotional weight of its precursors.
Gifted to a new, preschool-age child, Bonnie, at the end of the last film, Woody opens Toy Story 4 having fallen from his treasured position as the favorite toy. Your typical preschool girl, after all, has little interest in a cowboy toy from "the late '50s, I think," as Woody recounts his own vague origins. Wistful for his days with Andy, his previous owner, Woody tries to insert himself into Bonnie's (now voiced by Madeleine McGraw) life by sneaking into her backpack on the first day of kindergarten. And it's there that he witnesses her crafting her new beloved toy: a spork with googly eyes and pipe-cleaner arms she calls Forky (Tony Hale).
Forky is a terrible toy insofar as he has no desire to be a toy at all; a very funny recurring gag early in Josh Cooley's film sees the toy repeatedly trying to throw himself in the trash, where he feels that he belongs. Woody gloms onto Forky, partially out of genuine concern for his and Bonnie's well-being, and partially as a way of maintaining a connection to the little girl. And when Forky goes missing during a family vacation, Woody ventures out on his own to retrieve the haphazardly assembled toy and return him to the family RV.
Forky is as familiar as the other toys that populate the Toy Story universe: Many children have made small avatars of themselves out of popsicle sticks and plastic bits and invested far too much emotion in it. As a character, Forky doesn't hold much all that much water, his development from trash to toy more a gimmick than a fully textured character arc. Wisely, though, Toy Story 4 damsels Forky, so to speak, as Woody must engineer a way to rescue him from the clutches of a malicious talking baby doll named Gaby (Christina Hendricks).
Gaby and her army of unsettling, limp-limbed ventriloquist dummies rule over an antique shop that Woody and Forky pass through on their way back to the RV park. A lonely toy discarded decades earlier because of a defective voicebox, Gaby kidnaps Forky to extort from Woody a part of his drawstring-powered sound mechanism. To break into the cabinet where Gaby is holding the sentient spork, Woody must assemble a team of allies that includes Bo Peep (Annie Potts), whom he finds living on her own in the RV park as a lost toy, and Buzz Lightyear (Tim Allen). Woody and Bo Peep rekindle their (G-rated) feelings for each other as they recruit the daredevil action figure Duke Caboom (Keanu Reeves) and the plush carnival-prize dolls Bunny and Ducky (Keegan-Michael Key and Jordan Peele) to help retrieve Forky.
Among the familiar elements here is the abandoned and resentful toy as a villain who holds the heroes hostage, which easily invites comparison to Lee Unkrich's brilliant Toy Story 3. It's a comparison that doesn't favor the new film, which isn't as impactful in terms of story or image. Cooley's direction is fluid, seamlessly interweaving the fun escapades and the earnest emotions, but it lacks the visual power of the prior film. There's no equivalent to the moment in Toy Story 3 when, headed into a blazing incinerator, Woody and his friends silently grasp hands, taking comfort in one another as they face their ends head-on.
So, as well-told and emotionally effective as Toy Story 4 is, it's difficult not to believe the third film would have functioned better as a send-off to these beloved characters. In fact, Toy Story 3 might as well have been a send-off for everybody but Woody, as the new and potentially final entry relegates the traditional supporting cast of the Toy Story films—Rex (Wallace Shawn), Hamm (John Ratzenberger), Jesse (Joan Cusack), Slinky Dog (Blake Clark)—to the background. Even Buzz is reduced to dopey comic relief, pressing the buttons on his chest to activate the pre-recorded messages he now misunderstands as his "inner voice." Toy Story 4 is very much a Woody story. His gradual acceptance of his new position in life and his reconnection with Bo Peep are moving, and it's still remarkable how much Pixar can make us identify with a toy. But for the first time, a Toy Story film feels a bit like it's resting on its plastic laurels.
