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VisualSVN 5.5 brings an update to the latest regular (non-LTS) Apache Subversion 1.13 which introduces some enhancements and bug fixes. See the changelog for the complete list of changes.
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Apache Subversion 1.13 is the latest regular (non-LTS) release that includes several improvements and bug fixes. For the complete list of changes, please refer to the Apache Subversion 1.13 Release Notes.
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NOW MagazineMovies & TV2014's best of Canadian film
2014's best of Canadian film
The juries have spoken: Mommy and Maps to the Stars both make the list
By Norman Wilner
Anne Dorval and Antoine-Olivier Pilon in Mommy.
The juries have spoken, and we have Canada's Top Ten for 2014.
TIFF's annual festival of the best in homegrown cinema includes films from directors venerated and unknown, with plenty of room for arguing over what did and didn't deserve to make the cut. The jury of filmmakers and industry professionals includes critics Jason Anderson and Jason Gorber and directors Terry Miles and Chloé Robichaud.
As expected, David Cronenberg's alleged Hollywood satire Maps To The Stars and Xavier Dolan's swooning psychodrama Mommy found their way onto the list, as did Maxime Giroux's star-crossed Montreal romance Félix & Meira, which beat out both of those films to be named best Canadian film at TIFF.
Other TIFF titles to make the cut include Mathieu Denis's pre-FLQ docudrama Corbo, Albert Shin's Korea-set drama In Her Place, Sturla Gunnarsson's Indian travelogue Monsoon, Harold Crooks's corporate-malfeasance documentary The Price We Pay and Stéphane Lafleur's stylish character study Tu Dors Nicole.
Andrew Huculiak's Violent, which played the Vancouver Film Festival, and Marie-Hélène Cousineau and Susan Avingaq's documentary Sol, an ImagineNATIVE world premiere, round out the list.
High-powered filmmakers left off this year include Denys Arcand (An Eye For Beauty), Denis Côté (Joy Of Man's Desiring), Atom Egoyan (The Captive) and Alanis Obomsawin (Trick Or Treaty?). Jeffrey St. Jules's hallucinatory mutant musical Bang Bang Baby, which won TIFF's best Canadian first feature prize, was also notable by its absence.
On a personal note, I would have preferred to see Lindsay Mackay's sensitive coming-of-age drama Wet Bum up there instead of the underwhelming Corbo or the beautiful but empty Monsoon. But Mackay's young she'll get into the pantheon eventually.
The chosen features and shorts – as well as a new Student Shorts program – will be screened at the Lightbox January 2 to 11 as part of Canada's Top Ten Film Festival, with filmmakers and other special guests in attendance. There will also be a special In Conversation With… session featuring Naomi Klein and Avi Lewis, tied to their upcoming documentary This Changes Everything: Capitalism Vs. The Climate (January 10).
Apparently it's never too early to prep next year's Top Ten.
Canada's Top Ten Features
Corbo, directed by Mathieu Denis
Félix & Meira, directed by Maxime Giroux
In Her Place, directed by Albert Shin
Maps To The Stars, directed by David Cronenberg
Mommy, directed by Xavier Dolan
Monsoon, directed by Sturla Gunnarsson
Sol, directed by Marie-Hélène Cousineau and Susan Avingaq
The Price We Pay, directed by Harold Crooks
Tu Dors Nicole, directed by Stéphane Lafleur
Violent, directed by Andrew Huculiak
Canada's Top Ten shorts
Bihttos, directed by Elle-Máijá Tailfeathers
Bison, directed by Kevan Funk
The Cut, directed by Geneviève Dulude-De Celles
Cutaway, directed by Kazik Radwanski
Day 40, directed by Sol Friedman
Kajutaijuq: The Spirit That Comes, directed by Scott Brachmayer
Mynarski Death Plummet, directed by Matthew Rankin
Sleeping Giant, directed by Andrew Cividino
Still, directed by Slater Jewell-Kemker
The Weatherman And The Shadowboxer, directed by Randall Lloyd Okita
Canada's Top Ten student shorts
Backroads, directed by Candy Fox (University of Regina)
Dinner Time, directed by Alexander Mainwaring (Langara College)
Elpis, directed by Akreta Saim (York University)
Fallow, directed by Breanna Cheek (Emily Carr School of Art and Design)
Last Dance On The Main, directed by Aristofanis Soulikias (Concordia University)
Lifers, directed by Joel Salaysay (University of British Columbia)
Never Stop Cycling, directed by Colin Lepper (Sheridan College)
Running Season, directed by Grayson Moore (Ryerson University)
Tomonster, directed by Pui Ka Wong (Sheridan College)
Norman Wilner
A life-long Torontonian, Norman became the senior film writer for NOW in early 2008. Previously he had reviewed films for Metro newspapers across Canada and covered every video format imaginable (yes, even Beta).
True Crime: Netflix's Night Stalker is the latest in a genre we can't escape
Tiller Russell, director of Night Stalker on Netflix, and others explain how to create thoughtful true crime without lionizing perpetrators
What's new to VOD and streaming this weekend
Including Tom Hanks in News Of The World, Regina King's One Night In Miami and buzzy Sundance hit Promising Young.
Review: Marvel's WandaVision is a surprising superhero sitcom
Marvel's first TV series for Disney+ plugs Elizabeth Olsen and Paul Bettany's Avengers into a series of Golden Age sitcoms..

redpajama_set_name: RedPajamaCommonCrawl


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Review: Europe in Winter by Dave Hutchinson
Europe in Winter by Dave Hutchinson
Series: Fractured Europe Sequence #3
Published by Solaris on November 3rd 2016
Genres: Science Fiction, Thrillers
The fractures are becoming kaleidoscopic in the third instalment of the Fractured Europe sequence. University intelligence man Rupert is now settled in Europe and working as an agent for Rudi; former chef Rudi is trying to work out who is behind a string of terrorist attacks; and who knows what the Community – or the Coureurs – are really up to… Be warned, this is not a book you can make any sense of without having read the previous 2 instalments (Europe in Autumn and Europe at Midnight).
If the first two novels in the Sequence were companion volumes exploring post-EU Europe and the mysterious Community, Europe in Winter embraces the brave new world of open borders. The action – and there's a lot of it – is split between Rudi, still doggedly trying to work out what the hell is going on, and a string of new (largely one-shot) characters who introduce us to the various new developments first hand.
We begin with a disaster: an attack on the Line that cuts the belligerently transcontinental railway somewhere just north of Kazakhstan. We see it first hand, but we get no clue to motive – or to who is behind it. Other operations follow thick and fast – a woman on a trip to Luxembourg to try and make contact with an informant about the Community; a confused sniper on a deadly mission to Siberia; a Coureur exposed and arrested at the Hungarian border; a whirlwind tour of the Warsaw underworld. Meanwhile, nations and corporations fall over themselves to capitalise on exciting new market opportunities in the Community. Constant character hopping allows rapid plot development, but you never really get to know anyone.
Thankfully, Dave Hutchinson invests his disposable POVs with a lot of charm and/or pathos; I found myself rapidly sucked into each situation (not Situation – for those familiar with the Fractured Europe sequence, the difference is important) and generally sad that I wasn't going to be visiting with most of these characters again. It was a delight to see that at least naive, headstrong Gwen would be a recurring character, another stray adopted by Rudi.
However much I liked the characters, I found the narrative itself unforgiving: as a reader, you focus to stay afloat or you drown in extraneous detail. There are no refreshers and few second chances for those with poor concentration spans, making me intensely thankful I'd read the 3 books close together. I eventually reached the disheartening conclusion that while I had a grasp of what had happened, I had little idea what was going on. But that's okay – there are clues scattered throughout the novel that this is pretty much exactly what Hutchinson had in mind.
Rudi smiled at him.
"If you think that sounds confusing, you ought to spend half an hour as me."
The final act revelations are little short of mind-bending, both in terms of plot developments and insights into who the actors on this densely-populated stage really are. By the time Rudi asks – politely – for the villain of the piece to succumb to temptation and do some monologuing, I was desperately grateful to have a few details cleared up.
Satirical and demanding from start to finish, Europe in Winter is an elegant demonstration of its own themes: that life never ties things up neatly; that nobody ever gets to see the whole story; and that in life the story never ends, just branches off into infinity. It's all terribly clever if more than a little frustrating, being somewhat overpopulated by Capitalised Factions that end up being difficult to keep separate.
As ever, Hutchinson captures the world-weary air of the old-fashioned spy thriller with aplomb: I could shoot you, old friend, but lets have a beer instead. Tell your employer I'd like to slip polonium in his tea. At the same time, he's quick to point out this time that the window dressing is nothing more than Coureur romanticism, a borrowed suit of fictional charm to dress up an organisation that started out as an amoral gang of human traffickers and one that is still largely funded by criminal endeavours.
This open-eyed cynicism extends across the board: the Community – which I still find a painful concept in our post-Brexit world – is an idealised, authoritarian England that has cheerfully written Europe out of its pocket universe. No more messy borders or foreign languages; even the landscape has been Anglicised by its toffee-nosed creators. The food is boring and the healthcare is basic, but the flowers are nice. The Directorate exercise ruthless control to erase regional identities and keep its citizens in line, and are prepared to use nuclear and biological weapons on external threats. It's hard not to read it without glancing askance at our own headlines. And that's before Dave Hutchinson turns his steely-eyed gaze onto the powers that control Europe.
If you're hoping for a happy, positive look at the future, Fractured Europe is not the place to start. But it's a masterful bit of writing and plotting, and by putting idealistic Rudi at the centre of it all (a man who will deploy basic courtesy to try and rescue the worst sort of situation), it somehow retains a warmth I find deeply compelling. Europe in Winter may be my least favourite book in the sequence so far, but please consider that faint criticism rather than faint praise – it's blisteringly good.
Anna Chapman
I've been reading for nearly as long as I've been walking, arguably with greater success (or at least fewer bruises). I never did grow out of my love for fantasy, space opera and speculative fiction, and I never intend to.
More reviews and other opinions at x+1 (there's always room for one more).
Latest posts by Anna Chapman (see all)
Review: Tarnished City by Vic James - November 8, 2017
Review: Shadowblack by Sebastien de Castell - October 18, 2017
Review: Hannah Green and her Unfeasibly Mundane Existence by Michael Marshall Smith - September 4, 2017
Tags: dave hutchinson, europe in winter, fractured europe, fractured europe sequence
← Review: Congress of Secrets by Stephanie Burgis Upcoming Releases: November 27- December 3, 2016 →


