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This film is like a well-done long-form music video. Sometimes I wish there were more creative and memorable film titles such as IN DANGER AND DIRE DISTRESS THE MIDDLE OF THE ROAD LEADS TO DEATH (1974, Alexander Kluge). Hahaha. He served as goalkeeper and described his walk to retrieve a ball that was kicked way over the net. As he walks to the ball he sees through the barbed wire fence truckloads of prisoners being herded through the gas chambers. Later in the match he has to retrieve another ball. As he returns to the goal he matter-of-factly estimates that 5,000 prisoners have been gassed between his retrieving the two balls. I think Thailand has a law which excludes films in the festivals from the censorship. Before that, some evil Thai censors also tried to prevent some films from being screened in the festival. They tried to prevent BUGIS STREET (1995, Yonfan, A-) from being shown in the Bangkok Film Festival, though the film has nothing explicit. They also tried to prevent JESUS IS A PALESTINIAN (1999, Lodewijk Crijns, A-), which has an explicit sexual scene, from being shown in the festival, but Brian Bennett, the festival organizer, did a truly great thing to solve this problem. The law of Thailand at that time said that the censors couldn’t have any right to stop the film if it was show for free. I maybe wrong, but I think these two movies might be an antithesis of each other. ANATOMY OF HELL seems to tell me that some people regard the female body as “hell”, but they are wrong. The female body is just the female body, not “hell”.

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As their two week whirlwind courtship comes to an end, Savannah returns to school and vows to write John as much as possible whilst he serves the last year on his tour of duty. Their brief separation seems to be an easy and endearing situation until the intervention of the events of 911 and John's once short term commitment becomes and indefinite division. Remember Me A contextually flimsy and unstructured love story come dreary family melodrama, Remember Me's morose tone, sluggish pacing and overly weighted in significance script is bittersweet in this less than affecting movie. In need of an immediate acting intervention, Twilight's teen-heartthrob Robert Pattison channels the dramatic likes of James Dean and Marlon Brando as he attempts to turn his dreamy soulful eyes, into a soulful performance. Since the unprovoked suicide of his older brother, NYC college student Tyler Hawkins (Robert Pattinson) has had family issues. Tyler's turbulent relationship with his arrogant and insensitive power-attorney father (Pierce Brosnan) differs greatly with his wonderfully adoring relationship with his younger and giftedly artistic sister Caroline (Ruby Jerins). After yet another family tiff, Tyler enjoys a night out drinking and venting with flatmate and friend Aidan (Tait Ellington), but becomes involved in a back street altercation. Unjustly beaten and incarcerated overnight by the attending policeman Neil Craig (Chris Cooper), the boys vow to find a way to get back at him. Aidan convinces Tyler to charm Ally in hopes of beginning a relationship and then exacting their revenge. However, as their mirroring family issues and a need for love intensifies their relationship, a true bond is formed and a real relationship blossoms. Will Ally find out the reason behind Tyler's initial attraction. Can Tyler and his father ever mend their broken relationship. The Verdict: Sadly neither of these films had a great impact. Dear John had promise but the longing looks, lingering kisses and continual character separation saw the movie loose energy; Remember Me with its clumsy scene changes and labouring subtext lacked the heartfelt anchor required for an affecting film. As one film ends with nothing more than a footnote and the other with a winding sucker punch, each of these romantic drama's offer something unique, however neither fully manage to evoke true emotion.

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Her parents, who are divorced and have remarried, don’t want her to go because they don’t think she can handle it. Her mother has never been particularly tolerant about her disorders, she used to act like Steffi’s mutism was something she does on purpose. Rhys wants to become a video game developer and as joined this high school as a way to push himself to get used to life as it would be if he went to college, meaning an area where everyone is not really deaf aware. Yes, this book has an amazing love story, the cutest characters, and a world with extreme potential for character development but what I love most about books like this is that it spreads awareness and brings attention to concepts that would otherwise be left unheard. There are so many issues put in the world that have never really caught our attention because we’ve never had to cross paths with them but then you read a book like this and your eyes have been opened a fraction more than they were and the world is just a bit bigger. Not being aware can’t exactly be compared to ignorance because you might not have had an opportunity in your life for you to see such issues ever come to light. Then, by chance, you open a book like this, you read a story set in this world we love in, and you realise that no matter how small these issues are they are not be taken lightly, because to so many people out in the world it might just be the life they’re living. Books like these bring people together and also makes people suffering from something similar feel a little less alone. This book deals with a lot of things, selective mutism, anxiety, shyness, and deafness. The big guns. And then it also deals with simpler things like friendship, first love, insecurity, best friends, pets, siblings, family, and independence. You read this book and you acknowledge that it’s a love story but it’s being driven by so much more. Sara Barnard pulled all the stops while writing this marvelous story. This is the sort of book that everyone should read, not just for the awareness, but also for the simple joy of reading a beautiful story built on nothing but love. I genuinely hope (and as is reflected in my note to the publisher) that this ARC also got sent out to readers who can identify with these characters and give their comments on how respectful the representation feels, as my thoughts of this book are simply not as important.

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Part of what I love about Ouija is that you have to pay attention to really see into the lives of the characters, and I don’t want to take all that away from anyone who hasn’t seen the movie. It’s about the way events impact the characters and the audience, too. There are surprises, but sharing the learning experience with the characters as they delve deeper into the film’s mysteries is more important. In fact, the film was sharply criticized for being derivative and unoriginal. But many of those critics missed vital material of Ouija that not only make it unique, but something to celebrate in the horror genre. Now, popularity isn’t an indicator of quality, but there’s something else going on with the movie that helps explain the disconnect between critic and audience, and what many critics missed or didn’t bother to investigate, which contributed to the film’s success, while also tying into the shared experience of horror. It’s about the fight we all struggle with about accepting those easy answers versus being critical, aware, and attentive in the moment. It’s about the way, when someone kills themselves, we tsk and say, “But she seemed so happy. It’s about the way we judge by appearance: where beautiful means nice and ugly means horrible. These are usually brief vignettes, often serving the purpose of finding the hero character struggling to explain what caused that character’s death so that the adult contingent of the story can express exasperated disbelief. And that grief comes back, again and again, and we still experience this through Laine by the time the movie has ended. As with the aforementioned Nightmare on Elm Street series, you might get a few scenes of tears, but for the most part you just don’t get to follow characters along as they come to grips with loss. And if you do, there’s usually some gut-wrenching twist where we find out the protagonist caused the loss or was the killer all along or some other such out-of-left-field nonsense. This movie owns the Bechdel Test and the Sexy Lamp Test and owns them both well. Heck, even Laine’s absent mother, who isn’t even in the movie, figures significantly into the overall meaning of the story.

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