Cast: Tom Hanks, Tim Allen, Tony Hale, Christina Hendricks, Jordan Peele, Keegan-Michael Key, Annie Potts, Keanu Reeves, Jay Hernandez, Wallace Shawn, Joan Cusack, Don Rickles, Jeff Garlin, Laurie Metcalf, John Ratzenberger Director: Josh Cooley Screenwriter: Andrew Stanton, Stephany Folsom Distributor: Walt Disney Studios Motion Pictures Running Time: 100 min Rating: G Year: 2019
Review: Men in Black International Struggles to Find Intelligent Life
The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.1.5
Marvel has had such success staging comic-action team-ups in a variegated and totally incoherent alien world that now would seem to be an ideal time to resurrect the Men in Black series. F. Gary Gray's Men in Black International even reunites two of the stars of Taika Waititi's funny and colorful Thor Ragnarok. In that film, Chris Hemsworth and Tessa Thompson trade barbs and butt heads as, respectively, the daftly optimistic Thor and the despondent alcoholic Valkyrie, a combative relationship that seems ideally suited for Men in Black's brand of buddy-cop action comedy. Trade Thor's hammer for one of the Men in Black organization's memory-erasing neuralyzers and the film would almost write itself.
Men in Black International, though, fails to recapture the spark of either Hemsworth and Thompson's witty dynamic in Thor Ragnarok or of the Men in Black series's original pairing of Will Smith and Tommy Lee Jones. Thompson plays Agent M, a rookie at the MiB who stumbles into an intergalactic political conspiracy when she imposes herself on Agent H's (Hemsworth) mission to safeguard an extraterrestrial prince named Vungus. Agent H is on a self-destructive hedonistic streak after a traumatic battle in which he and the head of the MiB London branch, High T (Liam Neeson), defeated an extraterrestrial scourge "with nothing but their wits and their Series-7 De-atomizers." Due to his ostentatiously casual treatment of the mission, Agent H fails to recognize an impending threat, and Vungus ends up dead. In his last moments, the hoodie-clad, lizard-like alien prince hands Agent M a magical whatsit for safekeeping, a mysterious crystalline object that nefarious alien forces are out to procure.
So, as usual for the Men in Black series, the plot hinges on an arcane object of power that motivates the main characters' journey into hidden pockets of the world where every weirdo is an alien and every bodega or bazaar is a façade for a storehouse of hyper-advanced technology. Behind the wall of a Marrakesh pawnshop, Agents H and M discover a colony of pint-sized alien workers and adopt one of them (Kumail Nanjiani) as their de facto third partner in their attempt to keep the whatsit—which turns out to expand into a gun powered by a miniaturized sun—from falling into the wrong hands. Dubbed "Pawny" by Agent M, the tiny alien travels in the breast pocket of her suit and pops out regularly to make quips that are mostly tepid.
Also after the whatsit-cum-MacGuffin is a pair of malicious alien twins (Larry and Laurent Bourgeois) who occasionally become smoke monsters and melt people as they chase Agents H and M and Pawny across the globe. From London to Marrakesh, from the Sahara to Naples, and from there to Paris, the trio's quest earns the "international" in the film's title, but as the film jumps from one CG-infused setting to another, a personal journey for its principal characters never quite emerges. Sure, Agent M is driven and brilliant, and Agent H is indolent and reckless, but these opposing qualities never lead to the conflict that might invest us in the development of the characters' relationship, romantic or otherwise. From the beginning, the pair are generally fine with one another, the individualist veteran Agent H breaking down and letting the overeager rookie join him after about four seconds of cajoling.
From there, there's not much for the two to resolve, as the dynamic between the characters is woefully anodyne. Agent M is initially drawn to Agent H in part because he possesses Hemsworth's good looks, but Men in Black International never commits to a flirtatious tone, and never figures out how to apply a buddy-cop schema designed for a homosocial universe to this cross-gender pairing. The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
The film's pacing also plays a part in diminishing one's investment in the principal characters. In its first act, the film feels appropriately zippy, but soon thereafter it becomes a rushed mess, hardly stopping to let the viewer or its characters breathe. On the rare occasion when Men in Black International slows down long enough to get some repartee between its characters rolling, the scenes feel oddly truncated. At one point, the film smash-cuts to Agents H and M stranded in the Sahara Desert with a broken hover bike, with the two bickering over…something. It's just one of several scenes, including and especially the film's absurdly rushed climax, that are inadequately set up, leaving one with the impression that there are missing pieces. But perhaps that's fitting, as watching this film is a bit like being neuralyzed.