Slept until 9AM! Maybe I am finally on schedule. Back to Djurgården, this time by bus rather than boat. The transportation system here is amazing and quite easy to use. First stop, the VASA Museum. What an amazing place. The VASA set sail in 1628 after two years of construction. It made it into Stockholm harbor where winds literally tipped it over and it sank. It stayed at the bottom of the harbor for over 300 years. The techniques that were used to preserve the ship are amazing.
Next we were on to the Nordik Museum. This museum documents Swedish history. The most interesting part for me was the traditional clothing exhibits. I tried to make a "costume" to wear in the Viking choir at home. I wish I had the correct fabric. I did take lots of photos for reference. One of the other exhibits I enjoyed was the about the Sami people from the North and their culture.
We headed for the ABBA Museum and got lost at an Irish bar. Oh well. Just a quick stop. Until we met a Scottish chap and got lost in conversation for a couple hours. Originally from Scotland, he had worked all over the world for oil companies. He had to go where he could make money, he stated. "That makes sense," I said. "Could you call my Mum and tell her that?" he asked.
On to sing with ABBA. Lots of fun. Unfortunately, the video didn't save to the website. So, no sharing me singing Mama Mia. Lucky you!
Ulla Winbladh for dinner . I read about this restaurant online. Lots of traditional Scandinavian food. When we walked over I wondered if I had made a bad choice. Seemed a little high brow for us. But we waited anyway. I had salmon, cold. I forgot that cold means raw. It was good, though. The service was impeccable.


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Download the pdf of the Swiss Venture Capital Report 2017 below.
Almost a billion Swiss Francs in venture capital were invested in startups in Switzerland in 2016 alone. Most of the risk investments took part in the canton of Vaud followed by Geneva and Zurich. To find out which Swiss startup was supported by what VC/investors in 2016, you can download the Swiss VC Report below.


text:
Kaiser Aluminum Signs Agreement To Sell Its Interests In An Alumina Refinery In Jamaica
January 21, 2004 at 12:00 AM EST
Kaiser Aluminum Signs Agreement To Sell Its Interests In An Alumina Refinery In Jamaica 66.8 KB
HOUSTON, Texas, January 21, 2004 -- Kaiser Aluminum & Chemical Corporation has signed an agreement to sell its 65% interest in Alpart, a partnership that owns bauxite mining operations and an alumina refinery in Jamaica, to Glencore AG. Net cash proceeds are expected, at a minimum, to be in the range of $160 million to $170 million, subject to certain closing and post-closing adjustments.
The transaction, which is subject to several closing conditions as noted below, includes the interests of Kaiser and certain of its subsidiaries in Alpart and also may include certain alumina sales contracts that are typically sourced from Kaiser's share of alumina production at Alpart. The purchase price could increase significantly depending on which contracts, if any, are ultimately included in the transaction. Kaiser will be responsible for prepayment of its approximately $14 million share of Alpart's outstanding CARIFA loan, which becomes due in full upon consummation of the transaction. The agreement also provides for Glencore to supply Kaiser with alumina of up to 200,000 metric tonnes in 2004 and up to 100,000 metric tonnes in 2005 at an agreed percentage of London Metal Exchange aluminum prices.
Kaiser expects that, at the minimum end of the expected range of proceeds, the transaction will result in a pre-tax book loss in the range of $50 million.
The transaction is subject to approval by the United States Bankruptcy Court for the District of Delaware, where Kaiser plans to file a related motion and a copy of the agreement as promptly as practicable. Kaiser anticipates requesting the Court to rule on the motion during a regularly scheduled hearing on February 23, 2004. The transaction is also conditioned upon approval by the lenders under Kaiser's Post-Petition Credit Agreement, as more fully discussed in the company's most recent Quarterly Report on Form 10-Q. Subject to the satisfaction of these and certain other conditions, Kaiser expects the transaction to close late in the first quarter or early in the second quarter of 2004.
Until such time as the transaction closes, Kaiser will retain management responsibility for Alpart and will involve appropriate Glencore personnel on transitional issues.
Separately, under Alpart's existing partnership arrangement, Hydro Aluminium a.s., which currently owns the remaining 35% of Alpart, will have 30 days following Kaiser's receipt of Court approval to elect to purchase Kaiser's interests at the price specified in the agreement. If Hydro were to exercise this right, Glencore would be entitled to receive from Kaiser reimbursement of certain expenses incurred in negotiating the agreement, subject to a limit of $250,000.
"This is another step toward our stated goal of emerging from Chapter 11 in mid 2004," said Jack A Hockema, president and chief executive officer of Kaiser Aluminum.
"Our relationship with the Government of Jamaica, the people of Jamaica and, particularly, two generations of Alpart employees has been a rewarding experience," he said. "In light of Glencore's extensive investments in the alumina industry, including its interests in Jamaica, and its strong financial profile, we believe this transaction will give Alpart employees and other constituents a sound opportunity for future investment and growth."
The Alpart refinery has substantially completed an expansion program to increase the plant's capacity to 1.65 million metric tonnes per year. It also controls bauxite reserves having an annual production capacity of 3.5 million metric tonnes, which it mines through a joint venture. Approximately 1,200 employees are involved in refinery and mining operations.
Glencore AG is a subsidiary of Glencore International AG, a privately owned company organized under the laws of Switzerland. Together with its subsidiaries, Glencore is a leading, diversified natural resources group with worldwide activity in the mining, smelting, refining, processing and marketing of metals and minerals, energy products and agricultural products. These activities are supported by strategic investments in industrial assets.
Kaiser Aluminum & Chemical Corporation is a leading producer of fabricated aluminum products, alumina, and primary aluminum. It is the operating subsidiary of Kaiser Aluminum Corporation (OTCBB: KLUCQ).
Company press releases may contain statements that constitute "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. The company cautions that any such forward-looking statements are not guarantees of future performance and involve significant risks and uncertainties, and that actual results may vary materially from those expressed or implied in the forward-looking statements as a result of various factors. Actual events could differ materially from those reflected in the forward-looking statements contained in this press release as a result of various factors, including but not limited to those relating to approval of the sale by the United States Bankruptcy Court for the District of Delaware and by the lenders under Kaiser's Post-Petition Credit Agreement, as well as the satisfaction of the other conditions contained in the definitive documentation providing for the sale. As a result, no assurance can be given as to whether or when the sale will occur.


