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In this episode: The Fruit is Acute and Critical Acclaim or Critically Lame? In anticipation of this movie, Oliver read the first installment in Steven King's 'Dark Tower' series. Oli thoroughly enjoyed the book, so he had hope as high as a tower. And as always we cap off the episode with a few fun segments. In this one, Oliver presents Scott with a special quiz to test his ignorance. They've been doing this for 18 weeks straight, surely he's learned something. Subjects include actors, franchises, directors and MORE! Scott enjoyed a nice 'classic' this week with some fava beans and a nice Chianti. What did he think of Silence of the Lambs 26 years after release. Is it still as creepy today, or has the shock factor wore off. In this one, our heroes find themselves seeing the new David Leitch flick 'Atomic Blonde'. Scott saw the promo material, Oliver went in blind. Also in this episode: A LONG discussion on whether movies get better or worse with subsequent viewings. Can you truly say a movie is one of your favourites if you've only seen it once. Also discussed in this episode: The Emoji Movie, The Room and Scott's singing voice. Wouldn't it just be great if you had two boys opinions spoken aloud to you - one of them not having seen any trailers, and one who has been all about them. Do 'actors' like Harry Styles and Ed Sheeran ruin on-screen immersion.

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The sea was a powerful blue and green animal, thundering in, each wave trying to be bigger than the last, then sucking back out again. The white foam creating ever-changing lacy patterns, which stretched and expanded, got washed away, only to reappear in a different form with the next wave. The year I was six I’d outgrown my yellow ruched-cotton togs, so was decked out in a homemade, lime-green toweling bikini. I thought I was it. The daily drill was that Mam sat on the Foxford rug, undressing, drying and dressing again a conveyor-belt of children, while everyone else paddled, jumped waves, swam, built sandcastles, dug moats, found sticks of driftwood and wrote—as you do—insulting messages to each other in the sand, fished tiddlers out of rock pools into nylon nets (and then, not really knowing what to do with them, just spilled them back in again). Dad taught me to swim the year of the green bikini. Persuading me to float on my back, to put my head back into the muffled, bubbly silence, to let the cold water fill my ears, to bob and shunt on the swell and retreat of the waves. After every swim, to get warm again, we all had a race along the strand in our bare feet—beaches littered with broken glass or rusty cans were still far away in our future. Then into O’Connor’s to spend our meager holiday money, temptation at every turn. The moment before I began to eat was almost a mystic one as I absorbed the smell of the wafer, the smooth perfect ripples of pristine ice cream. And I prayed that one day, when I was big, I’d be able to afford a a chocolate bar to put in it and raspberry syrup. Unlike the fleshpot of Kilkee farther along the coast, Lahinch didn’t have much in the way of what my father called “merries” (he meant amusements). There was a “big” wheel—even to my starstruck, credulous eyes I could see that it was fairly small—and a couple of weary-looking bumper cars that held no interest for me until my teens (when overnight, heat and the smell of grease and cordite suddenly seemed sexy). Mostly, funds didn’t run to “merries. But the year the ghost train appeared on the site of the defunct chair o’planes, I realized I’d be going without a cone or two. I was mad about things I’d read about in Enid Blyton books like mazes, haunted houses and, most of all, ghost trains. Too nervous to go on my own, I persuaded Mam to come with me.

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One of the few major directors to re-main in Algeria during the troubles, he created a remarkable trio of fi lms in 19881997 which explored the potential of parable and allegory. Abandoned studies of fi ne arts to join the Cairo Higher Film Institute. Aft er working as assis-tant director and making a fi rst documentary, he began his feature career by writing the three sketches of Th e Th ree Faces of Love and directing one of them. Th e release of his fi nal feature was delayed because of censorship problems until 2 years aft er his early death from brain fever. Studied medicine and was a product of the Fdration Nationale des Cin- Clubs au Maroc (FNCCM), the Moroccan fi lm club movement. Made a va-riety of short fi lms. His second feature was a major commercial hit. He has described his only feature as a series of situa-tions in which it is diffi cult to know what the characters do or say. His fi rst feature deals with the discovery of school by a young orphan. Feature fi lms: Falato (1989), Yelema (1992), Yelema II (1997) Cisse, Souleymane (b. 1940 in Bamako). Ma-lian fi lmmaker. Studied fi lmmaking at the Vsesoyuznyi gosudarstvennyi institut kinema-tografi i (VGIK; All- Union State Cinema Insti-tute) in Moscow. He made a huge reputation in the 1980s with his two powerful and varied features which allowed aspects of fantasy and magic to enter the fi eld. Yeelen, one of the most powerful and in-fl uential of 1980s African fi lms, is a visually complex and resplendent retelling of a Bam-bara legend. His career seems to have stalled aft er his ambitious but commercially unsuccess-ful English- language study of apartheid, Waati. Feature fi lm: Crazy Monkey Presents: Straight Outta Benoni (English, 2005) Clegg, Tom.

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The man was filmed by more than a hundred bystanders as he got down on one knee at a busy shopping area in Chongqing, China, according to Huanqiu, an affiliate of People's Daily Online. But while the proposal seemed to be going well, and he managed to slip a ring on to his girlfriend's finger, his next move shocked the jeering crowd. In a version of the footage, which was released on Chinese video sharing site QQ, the man was seen standing in front of a banner, which asked the woman to marry him. The woman, wearing a yellow dress, was waiting expectantly as the crowd around them cheered. The man got down on one knee and produced a ring, which he proceeded to slip onto the woman's finger. He then continued talking as his helpers produced a funeral wreath instead of perhaps what was meant to be a bunch of flowers. Those gathered around the couple were visibly shocked as they let out a collective gasp. Unfazed, the man continued to propose on one knee as the crowd gathers closer. As he attempts to hand the wreath over, the woman becomes angry and the couple starts arguing. She then slaps him and throw the wreath at him before storming off. Since the video emerged on Friday, it's already been viewed more than three million times. The incident is said to have taken place on November 2. On Weibo, many web users expressed their disbelief at the incident. However, some people have questioned whether the proposal had been staged. Elaborate wedding proposals have been extremely popular in China in recent years but not all of them go according to plan. In August this year, MailOnline reported how one man publicly proposed to his girlfriend by offering to put her name on the deed to his house. She was so offended by the offer, she threw his flowers back into his face and stormed off.

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