Cast: Chris Hemsworth, Tessa Thompson, Emma Thompson, Liam Neeson, Rebecca Ferguson, Kumail Nanjiani, Rafe Spall, Laurent Bourgeois, Larry Bourgeois, Kayvan Novak Director: F. Gary Gray Screenwriter: Matt Holloway, Art Marcum Distributor: Columbia Pictures Running Time: 114 min Rating: PG-13 Year: 2019
All 21 Pixar Movies, Ranked from Worst to Best
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Homicide detectives are investigating the suspicious death of a woman near a homeless shelter in downtown Edmonton. Continue reading
A man was killed and two other people injured when a suspect shot a gun through the front windows of a bar off Whyte Avenue early Sunday morning, prompting a homicide investigation. Continue reading
A 25-year-old man has been charged with second-degree murder after a fatal stabbing at a townhouse complex in Mill Woods on Friday night. Continue reading
Edmonton police are investigating a suspicious death that occurred on the city's south side Monday night. Continue reading
A man is in custody and police say charges are pending against him as Edmonton homicide detectives investigate the suspicious death of a 49-year-old woman in the city's west end. Continue reading
Edmonton police say a man's death, which was previously being regarded as suspicious, is now being treated as non-criminal. Continue reading
Edmonton police are investigating the city's 25th homicide of the year after a man was found near Rundle Park on Friday evening. Continue reading
The senior couple at the centre of an investigation by the homicide unit were in a loving relationship, according to their landlord. The husband had been the wife's caretaker for the last decade, as she suffered from dementia. Continue reading
Police were called to perform a welfare check at an address in the neighbourhood Thursday afternoon. Continue reading
A 21-year-old man who was shot in a drive-by shooting in southeast Edmonton on Monday night has died of his injuries. Continue reading

subset: commoncrawl


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Complete restrictions on hooking were definitely the most awful.
A research of woman of the streets in San Francisco located:
70% of the woman of the streets in the research study were raped approximately 31 times by their clients and also 65% had actually been defeated approximately 4.3 times (as pointed out in Carrasquillo, 2014
It has actually made the working problems for several uncontrolled and also for that reason unsafe with violent panders and also a constant clients packed with harasses that are not scared of the authorities or the regulation
Hooking functions the exact same method. Yes, some individuals might abuse hooking as well as wind up unfaithful on a companion with a woman of the street that they ought to not be ripping off on. It does not alter the truth that hooking permits a way of revenue for some that or else would certainly deprive as well as have a hard time without it.
They likewise have the capability to blend with each other and also produce hazardous fumes that eliminate individuals. They can likewise be made use of as an approach of self-destruction or eliminate family pets as well as pets that obtain right into them.
A recap from my essay:.
The research study insists that criminal activities linked with hooking exist due to the fact that hooking is prohibited as well as keeps in mind that locations where hooking is legislated have reduced criminal activity prices attached to hooking. The research study says that outlawing hooking intensifies the preconception bordering woman of the streets, making their victimization either unseen at best, or at worst, something they should have (Carasquillo, 2014).
It has actually boosted threat of Sexually Transmitted Disease's and also wellness dangers for the woman of the streets operating in these problems.
A comparable research in Oregon located:
78% of woman of the streets having actually been raped, 48% by panders approximately 16 times a year, as well as 78% by johns 33 times a year (as mentioned in Carrasquillo, 2014).
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Topic : Tornado safety checklist.
Author : Amelie Starling.
Published : Sat, Dec 29 2018 :3 PM.
Format : jpg/jpeg.
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text: Range Bank raises funds for Cancer Care of Marquette Range Bank employees recently held a dress down day to raise money for the Cancer Care of Marquette County. Pictured are Robin Aho of Cancer Care, and Range Bank employees: Marissa Westlund, Rachel Simonsen, Saylor Sutton and Holly Obenauf. Range Bank hosts monthly dress down days where employees donate money to wear jeans to work. Proceeds are given back to organizations in the community selected by Range Bank employees. Spotlight Great Lakes Rodeo launches its 14th year Spotlight NMU announces dean's list students for winter 2019 semester Marquette County Public Defender's Office celebrates opening WHS students compete in national conference Elks Lodge donates to Music for all Kids


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The Daily reports Reimage turns heads at TechCrunch Disrupt 2011
Aston Kutcher wasn't the only thing to impress the crowds at this year's TechCrunch Disrupt in New York. Reimage enjoyed a lot of attention and interest at the international conference, where it was recently singled out by "The Daily" the latest up-and-coming online news magazine.