Heroes don't have to be big. They don't even have to be human. As long as they're wise and brave–and can hop like the dickens, they meet the hero (or in this case, shero) qualifications.
And that brings us to award-winning author Jill Esbaum's newest picture book, Teeny Tiny Toady. In the book, Teeny is a…well, teeny toad who is the youngest and smallest in a family of well-mannered toads. She has seven fat, moist-looking brothers and a beloved mother who has just been scooped up by an unknown human hand and plunked into a pail.
Teeny is horrified and rushes to her brothers for help. Unfortunately, they are a bumbling sort and experience a series of unfortunate events as they try to figure out what to do. They also ignore Teeny's suggestions, but like most brilliant females, she cannot be ignored for long. And thereby hangs a tail–or better yet, a frog leg.
Written for pre-school to 2 (ages 4 to 7), this book is packed with goodies. First, it's written in fun, precise, toe-tapping rhyme. Second, it proves that good things come in small packages. And third, it celebrates GIRL POWER! After all, Teeny is a girl and the youngest of seven bulbous toad brothers, but with all their bluster and bravado, they still can't out-do Teeny. Not one little bit.
Great for science class, as a funny supplemental text during "show and tell" day, or as a humorous addition to any child's library.


Brook Street are currently recrutiing for a Operating Systems Test Engineer for a contract until June 2019 based in London.
Looking for an experienced embedded software test engineer to join the team and work alongside our development and design teams to ensure our products maintain a high-quality bar for release; testing new features as they are developed; and providing early feedback on design and implementation.
2. Ideally windows experience, web service testing.
Salary: up to £250 per day depending on experience and contract type.


text:
A survivor of the Las Vegas shooting received a special message from her idol
2 months after splitting from Chris Pratt, Anna Faris has a new man
Nicole Moschella, October 19, 2017 11:12 am
Photo by Dimitrios Kambouris/Getty Images for Turner
LOS ANGELES, CA - JANUARY 30: Actress Anna Faris attends The 22nd Annual Screen Actors Guild Awards at The Shrine Auditorium on January 30, 2016 in Los Angeles, California. 25650_013 (Photo by Dimitrios Kambouris/Getty Images for Turner)
Anna Faris is back on the dating scene two months after calling it quits with her husband of eight years, Chris Pratt.
The "Mom" actress recently stepped out with her new beau, cinematographer Michael Barrett, and the two have reportedly been dating since September after working together on a new film, "Overboard."
"Anna has been hanging out with Michael for weeks," a source told PEOPLE. "They were hanging out occasionally in September but started seeing each other more frequently recently."
RELATED: The rumor mill is churning over what really caused the split between Anna Faris and Chris Pratt
Faris and Barrett were also spotted on several dinner dates recently in Los Angeles, and TMZ caught the new couple having lunch in Malibu, Calif., just last month.
Following the split, Faris gave a fan some heartfelt relationship advice on her podcast, "Unqualified."
"Life is too short to be in relationships where you feel this isn't fully right, or somebody doesn't have your back, or somebody doesn't fully value you," she said to the caller in August. "Don't be afraid to feel your independence if things aren't right."
She continued, "I made that mistake, I think, a little bit, like 'I'm checking my relationship off the list,' and if that would be the final piece of advice I could give you, that would be know your worth, know your independence."
About the author: Nicole	Moschella, Rare Staff
Nicole is a content editor with Rare.
celebrity relationships


Preface for Waterloo students : I'm glad you followed my link and came to check out this page! I'll be one of your Microsoft Student Partners here at Waterloo. My role is to help you leverage the most out of Microsoft platforms - namely, making apps on Windows 8, Windows Phone 8, etc. I will help you with coding questions, general questions and if I don't know an answer, I'll go get it for you. Feel free to send me and email at anytime at rudi.chen@studentpartner.com!. Finally, thank you every who attended on Thursday, it was nice to see TC 2218 full!
If you're already interested in making Windows 8 apps, you can skip right to the how section. If not, why would you be interested? Is it going to profitable? Let's consider this calculation, starting with the fact that there are more than a billion Windows users on this planet.
Assume only 10% of people ever upgrade to Windows 8 at all. The actual number will be larger, with W8 tablets and XP losing support.
Assume only half of those people will ever even look at the Windows Store.
With this estimation very much on the low end, you are still guaranteed to have at the very least a market of 50 million people. More likely in the hundreds of millions.
At the time of this article, there's only a couple hundred apps. That means you can be the first to implement a certain idea. For example, there's no graphing app right now. Nothing that will allow me to plot a graaph. You make a good looking one? I'd buy it.
Plus, porting code to Windows Phone 8 once it comes out will be incredibly easy, since it will run on the same API. Double to opportunity for the same amount of effort.
Finally, you can enter your app in the Imagine Cup. That could get you 50,000$ and a trip to Russia if you're good.
Waterloo students click this link then Sign In.
You can get Windows 8 for free (even though it's not released to the public yet), Visual Studio Ultimate 2012, etc. In addition, you get a free Windows Store developer account to publish anything you want.
Making Windows 8 apps isn't a hugely complicated task. Most of the interface can be created just with drag and drop. However, I do recommend you learn programming first if you don't already know. You can cover the basics of what you need to know in 2 days though. I personally recommend doing lesson 1, 2, 3, 4, 5, 7 and 10 of this tutorial, but you can go ahead and look for any tutorial you want for one of the previously mentioned language.
Finally, to start learning how to make Windows 8 apps, there's plenty of documentation on Microsoft's website, so I won't rewrite everything here. Enjoy!


The book came out just days ago and is meant to empower women based on what she's learned in her own life and her Love Letters project.
She's given powerful lectures and workshops to many groups including The Women's Leadership Conference at the MGM and The Influencer Academy.
To hear the full episode click the play button at the top of this page – or listen on iTunes, the Stitcher App or on the Mail Tribune's website.
You can submit a love letter to Jeanette here.


text:
package it.unibz.krdb.obda.ontology;

import java.util.Set;

import it.unibz.krdb.obda.model.Constant;
import it.unibz.krdb.obda.model.ObjectConstant;
import it.unibz.krdb.obda.model.Predicate;

public interface OntologyFactory {

	public OClass createClass(String uri);

	public Datatype createDataType(Predicate p);

	public ObjectPropertyExpression createObjectProperty(String uri);

	public DataPropertyExpression createDataProperty(String uri);

	public Ontology createOntology();

	public SubClassOfAxiom createSubClassAxiom(ClassExpression concept1, BasicClassDescription concept2);

	public SubClassOfAxiom createSubClassAxiom(DataRangeExpression concept1, DataRangeExpression concept2);

	public SubPropertyOfAxiom createSubPropertyAxiom(ObjectPropertyExpression included, ObjectPropertyExpression including);

	public SubPropertyOfAxiom createSubPropertyAxiom(DataPropertyExpression included, DataPropertyExpression including);

	@Deprecated // used only in YAGOTest
	public SubPropertyOfAxiom createSubPropertyAxiom(PropertyExpression included, PropertyExpression including);