Disrupt is a conference, organized twice a year, by the popular tech-blog "TechCrunch". It serves as an opportunity for founders and entrepreneurs from around the world to showcase their startup ideas in front of an all-star panel consisting of the biggest innovators, angels, investors and influencers in the tech world, such as Google CEO, Eric Schmidt.
To all our US based followers- Happy 4th of July!!!
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The Software Frankenstein
Reimage brings computers back from the dead and pulls our failing XP systems from the murky waters mal-ware. Reimage does indeed work in some mysterious ways and, because we fix clashes between the operating system and software, results in some pretty incredible results.
Internet Disrupting More Industries?
You've probably heard of TechCrunch, the company dedicated to profiling and reviewing new Internet products and companies on its blog, as well as running several technology-focused websites. But did you know they also hold conferences a few times a year?
The latest TechCrunch contest is called TechCrunch Disrupt, taking place in New York City, May 23-25, 2011. It's a great place for emerging software start-ups to compete for fame and fortune, as well as meeting like-minded professionals in the software industry. The upcoming conference features speakers from the high tech world who will discuss the Internet "disruption" in industries ranging from media, social commerce, payments to transportation.
Get Your Computer Ready for Holiday 2010
The Holiday 2010 shopping sprees are in full swing. Black Friday, Cyber Monday, Christmas sales and discounts are plenty and you're no doubt going over your Christmas list and checking it twice. Maybe even thinking of upgrading your current computer for a new one? After all, they're on sale.
However, there are important things to consider before getting yourself a brand spanking new piece of hardware, or just getting your semi-new workstation ready for the Holiday 2010 shopping season — whether you're purchasing gifts online or video chatting with friends on your webcam.
October Newsletter
Why should I subscribe?
We offer a discount coupon or other fantastic & exclusive offer to our Reimage newsletter subscribers!
For the October newsletter, we offered a $10 off coupon, available to subscribers only.
|Welcome to the Reimage Newsletter
Dear customer,
What's new at Reimage?
Reimage now has a Repair Summary with detailed information about each repair performed. This summary shows exactly what was repaired is available to all customers. Customers can access the full report at the end of each repair.
Read more news here.
Sincerly your,
The Reimage Team
Surf the Web with IE 9 – Reimage Has Got You Covered
1. Should You Upgrade? We've Got You Covered.
The virtual world is constantly updating, as we all know. But Reimage has got you covered.
September Newsletter
Why should I subscribe?
We offer a discount coupon or other fantastic & exclusive offer to our Reimage newsletter subscribers!
For the September newsletter, we offered a $10 off coupon, available to subscribers only.
The PC Key to Happiness – A Properly Maintained OS
Routine maintenance is highly recommended to guarantee efficient and reliable PC performance, even when there is nothing clearly wrong with your computer. Failure to perform maintenance on your PC will eventually cost you – whether it's in the form of money spent on repair or replacement, loss of data and/or time wasted.
These days money unnecessarily spent hurts more than ever, and the important files that we keep stored on our computers are sometimes irreplaceable. Maintenance can help you achieve the best performance out of your PC without making a costly trip to your local repair shop to help you fix a problem you could have prevented yourself.
Who is Your PC's Worst Enemy?
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World of Warships Blitz
World of Warships Blitz is a 7v7 real-time multiplayer shooter featuring famous historical ships from World War 2.
The grand battle for control of the seas has begun! Take command of a floating fortress and blast your enemies to the dark depths.
►Training School: Get some practice in the offline missions either by yourself or with some friends.
►Spare No Expense: Cycle through missiles, torpedoes, and gunfire for a barrage of attacks.
►A Boat Time: Collect new vessels and equipment over time.
Learn and adapt to the various nations' attributes from the US and UK to the U.S.S.R and China.
Destroyers: Utilize stealth and quick movements to outmaneuver foes.
Cruisers: Duel any enemy, big or small.
Battleships: Soak up and deal out big hits.
Aircraft Carrier: Provide back-line support with reconnaissance and air-strikes.
This is a free-to-play title offering additional ships and items for real-world and in-game currency.
- Status: Released
- Business Model: Free to Play
- Developer: Wargaming
- Publisher: Wargaming
- Category: Mobile
- Genre(s): 3D, Shooter, Simulation
- Platforms: iOS, Android
- +Excellent Graphics
- +Wealth of Gameplay Options Available
- +Addictive
- -Somewhat Imbalanced Multiplayer
- -Moderate Amount of Issues Relating to Lag/Bugs
- Recommended System Requirements:
- OS: iOS 9.0/Android 5.0
- Description: World of Warships Blitz is a 7v7 real-time multiplayer shooter featuring famous historical ships from World War 2.
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Universal Protocol Alliance Welcomes BitGo
BitGo, the market leader in institutional cryptocurrency financial services, will support the Universal Protocol Platform and its family of Tokens. The UP Platform allows all cryptocurrencies to become accessible on a single network through the introduction of Universal Tokens. The first set of tokens to be supported include the Universal Bitcoin (an Ethereum based version of Bitcoin), and two Stablecoins -- the Universal Dollar (UPUSD) and the Universal Euro (UPEUR). These interoperable tokens are minted in a fully transparent process on the blockchain.
"We're pleased to be supporting a standard that can help move the crypto community forward by solving issues of interoperability and the safeguarding of crypto assets," said Mike Belshe, CEO, BitGo.
Currently, digital assets like Bitcoin and Ethereum exist on separate blockchain platforms and cannot interact with one another. This results in significant inefficiencies as separate blockchain projects are unable to collaborate in any meaningful way, without complex and often costly workaround solutions. To date, this has greatly hindered innovation in blockchain and the realization of its vast potential to fundamentally disrupt a wide array of economic, social and industrial sectors. The UP Platform looks to solve this issue and allow all cryptocurrencies to become accessible on a single network through the introduction of Universal Tokens. The UP Platform, which recently announced early backing by a group of leading institutional investors, serves as the hub for the creation and management of 'Universal' tokens and user features that will drive mass user adoption of cryptocurrencies.
The Universal Platform is created by the UP Alliance, a group of pioneering blockchain companies whose mission is to provide critical building blocks to support the next 100 million users of Crypto. The founding members of the coalition include Uphold, Cred, Blockchain at Berkeley, Brave, and FBG capital.
"We're thrilled to welcome BitGo's support of the Universal Platform standard and its family of Tokens," said Dan Schatt, Chairman of the UP Alliance. "BitGo's experience and thought leadership will help support the Alliance scale its services to support the growing retail and institutional crypto community."
"The early days of the internet were very similar to the world of blockchain today, with many different technology platforms fragmented and incapable of communicating with one other," said JP Thieriot, President of the UP Alliance and Co-founder of Uphold. "We believe that the Universal Protocol Platform is a technology that has the potential to connect blockchain technologies, much like the breakthrough of the TCP and IP protocols that drove the internet towards mass adoption."
The UP Platform will publish the value of its assets in custody in real-time on a public blockchain. The reserve will also be subject to quarterly third-party audits that will be shared with the community to demonstrate the financial soundness of the Proxy Token ecosystem.
The platform will enable a new world of tokenized digital assets – ranging from Universal blockchains such as Bitcoin, to Universal securities and Universal Private Equity – and will facilitate the instant and seamless conversion of different forms of value. In doing so, the UP Platform will unlock the vast and untapped full potential of blockchain to transform how individuals and businesses store and transfer value, with Universal Tokens representing the next generation of digital money.
Learn more at www.universalprotocol.io
View source version on businesswire.com: https://www.businesswire.com/news/home/20181206005261/en/
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Email: email@example.com
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Whether you have actually landed a new work in a new city or you're merely prepared for an adjustment, moving to a brand-new state is sure to be an amazing experience. Below are our reliable tips for effectively moving to a brand-new state without losing your mind!
Research study ahead of time
Prior to you move, research as long as feasible concerning your new city. From dining establishment tips and also local companies to entertainment activities as well as social clubs, you'll locate a wealth of information about your new house on the internet. I likewise recommend going to the location and discovering the city for yourself. Speak with citizens, ask concerns, consider maps, and drive around communities to obtain an actual feeling for the area.
Discover a brand-new home
At the very least a couple of months before you move, I suggest calling a neighborhood actual estate agent in your new state to help you discover a house. Real estate agents have a deep expertise of the market and can narrow down your search, so that you invest much less time looking at residences and also even more time preparing for your action.