	@Deprecated // generic property is to be eliminated (used in SemIndex and YAGO)
	public PropertyExpression createProperty(String uri);

	public SomeValuesFrom createPropertySomeRestriction(PropertyExpression role);

	public DataPropertyRangeExpression createDataPropertyRange(DataPropertyExpression role);

	public FunctionalPropertyAxiom createPropertyFunctionalAxiom(PropertyExpression role);

	public DisjointClassesAxiom createDisjointClassesAxiom(Set<ClassExpression> classes);

	public DisjointPropertiesAxiom createDisjointPropertiesAxiom(Set<PropertyExpression> props);

	public PropertyAssertion createPropertyAssertion(PropertyExpression attribute, ObjectConstant o1, Constant o2);

	public ClassAssertion createClassAssertion(OClass concept, ObjectConstant object);

}

redpajama_set_name: RedPajamaGithub


text:
Greek Isles Cruise
Day 1 Venice, Italy
Day 2 Split, Croatia
Day 4 Mykonos, Greece
Day 5 Athens (Piraeus), Greece
Day 6 Rhodes, Greece
Depart Time: 6:00 PM - Arrive Time: 10:00 AM
Day 7 Santorini, Greece
Day 8 Katakolon, Greece
Day 10 Venice, Italy
ATHENS — Athens provides a good study in how the New South coexists with the Old South. A lively music scene
(supported by students from the University of Georgia) flourishes in the bars, clubs and coffeehouses of the restored
downtown (it brought the world such bands as R.E.M. and the B52s). But you don't have to look far to find the Old South: It's apparent in the many Greek Revival homes and buildings that dot the city, the best example being the Taylor-Grady House. The University of Georgia, across the street from downtown, boasts a number of these Greek Revival buildings, including Demosthenian Hall and the president's house. The university is where you'll also find the Georgia Museum of Art (a collection heavy in 19th- and 20th-century American and Italian Renaissance paintings). Off campus you'll find the Church-Waddel-Brumby House, the oldest surviving residence in the city, now serving as the visitors center. Athens is also home to the fragrant State Botanical Gardens of Georgia. Nature trails wind through the gardens of native flora — the rose garden is especially nice (it blooms May-November). Southeast of Athens in Washington is the Robert Toombs House, the restored home of a recalcitrant Southern politician who hated the North for political reasons and hated the Confederacy almost as much for not electing him president. One of the least mellow individuals the smooth-as-silk South has produced, Toombs never gave up his secessionist fervor or his cantankerous manner. 66 mi/106 km east of Atlanta.
Mykonos is the most chic and sophisticated of all the Greek Islands–instantly recognized by its glittering crescent of white-washed houses lining an azure bay. The beaches here are unspoiled and inviting, especially along Plati Tialos Bay. Miniature churches, lazy windmills, and tiny cafes serving up Greek specialties line the streets. Sample the freshest squid or lobster just snatched from the blue Aegean Sea, or shop for typical flokati rugs.
Rhodes (rodz) or Ródhos, island (1981 pop. 40,392), c.540 sq mi (1,400 sq km), Greece, in the Aegean Sea, near Turkey; largest of the Dodecanese island group. Its fertile coastal areas produce wheat, tobacco, cotton, and olives. Tourism and fishing are important. Colonized by Dorians before 1000 B.C., it reached its height as a commercial and cultural center in the 4th-3d cent. B.C. Julius Caesar studied at its renowned school of rhetoric. After its decline, Rhodes was an ally of Rome. Captured (1204) from the Byzantine Empire during the Crusades, it was held by the Knights Hospitalers (1282-1522) and the Ottoman Turks before it was taken by Italy in 1912. In 1947 it was ceded to Greece. The famed Colossus of Rhodes (see under colossus), a statue erected (292-280 B.C.) by the citizens of the ancient capital
city of Rhodes, was destroyed by an earthquake in 224 B.C.
Santorini is perhaps the most naturally alluring of all the Greek islands. Thousands of years of volcanic activity have created steep cliffs that rise above the ocean's edge and a spectacular jagged coastline that forms a striking bay. One of the highlights of Santorini is the archaeological site of Akrotiri, discovered in 1967 under a thick blanket of pumice. This remarkably well-preserved Minoan site, dating back to the Bronze Age, reveals the advanced lifestyle of the early Greeks. In the nearby village of Megalochori visit the Boutari Winery, where Assyrtico grapes produce a rare white wine.
As you approach the city over the bridge from the Italian mainland, you leave behind terra firma and, with it, earthbound notions of how to see and experience a city. Venice is not solely the spill of churches and palazzi on either side of the Grand Canal, but rather a city of islands, 118 in all, some of which are little more than the weedy, humps you see in the Lagoon of Venice. And yet these mud flats provided haven for the people who fled here (without benefit of a bridge) from Huns, Visigoths, and other marauders in the fifth century. And those refugees gave birth to a culture that ripened into a thousand years of greatness.
As you near the end of the bridge, you see at first only the back side of the city itself. But in the time it takes to walk through the train station, you begin to hear sounds peculiarly Venetian–the low rumble of boat motors, a humid incubation of voices, water lapping insistently against wood and stone. And then Venice confers her greatest gift: No matter how many times you've been here, it always seems, in that first glimse, like the first time.
If you are smart, you will immediately start a tour down the Grand Canal by hopping on a vaporetto (water bus) or gondola or water taxi. If you are lucky, it will be during those few hours before sunset when the light shines most kindly on the venerable facades that line this liquid boulevard. If you are particularly observant, you might even notice that neither the light nor the colors are quite Italian, not like the tawny earth tones of Florence or Rome.
The canal is a murkey green, the palazzi a mix of faded, grimy sherbets–watermarked mint and sun-blanched apricot and deep overripe peach. Sunlight shatters into spangles on the water, gondolas knife bach and forth, the Rialto Bridge looms overhead, and then, beyond one final curve, the Palladian church of Santa Maria della Salute and the Campanile (bell tower) of San Marco come into view.
Piazza san Marco is Venice's grand salon–expansive, familiar, picturesque, pigeonesque. It is anchored at its eastern extreme by the Basilica di San Marco, which is not only the spiritual seat of Venice's patron saint but also one of the most glittering monuments of Christendom.
Celebrity Cruises Inc. reserves the right to change, whether via an increase or decrease, any published rates, including cruise rates and airfare charges, without prior notice. We reserve the right to impose on any existing booking or new bookings (whether paid in full or not) a supplement for fuel or other matters without prior notice as provided in our Passenger Ticket Contract. In addition, we reserve the right to pass through any third party imposed fuel or other surcharges, also without prior notice, The guest will remain liable for any applicable taxes, fees or surcharges that may be assessed by any governmental or quasi-governmental agencies.


text:
Q: runtime exception: "No provider for ReportService" I'm revisiting a setup I started for an ng2 app in a VS2015 web project. It was working at one point.  The app uses Typescript and builds as expected.  For example, it builds without errors but fails if I put random characters in the ts so the ts appears to be building as expected.
I do have a ReportService in the app but I commented out all refs and I still receive the runtime error in the post title.  First I'd like to simply comment out the ReportService reference, get the page to load without error and then reintroduce ReportService after that.  Any idea what I might be missing here?

A: No provider for xxx often appears when your service is not provided by module in which you have your component, or by module imported by given module.
Example:
import { NgModule } from "@angular/core";
import { MyService } from "./my.service";
import { MyComponent } from './my.component';

@NgModule({
   declarations: [ MyComponent ],
  providers: [ MyService ]
})
export class MyModule {}

Now you can use MyService in MyComponent:
import { Component } from "@angular/core";
import { MyService } from "./my.component";

@Component()
export class MyComponent {
    constructor(private service: MyService) {}

    public someMethod(): void {
        this.service.someMethod();
    }
}

You can also export that service from module to use it in another modules:
import { NgModule } from "@angular/core";
import { MyService } from "./my.service";
import { MyComponent } from './my.component';

@NgModule({
  declarations: [ MyComponent ],
  providers: [ MyService ],
  exports: [ MyService ]
})
export class MyModule {}

Now you can use MyService wherever you import MyModule:
import { NgModule } from "@angular/core";
import { MyModule } from "./my.module";
import { AnotherComponent } from './another.component';

@NgModule({
  imports: [ MyModule ]
  declarations: [ AnotherComponent ],
})
export class MyModule {}

import { Component } from "@angular/core";
import { MyService } from "./my.component";

@Component()
export class AnotherComponent {
    constructor(private service: MyService) {}

    public anotherMethod(): void {
        this.service.someMethod();
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Thamnophis elegans är en ormart som beskrevs av Baird och Girard 1853. Thamnophis elegans ingår i släktet strumpebandssnokar och familjen snokar.

Arten förekommer i västra Nordamerika. De nordligaste populationerna lever i British Columbia och Alberta i Kanada. Thamnophis elegans når i öst South Dakota, Colorado och New Mexico i USA. Utbredningsområdets västra gräns utgörs ungefär av Stilla havet och I syd når arten fram till norra delen av halvön Baja California (Mexiko). Denna orm lever i låglandet och i bergstrakter. Enstaka exemplar hittades vid 3995 meter över havet. Habitatet kan variera mellan skogar, buskskogar, gräsmarker och klippiga områden. Individerna vistas främst på marken men i fuktiga områden simmar de ofta. Thamnophis elegans föredrar landskap med vattenansamlingar som vattendrag, insjöar och dammar. Äggen kläcks redan inuti honans kropp så att levande ungar föds (ovovivipar).

För beståndet är inga tydliga hot kända och hela populationen anses vara stabil. IUCN kategoriserar arten globalt som livskraftig.

Underarter

Arten delas in i följande underarter:

 T. e. arizonae
 T. e. elegans
 T. e. errans
 T. e. vagrans
 T. e. vascotanneri
 T. e. hueyi

Källor

Externa länkar

Strumpebandssnokar
elegans
Kräldjur i nearktiska regionen

redpajama_set_name: RedPajamaWikipedia


text:
Tag Archives: Aaron Taylor-Johnson
Trailer: The King's Man
Posted on July 15, 2019 by Leonard Wilson
I love the Kingsman series. It looks like we have a third installment to the series, with a prequel showcasing the origins of the secret agent organization. Ralph Fiennes, Tom Hollander, Aaron Taylor-Johnson (who also worked with director Matthew Vaughn in Kick-Ass), Gemma Arterton, Daniel Bruhl, Djimon Hounsou, Charles Dance, Matthew Goode, and Stanley Tucci are all on board.
The King's Man is due out February of 2020.
Posted in Film, Uncategorized | Tagged Aaron Taylor-Johnson, Charles Dance, Daniel Bruhl, Djimon Hounsou, Gemma Arterton, Kingsman, Matthew Goode, Matthew Vaughn, Ralph Fiennes, Stanley Tucci, The King's Man, Tom Hollander | Leave a comment
Outlaw King Official Trailer
Posted on August 23, 2018 by Arleigh
Who here has seen Braveheart?
I'm quite sure that a huge number of people have seen Mel Gibson's second film as director which won him two Oscars: for Best Director and Best Film. While his career has seen it's major up's and down's, he still has done some great work behind the camera as a director.
Now, what does this all mean to this new Netflix Original film coming out this year called Outlaw King? The answer is not much other than both film share a particular historical character in the Scottish king Robert the Bruce. In Gibson's film he's a supporting character whose motivations could be seen as very pragmatic and bordering on the villainous.
Outlaw King, by Scottish director David MacKenzie (who directed the great Hell or High Water), will tell the story of the legendary Scottish king Robert the Bruce who won Scotland's independence from England where William Wallace ultimately failed to do.
I am going on a hunch that Outlaw King will treat Robert the Bruce in a more sympathetic light than how Gibson's film portrayed him. This time around we have Chris Pine in the role of Robert the Bruce.
As seen in the trailer, it looks like Netflix's several billion dollar spending spree has come not just luring prominent filmmakers and producers to the streaming site but also allow them the resources to make a film as lush and beautiful as any made under the remaining big studios.
Let's hope Outlaw King is more on the level of Mudbound and less like Bright.
Posted in Film, Uncategorized | Tagged Aaron Taylor-Johnson, Alastair MacKenzie, Anonymous Content, Barry Ackroyd, Billy Howle, Braveheart, Callan Mulvey, Chris Pine, David MacKenzie, Florence Pugh, historical drama, James Cosmo, netflix, Outlaw King, Rebecca Robin, Robert the Bruce, Sam Spruell, Sigma Films, Stephen Dillane, Steven Cree, Tony Curran, trailer | 2 Comments
Film Review: The Wall (dir by Doug Liman)
Posted on September 13, 2017 by Lisa Marie Bowman
The Wall tells a very simple story.
Opening with a title card that informs us that "President Bush has declared victory," The Wall takes place in Iraq in 2007. Two soldiers — a sniper named Matthews (John Cena) and a spotter named Isaac (Aaron Taylor-Johnson) — have responded to a call for help that came from a pipeline construction site. When they arrive, they see only dead contractors. Matthews and Isaac spend a day watching the site, finally determining that it is safe to investigate.
Of course, as soon as Matthews approaches the site, shots ring out as a sniper opens fire on him. Matthews falls while Isaac finds himself trapped behind a crumbling wall, shot in the right knee and slowly bleeding out. As Isaac tends to his wound and tries to determine whether Matthews is alive or dead, his radio comes to life. The voice, on the other end, initially claims to be an American soldier but Isaac eventually figures out that the voice actually belongs to the man who just shot him. The sniper is an Iraqi who calls himself Juba. He may or may not be a legendary and feared sniper that Matthews and Isaac were discussing mere minutes before being attacked.
And that's pretty much the entire film right there. For 81 minutes, Isaac tries not to die while Juba alternates between taunting him and demanding to know why he and the American forces have yet to leave Iraq. Isaac claims that America is rebuilding Iraq. Juba claims that the wall that Isaac is hiding behind used to be a part of a school. Isaac tells Juba to fuck off. Juba replies, "We are not so different, you and me," revealing that, if nothing else, Al Qaeda snipers apparently appreciate a good cliché. If anything, it reminded me a bit of The Shallows, except Blake Lively was now a soldier and the shark refused to stop talking.
I have to admit that I have mixed feelings about The Wall.
On the one hand, it's a very well-made film. Visually, the film captures the deadly heat of the desert and it makes good use of its limited setting. It's far more watchable than any movie that exclusively takes place behind a crumbling wall has any right to be. From what I've read, it appears that The Wall's depiction of both combat and dying is fairly accurate and the film does a good job of putting you in Isaac's boots, forcing you to try to desperately figure out where Juba could be hiding.
Also, Aaron Taylor-Johnson actually gives a good performance. Since, with a few notable exceptions, Aaron Taylor-Johnon usually bores me to tears, I was shocked to see how good of a performance he gave as the country-accented Isaac. It's especially impressive since he's on screen for almost the entire film. It was hard for me to believe that the same actor who was so unbearably dull in Savages was suddenly so watchable in The Wall. However, he definitely was.
And yet, The Wall is also one of the most thoroughly unpleasant films that I've ever sat through. Admittedly, that's probably the way it should be. War films shouldn't be pleasant and I don't think anyone could ever accuse The Wall of romanticizing combat. At the same time, the film itself doesn't seem to be quite sure what it wants to say about war. Juba and Isaac do briefly debate America's role in the Middle East but their discussion has all the depth of a twitter fight between Bernie Sanders supporter and a Donald Trump voter. Neither Isaac nor Juba are particularly deep thinkers. They're both fighting and potentially dying for the benefit of others. Maybe that's the point. The problem is that the film itself doesn't seem to be quite sure.
The Wall is one of those films where I respect the craftsmanship behind it while, at the same time, having no desire to ever sit through it again.
Posted in Film, Film Review | Tagged Aaron Taylor-Johnson, Doug Liman, Film, John Cena, Laith Nakli, Lisa Marie Bowman, movie, review, The Wall | Leave a comment
Here's What Won At The Golden Globes!
Posted on January 8, 2017 by Lisa Marie Bowman
Here's what just won at the Golden Globes! (For a full list of nominees, click here!)
Best Supporting Actor — Aaron Taylor-Johnson (a.k.a., the most boring actor on the planet) for Nocturnal Animals. (I'm still in shock about this one.)
Best Original Score — Justin Hurwitz, La La Land
Original Song — "City of Stars," La La Land
Best Supporting Actress — Viola Davis, Fences
Best Actor (Comedy) — Ryan Gosling, La La Land
Screenplay — Damien Chazelle, La La Land
Best Motion Picture, Animated — Zootopia
Best Motion Picture, Foreign Language — Elle
Special Award — Meryl Streep (YAWN)
Best Director, Motion Picture — Damien Chazelle, La La Land
Best Actress (Musical or Comedy) — Emma Stone, La La Land
Best Motion Picture (Musical or Comedy) — La La Land
Best Actor (Drama) — Casey Affleck, Manchester By The Sea
Best Actress (Drama) — Isabelle Huppert, Elle
Best Motion Picture (Drama) — Moonlight
Posted in Film | Tagged Aaron Taylor-Johnson, Academy Award, Academy Awards, award, awards, Casey Affleck, Damien Chazelle, Elle, Emma Stone, Fences, Film, Films, Golden Globe, Golden Globes, HFPA, Hollywood Foreign Press Association, Isabelle Huppert, Justin Hurwitz, La La Land, Lisa Marie Bowman, Manchester By The Sea, Meryl Streep, Moonlight, movie, Movies, Nocturnal Animals, Oscar, Oscars, Ryan Gosling, Viola Davis, Zootopia | Leave a comment
Here Are The 74th Annual Golden Globe Nominations!
Posted on December 12, 2016 by Lisa Marie Bowman
Oscar season continued today with even more precursors announcing their picks for the best of 2016! Perhaps most importantly, the 74th Annual Golden Globe nominations were announced today! Even though they rarely match up 100%, the Golden Globe nominations are considered to be one of the best precursors for what will be nominated for an Oscar in January.
So, should Silence be worried? Martin Scorsese's latest acclaimed film was totally snubbed by the Golden Globes. That could be an ominous sign for a film that everyone seems to respect but which is still going to be a far harder sell at the box office than either The Wolf of Wall Street or Hugo.
But again, it's never an exact match between the Globes and the Oscars and the Academy can nominate up to ten films for best picture. Though it would certainly be interesting (and kinda neat) if it happened, I somehow doubt that the Academy is going nominate Deadpool over Silence.
(For that matter, I doubt Simon Helberg is going to pick up an Oscar nomination for Florence Foster Jenkins. Just a feeling…)
Below are the Golden Globe film nominations!
(For the TV nominations, why not check out the list over at Awards Watch?)
Best Motion Picture – Drama
Best Motion Picture – Musical or Comedy
Best Motion Picture – Animated