Hire a trusted moving business
With so many relocating firms trying your company, hiring the right one can be tricky. Initially, I advise asking pals, household and neighbors for referrals to see if they have actually had excellent experiences with regional movers in the past. Second, ascertain a relocating firm's on-line testimonials and also rankings. Moving.com's Relocating Business Directory site includes customer reviews of more than 600 moving companies nationwide. The reviews also consist of the relocating firm's UNITED STATE DOT number, Better Business Bureau ranking, any type of official issues filed with the FMCSA, and whether the relocating business has any organization with the American Moving & Storage Space Organization.
Third, check to see if the moving company is appropriately licensed by the Division of Transportation. Get in touch with three to 4 reputable relocating companies regarding your upcoming moving.
Gather all documents
Do not fail to remember to load essential records prior to the move in a separate and also clearly classified box or folder. These files need to include Social Protection cards, check here birth certificates, tax return, health records, college records, and so on. Make sure all records remain in a safe and risk-free area at all times.
Load, pack, pack!
Word of advice: start packing as soon as possible! Don't put things off if you're planning to pack on your own. Not just will you have to box up all valuables, yet you'll also have to hang out determining what to keep as well as what to throw. Remember: the expense of your far away action will be based on the total weight of your points. The less you bring with you, the less costly your action will be. With that in mind, start the packing procedure by removing all of your extra clothes, out-of-date electronic devices and also any items that only consider you down. Sell what you can on Craigslist or one more on the internet industry. Consign gently used products at your regional consignment shops. Give away the remainder of your unwanted possessions to a regional Redemption Military, Environment for Humanity and Goodwill.
Once you determine exactly what you are bringing with you, compute the number of relocating boxes required using our useful Packing Calculator. Pack the cooking area and also all various other fundamentals last, as you'll need to use these things leading up to the action.
Ahead your mail
A number of weeks before you relocate, alert USPS of your future modification of address. All you have to do is go to USPS.com and also select the date you wish to start forwarding your general delivery. Inspect out Moving.com's useful guide to establishing up a PO Box when you move if you're interested in renting a PO Box in your brand-new city.
Conserve all relocating invoices
For even more information on relocating taxes and also costs, checked out the Internal Revenue Service's info sheet here. And also third, if your company prepares to reimburse you for the action, you'll require to show Human Resources all of the invoices in order to get your cash back.
Alert utility business
Unless you intend to walk into a residence with no electrical power, I recommend informing the brand-new utility business of your approaching action. In this manner you'll have all utilities up as well as running within the initial week of moving in. You'll likewise need to call your existing utility business to check here see to it your gas, electrical energy and also cable are shut off the day after you vacate.
Moving with school-age kids? It's never ever too early to start considering colleges in the new town. To locate premier schools in your new area, usage Moving.com's School Scores device, which includes GreatSchools ratings as well as various other handy information.
Transfer an out-of-state chauffeur's permit
Preparation to drive in your city? You'll need a new motorist's certificate for that. Many states require you to obtain a brand-new license within a specific time home window after establishing residency. To transfer your out-of-state motorist's certificate, visit your regional Division of Electric motor Vehicles office. While demands vary from state to state, you'll probably check here requirement: your present vehicle driver's certificate, proof of residency (lease, electric expenses, etc), evidence of your social protection number and also an additional form of identification, such as a birth certificate.
10 Tips for Moving to a New State
Whether you have actually landed a new work in a new city or you're merely prepared for an adjustment, moving to a brand-new state is sure to be an amazing experience. Below are our reliable tips for effectively moving to a brand-new state without losing your mind!


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Bright Nights & the Christmas Train at Stanley Park
- 2013 dates to be determined
- Closed Christmas Day
For prices and tickets visit:
During the holiday season the Miniature Train goes through a festive transformation and turns into the Bright Nights Train.
Stanley Park is illuminated by two million twinkling lights, and visitors see animated displays and listen to holiday classics while sipping on hot chocolate and enjoying fresh popcorn or roasted nuts.
Partial proceeds from the sale of Bright Nights tickets go to the BC Professional Fire Fighters' Burn Fund, which helps burn survivors and their families.
Bright Nights is an annual event in Stanley Park and is extremely popular. It's advisable to buy tickets in advance. Avoid crowds by coming from Monday to Thursday during the first two weeks.