My Life as a Zucchini
Best Motion Picture – Foreign Language
Divines (France)
Elle (France)
Neruda (Chile)
The Salesman (Iran)
Toni Erdmann (Germany)
Best Performance by an Actress in a Motion Picture – Drama
Amy Adams, Arrival
Jessica Chastain, Miss Sloane
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Best Performance by an Actor in a Motion Picture – Drama
Casey Affleck, Manchester by the Sea
Joel Edgerton, Loving
Andrew Garfield, Hacksaw Ridge
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences
Best Performance by an Actress in a Motion Picture – Musical or Comedy
Annette Bening, 20th Century Women
Lily Collins, Rules Don't Apply
Hailee Steinfeld, The Edge of Seventeen
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins
Best Performance by an Actor in a Motion Picture – Musical or Comedy
Colin Farrell, The Lobster
Ryan Gosling, La La Land
Hugh Grant, Florence Foster Jenkins
Jonah Hill, War Dogs
Ryan Reynolds, Deadpool
Best Performance by an Actress in a Supporting Role in any Motion Picture
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea
Best Performance by an Actor in a Supporting Role in any Motion Picture
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Simon Helberg, Florence Foster Jenkins
Dev Patel, Lion
Aaron Taylor-Johnson, Nocturnal Animals
Best Director – Motion Picture
Damien Chazelle, La La Land
Tom Ford, Nocturnal Animals
Mel Gibson, Hacksaw Ridge
Barry Jenkins, Moonlight
Kenneth Lonergan, Manchester by the Sea
Best Screenplay – Motion Picture
Best Original Score – Motion Picture
Best Original Song – Motion Picture
"City of Stars," La La Land
"How Far I'll Go," Moana
"Faith," Sing
"Can't Stop the Feeling," Trolls
Posted in Film | Tagged 20th Century Women, Aaron Taylor-Johnson, Academy Award, Academy Awards, Amy Adams, Andrew Garfield, Annette Bening, Arrival, award, awards, Barry Jenkins, Captain Fantastic, Casey Affleck, Colin Farrell, Damien Chazelle, Deadpool, Denzel Washington, Dev Patel, Divines, Elle, Emma Stone, Fences, Film, Films, Florence Foster Jenkins, Gold, Golden Globe, Golden Globe nominations, Golden Globes, Hacksaw Ridge, Hailee Steinfeld, Hell or High Water, HFPA, Hidden Figures, Hollywood Foreign Press Association, Hugh Grant, Isabelle Huppert, Jackie, Jeff Bridges, Jessica Chastain, Joel Edgerton, Jonah Hill, Kenneth Lonergan, Kubo and the Two Strings, La La Land, Lily Collins, Lion, Lisa Marie Bowman, Loving, Mahershala Ali, Manchester By The Sea, Mel Gibson, Meryl Streep, Michelle Williams, Miss Sloane, Moana, Moonlight, movie, Movies, My Life As A Zucchini, Naomie Harris, Natalie Portman, Neruda, Nicole Kidman, Nocturnal Animals, Octavia Spencer, Oscar, Oscars, Rules Don't Apply, Ruth Negga, Ryan Gosling, Ryan Reynolds, Simon Helberg, Sing, Sing Street, The Edge of Seventeen, The Lobster, The Salesman, Tom Ford, Toni Erdmann, Trolls, Viggo Mortensen, Viola Davis, War Dogs, Zootopia | 1 Comment
Film Review: The Avengers: Age of Ultron (dir by Joss Whedon)
Posted on May 1, 2015 by Lisa Marie Bowman
In some ways, I think I may be both the worst and the best possible person to review the latest installment of the Marvel Cinematic Universe, largely because I've seen all the films but I don't know much about the comics on which they are based. As a result, I can judge each film solely by what is on screen but, at the same time, I know that there are a lot of references that go straight over my head. For instance, when we saw Avengers: Age of Ultron earlier tonight, I had to get my boyfriend to explain to me why certain members of the audience got so excited when Iron Man mentioned an African country called Wakanda. But what's important is that I would have still enjoyed Age of Ultron even if I had never known why Wakanda was important. The MCU has, so far, managed to maintain a balance between keeping the Marvel fans happy while also remaining accessible to viewers like me. The MCU has created its own separate reality, one that even someone like me can feel comfortable exploring and reviewing.
However, before I get around to giving you my feelings on Age of Ultron, let's be honest about something.
There are a lot of critics out there who have been waiting for a chance to attack the latest installment of the Marvel Cinematic Universe. Some of them have disliked the MCU since the very first Iron Man film. They have been lone voices in the wilderness, arguing that the entire franchise is overrated and, in some cases, creatively destructive. Much like the Old Testament prophets, they continue to warn of the future while other filmgoers ignore the pillar of fire forming over the nearest theater. And then there are other critics who have praised previous MCU efforts but have never really been comfortable about it. These are the critics who resent having to write positively about a mere genre film. These are the critics who still haven't gotten over just how good Guardians of the Galaxy truly was. They have been waiting for an MCU misfire so that they can do their penance for suggesting that Robert Downey, Jr. deserved Oscar consideration for Iron Man 3.
These critics are going to watch The Avengers: Age of Ultron and they are going to pounce. They are going to point out that Age of Ultron puts too much emphasis on action over nuance and, as impressive as the CGI may be, it's impossible to deny that Age of Ultron almost robotically follows the classic action movie formula. They'll point out that none of The Avengers really develop as characters over the course of the film. Depending on how they've felt about the MCU up to this point, some of them will point out that Age of Ultron feels a bit like a step backwards. It doesn't have the political subtext of Iron Man 3 or Captain America: The Winter Soldier. It lacks the satiric edge of Guardians of the Galaxy. And, ultimately, it's just not as much fun as the first Avengers film.
And they won't necessarily be wrong. I mean, let's be honest. I write this as someone who has enjoyed (and, in some cases, loved) the previous MCU films. Avengers: Age of Ultron is not going to be remembered as one of the best of the MCU films. This is a flawed film that never reaches the heights of the original Avengers. All of the criticisms listed above are perfectly valid.
But, with all that in mind, I still enjoyed Avengers: Age of Ultron and I happily recommend it without a bit of hesitation.
Age of Ultron opens with the Avengers attacking a HYDRA base and we quickly discover that the Avengers are exactly the same as we remembered them. Iron Man (Robert Downey, Jr.) is cocky, self-destructive, and torn by guilt over his past as a weapons manufacturer. Captain America (Chris Evans) is earnest and idealistic. Thor (Chris Hemsworth) is … well, he's a God. Bruce Banner (Mark Ruffalo) is scared of what he becomes when he transforms into the Hulk. Clint Barton (Jeremy Renner) is still shooting arrows and feeling out-of-place. Natasha (Scarlett Johansson) is still flirty, enigmatic, and apparently in love with Bruce Banner.
One of the reoccurring themes of the MCU is that whenever Iron Man tries to make the world a better place, he instead ends up nearly destroying it. His latest attempt leads him to create Ultron (voiced quite chillingly by James Spader), a robot who has Tony's personality and who has decided that the only way to bring about "peace in our time" is to destroy all of humanity. Ultron's motives are as close as this film gets to any sort of thematic subtext. Ultron stands in for every ideology that would take away a person's individual freedom in the name of the greater good. Age of Ultron doesn't explore this subtext as much as I would have liked it to but, at the same time, I appreciated that it was at least there. That's more than you can say for a film like Man of Steel.
Ultron is not the only new character to show up. Andy Serkis has a small role as a character that will undoubtedly be a villain in a future MCU film. After voicing JARVIS in several films, Paul Bettany finally gets to actually appear onscreen. I can't talk too much about his character without spoiling the film but Bettany makes good use of his limited screen time.
And then there's Aaron Taylor-Johnson and Elizabeth Olsen. Previously, they played lovers in Godzilla. In Age of Ultron, they play siblings who just seem like lovers. Taylor-Johnson is Pietro, who can move at super speeds. Elizabeth Olsen is Wanda, whose powers are a bit less defined but mostly seem to consist of being able to do whatever the script needs her to do at the time. (As the film explains it, "He's fast, she's strange.") In the past, I've had mixed feeling about Taylor-Johnson. I thought he was brilliant in Nowhere Boy and Anna Karenina but, in other films, I found him to be excessively mannered and a little dull. But, in the role of Pietro, Taylor-Johnson really shines, achieving a good balance of arrogance and vulnerability. As for Elizabeth Olsen, she is perfectly cast as the angry but sensitive Wanda. At the very least, Age of Ultron better serves both of them than they were served by Godzilla.
(Add to that, Wanda and I share similar tastes in fashion, which will make it easy for me to dress up as her for Halloween.)
Director Joss Whedon does a good job with the film's many battle scenes, especially the final one. And, as someone who hated the mindless destruction of Man of Steel, I appreciated that, as characters, the Avengers spent as much time trying to protect innocent bystanders as they did battling Ultron and his henchrobots. At the same time, it was hard not to feel that the film's emphasis on action did sacrifice some of the character moments that have made other MCU films so memorable. Early on in the film, there's a great scene where the Avengers simply hang out at a party. They dance, they dink, they laugh, and eventually, they all take turns attempting to pick up Thor's hammer. It's a fun scene because it brings these heroes back down to Earth and, for a few minutes, we get to relate to them in the way that we would relate to our best friends. Age of Ultron could have used more scenes like that.
That said, the cast of Age of Ultron provides enough old fashioned movie star charisma that they overcome the script's shallow characterization. In many ways, it's like one of the old Frank Sinatra rat pack movies, where you forgive a lot because you enjoy hanging out with the cast. They're just fun to watch. Robert Downey, Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, and Mark Ruffalo; at this point they are so identified with these characters that the actors and their roles might as well be interchangeable.
(And, at this point, if it were revealed the Robert Downey, Jr. owned a suit of armor, would you really be surprised?)
Ultimately, Age of Ultron feels a lot like one of the less acclaimed James Bond films. It's flawed, it's imperfect, but fans of the franchise will find a lot to enjoy. Much as you wouldn't introduce someone to James Bond by showing him Moonraker, you probably wouldn't want to introduce someone to the MCU by showing him or her Age of Ultron. If, somehow, you've managed to exist without ever seeing any other MCU films, then Age of Ultron will leave you confused and wondering what the big deal is. But, if you're already a fan of the franchise, you'll find a lot to enjoy here.
And, flaws and all, you'll walk out of the theater looking forward to the next installment.
Posted in Film, Film Review | Tagged Aaron Taylor-Johnson, Age of Ultron, Andy Serkis, Anthony Mackie, Avengers, Avengers: Age of Ulton, Chis Evans, Chris Evans, Chris Hemswoth, Claudia Kim, Cobie Smulders, Don Cheadle, Elizabeth Olsen, Film, Hayley Atwell, Henry Goodman, Idris Elba, James Spader, Jeremy Renner, Josh Brolin, Joss Whedon, Julie Delpy, Linda Cardellini, Lisa Marie Bowman, Mark Ruffalo, Marvel, Marvel CInematic Univese, MCU, movie, Paul Bettany, review, Robert Downey Jr, Samuel L. Jackson, Scarlett Johansson, Stan Lee, Stellan Skarsgard, The Avengers, The Avengers: Age of Ulton, Thomas Kretschmann | 11 Comments
A Vision of the Avengers: Age of Ultron for the Third Time
Posted on March 4, 2015 by Arleigh
The third and, hopefully, final trailer for Avengers: Age of Ultron was unlocked today after a Twitter event which had millions of people tweeting the hashtag #AvengersAssemble. One has to give it up to the Marvel marketing machine. They know how to get the public clamoring for more when it comes to their films.
All that could be said has been said about this film. Just sit back and enjoy (or critique) one of the most highly-anticipated films of the year.
Posted in Film | Tagged Aaron Taylor-Johnson, action film, Andy Serkis, Avengers: Age of Ultron, Ben Davis, Brian Tyler, Chris Evans, Chris Hemsworth, Claudia Kim, Cobie Smulders, Don Cheadle, Elizabeth Olsen, Hayley Atwell, Idris Elba, Jack Kirby, James Spader, Jeremy Renner, Joss Whedon, Kevin Feige, Mark Ruffalo, Marvel Studios, Paul Bettany, Robert Downey Jr, Samule L. Jackson, Scarlett Johansson, sequel, Stan Lee, Stellan Skarsgard, superhero film, Thomas Kretschmann, Tom Hiddleston, trailer, Walt Disney Studios Motion Pictures | Leave a comment
Avengers: Age of Ultron (2nd Trailer)
Posted on January 12, 2015 by Arleigh
"Everyone creates the thing they dread." — Ultron
New Avengers: Age of Ultron trailer has dropped during the inaugural College Football Playoff Championship game between Oregon and Ohio State.
For all the underwhelming reaction that the Ant-Man teaser trailer got after it premiered last week it looks like this latest trailer for Avengers: Age of Ultron just builds on the immense buzz and hype created by the leaked trailer from November 2014.
No need to say more. Just watch the new hotness as we wait for May 1, 2015 when Avengers: Age of Ultron shows us something beautiful.
Trailer: Avengers: Age of Ultron (Extended)
Posted on November 12, 2014 by Arleigh
"I know you mean well. You want to protect the world, but you don't want it to change. There's only one path to peace…your extinction." — Ultron
Marvel has released a new extended version of the teaser trailer they released a couple weeks ago. While it's pretty much similar to the first teaser trailer this extended version has a new intro with Ultron in his initial form confronting the partying Avengers in Avengers Tower. The voice-over by James Spader as Ultron also sounds much different in this trailer than the first. We also get more lingering shots of all the Avengers from Iron Man all the way to Hawkeye rather than the rapid-fire cuts we saw in the first teaser.
May 2015 cannot come soon enough.
Avengers: Age of Ultron is set for a May 1, 2015 release date in North America.
Posted in Film | Tagged 3D, Aaron Taylor-Johnson, Andy Serkis, Avengers, Avengers: Age of Ultron, Ben Davis, Brian Tyler, Chris Evans, Chris Hemsworth, Claudia Kim, Cobie Smulders, Don Cheadle, Elizabeth Olsen, Hayley Atwell, Idris Elba, IMAX, Jack Kirby, James Spader, Jeremy Renner, Joss Whedon, Kevin Feige, Mark Ruffalo, Marvel Studios, Paul Bettany, Robert Downey Jr, Samuel L. Jackson, Scarlett Johansson, sequel, Stan Lee, Stellan Skarsgard, superhero film, Thomas Kretschmann, Tom Hiddleston, trailer, Walt Disney Studios Motion Pictures | Leave a comment
Trash Film Guru Vs. The Summer Blockbusters : "Godzilla"
Posted on May 17, 2014 by Ryan C. (fourcolorapocalypse)
Here's the thing when it comes to any and all Westernized takes on Japan's most famous movie monster — Hollywood's just never going to "get it" because, frankly, it can't. Oh, sure, Gareth Edwards' 2014 Godzilla is head and shoulders above Roland Emmerich's 1998 abomination of a film, but the simple fact is that the Big Green Guy and all of his scaly, serpentine brethren that came to us courtesy of the venerable Toho studios were, at their core, celluloid manifestations of a deep-seated atomic angst that only a country that had been on the receiving end of, as Sting put it, "Oppenheimer's deadly toy" could ever really give birth to. And while Ken Watanabe's Dr. Ichiro Serizawa character does, in fact, explicitly mention Hiroshima and Nagasaki in this flick, it's pure window dressing — Edwards and screenwriters Max Borenstein and Dave Callaham didn't actually live through a time when they had to actively wonder what sort of nuclear fission-induced mutations were lurking beneath the waves just a few miles offshore, so they just can't communicate that sort of unease with the same authenticity that the original Godzilla did.
And to those who would argue that a young Japanese filmmaker wouldn't be able to imbue a project such as this with any more immediacy than Edwards does because they wouldn't have lived though those horrific final days of WWII either, I've got one word for you : Fukushima.
There's also something about CGI in these flicks that always has, and always will, suck, no matter how "good" it is : you know, in the back of your mind, that it's just not there. To be sure, Edwards and his visual effects crew do a bang-up job of realizing their monster once they do, finally, reveal him, but no matter how "unrealistic" watching the original Godzilla smash cardboard miniatures of buildings may be by today's standards, it still feels more "real" than the essentially flawless computer graphics of 2014 can ever hope to. But maybe that's just me —-
Still, don't get the wrong idea : I'm not so much "down on" the new Godzilla as I am completely indifferent to it. To be sure, Edwards' heart seem to be in the right place here, and he's very likely doing the best job that he can do — it's just that his best is nowhere near good enough. A slow-burn plot doesn't help matters much, either, and while I'm all for a prolonged buildup that leads to a big payoff, frankly the "character arcs" of all the principal players are so dull and uninvolving that when Compu-Zilla finally does make the scene, it feels more like a relief from soap opera-style tedium than anything else. Thankfully, there's some effectively-realized mass destruction to bump up the "wow" factor a bit, and Godzilla doesn't turn out to a solo act (that's all I'll say about that), but it's still definitely a case of "too little, too late" as far as excitement here goes and a smorgasbord of good performances (Bryan Cranston, Juliette Binoche, David Strathairn, Sally Hawkins, and the aforementioned Ken Watanabe) and bad (Aaron Taylor-Johnson, Elizabeth Olsen) find themselves having equally gone, more or less, to waste when the proverbial train finally leaves the station.
Plot recaps probably make as much sense here as they do for a Hulk comic book — sure, the set-up matters on some level, but it's all about "Hulk smash!" at the end of the day, isn't it? Suffice to say that the main reason the various intermingling sub-plots here really don't work is because the film goes from small-scale to so-big-it's-off-the-scale at the drop of hat, with no transition period in between for either the characters or the audience. It's all just a bit jarring — but maybe that's not such a bad thing when I think about it because, truth be told, I was getting a little sleepy.
The "who are the real monsters?" theme that Edwards toys with is frankly a little bit old, too, and honestly represents something of a cop-out ( and here's where my "Westerners will never get this right" thesis comes into play, by the way) : sure, humans are bad news, we're destroying everything, etc. I know that. But some of us are worse than others, and any side willing to drop a nuclear bomb and murder hundreds of thousands of innocent people in order to "win" a war is due for some special criticism, in my view . The makers of the original Godzilla understood that fact, even if they couldn't say so explicitly, while in the franchise's 2014 iteration we just all suck. No one, specifically, is to blame, and hey, it's too late for recriminations anyway when you've got an overgrown reptile tearing up the town. Or something like that.
Still, the film's third act is enough to make even a hardened cynic like me gasp in awe on numerous occasions, and the "childlike wonder factor," for lack of a batter term, really does kick into high gear here as events steamroll toward their conclusion. It's worth the price of admission for the awesome (even if it is computer-generated) spectacle the final 45-or-so-minutes deliver. Sure, I wish we'd gotten nothing but a bad ride on a bumpy road from start to finish, but I guess I'm still willing to take what I can get. Felling like you're 12 years old all over again for even a little while is better than never feeling like it at all.
And yet — in addition to being this film's greatest (perhaps even only) saving grace, perhaps that last act is also its greatest weakness, because it exposes the essential, unavoidable truth at the heart of Edwards' Godzilla : it's good enough to make you remember why you love monster movies in the first place, but nowhere near good enough to actually be one of those monster movies that you love.
Posted in Film, Film Review | Tagged Aaron Taylor-Johnson, Bryan Cranston, cinema, David Strathairn, Elizabeth Olsen, Film, Gareth Edwards, Godzilla, Juliette Binoche, Ken Watanabe, movie, Sally Hawkins | 6 Comments