NOTE: Event details may change without notice. Please verify details by calling the venue or visiting the event website.


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Dealing with Infidelity
Infidelity can be devastating to a relationship. What people consider as "cheating" may vary from person to person. For example, you may feel that viewing pornography is cheating, or having very personal conversations with a member of the opposite sex is cheating, but your partner may not see it that way.
Many people feel that cheating is a deal-breaker, an absolute end of the relationship – and it often is. However, sometimes it's not that simple. Sometimes, people don't want to walk away from a long-term relationship. They may still genuinely love each other, or it can be especially hard to dissolve the relationship when children are involved. Even though there could be an interest to work through the breach of trust and get to the root of the problem and try to salvage the relationship, it comes with challenges that may be difficult to navigate on your own.
How can therapy help your relationship heal from unfaithfulness?
Recovering from infidelity is a tricky thing. It takes time and patience to regain the trust that was compromised. The partner who was cheated on can take a very long time to heal and may find it difficult to move forward and not bring up the infidelity over and over. They may experience signs of trauma or even PTSD. The person who was unfaithful may feel tremendous guilt and not know how to prove that they are committed to the relationship. Both people can be highly affected by anxiety or depression as a result of the affair. That's just dealing with the aftermath – it's important to discuss what led to the infidelity in the first place. Finally, you then have to learn to navigate challenges within your relationship in new healthy ways to truly move forward and fully recover.
This can be very challenging to do on your own – most couples will need support from a qualified, neutral, and nonjudgmental therapist to do so. Insight's therapists have experience working with couples who've dealt with infidelity and can help you to learn new, effective, and healthy ways to communicate your needs to each other. You will learn tools for dealing with the stressors that most relationships face at one time or another such as parenting, financial challenges, intimacy issues, and the demands of jobs, extended family and chores.
Treatment methods for improving your relationship
Together with your therapist you will determine the best approach to healing your relationship. It may be simply talk-therapy sessions with the therapists, or more involved therapies for dealing with the low self-esteem, anxiety and depression that often accompanies infidelity. Your therapist may also recommend specific and proven treatment couples therapy methods such as:
- Gottman's Couples Therapy is based on Dr. John and Julie Gottman's 40+ years of clinical experience and research that is based on interventions and exercises that are structured, goal-oriented and scientifically-based. What some of the research has shown is that couples need to be able to work on becoming better friends, learn to manage conflict, and create ways to support each other's hopes for the future.
- Gottman Relationship checkup is designed as a tool for use by the therapists at Insight in a therapeutic setting. The tool streamlines the relationship assessment process for your therapist providing personalized, clinical feedback, plus specific recommendations for treatment based on your answers. The questionnaire is composed of 480 questions about friendship, intimacy, emotions, conflict, values, and trust, as well as parenting, housework, finances, individual areas of concern and more.
- Emotionally Focused Therapy (EFT) is an empirically-based approach, which looks at emotions and emotional intelligence, which helps support stronger and more secure relationships by helping better understand how our actions impact others, and how our emotions drive our interactions. EFT believes that emotions are basically adaptive and guide our attachment needs, while therapy helps clients learn how to express these emotions in ways that facilitate bonding, tolerate and regulate them, while also making sense of those feelings expressed by others. EFT practice is also based on methods designed to help people accept, express, regulate, make sense of and transform emotion, thereby increasing their overall emotional intelligence. EFT attempts to make deep emotional changes in individuals and relationships by shifting from fear and conflict to corrective emotional experiences. Clients are taught to honor their feelings and express them in ways that bring others closer and resolve their needs, rather than engage in patterns that push others away and leave attachment needs unresolved.
When infidelity has been committed in a relationship, it can be devastating, but with hard work and the support of a therapist, it is possible to overcome the infidelity and have a strong and satisfying relationship.


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Hello everyone,
I went for my latest CT scan and they discovered multiple small nodules in both lungs. The first scan I had didn't show any nodules at all; that was 1 year ago. Just wondering if anyone else has these and if they have caused problems for you and what your doctor says the chances of them being malignant are? My doctor said they are non-specific and I shouldn't worry about them. I need to go back for another scan in 6 months. The radiology report even said I had 1 or more small nodules… read more
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