3-room apartment 52 m2, on the ground floor. Fliess 8 km from Landeck: Cosy cottage "Evi".
Tasteful and cosy furnishings: entrance hall. 1 double bedroom. 1 room with 1 bed, 1 double bed and hand-basin. Living/dining room with satellite TV (flat screen). Open kitchen (oven, dishwasher, 4 ceramic glass hob hotplates, microwave, electric coffee machine). Shower/WC. Terrace. Terrace furniture, barbecue. Beautiful panoramic view of the valley. Facilities: hair dryer. Internet (WiFi, free). Please note: non-smokers only. 1 pet/ dog allowed. In a quiet, sunny position on a slope. For shared use: lawn for sunbathing. Private: terrace, barbecue (sandbox). In the house: storage room for skis, central heating system. Stepped path to the house. Parking at the house. Grocery 1 km, restaurant 1 km, bus stop 1 km, outdoor swimming pool 2 km, natural swimming pond 2 km. Golf course 20 km, tennis 2 km, walking paths from the house 100 m, gondola lift 4 km, ski rental 1 km, ski bus stop 300 m, ski school 4 km, cross country ski track 4 km, children's playground 70 m. Nearby attractions: Naturparkhaus Kaunertal 4 km. Well-known ski regions can easily be reached: Venet 4 km, Serfaus-Fiss-Ladis 17 km. Hiking paths: Naturpark Kaunergrat. Please note: ski bus (free of charge). Free ski bus service to the ski region Venet. For the skibus to Serfaus-Fiss-Ladis will be charged.


What is Head Start North Dakota?
North Dakota Head Start is a federally funded program that promotes education for children from birth to age five for low-income to moderate-income families by enhancing their cognitive, social and emotional development. Head Start programs provide a learning environment that helps children's growth in many areas such as literacy, language and social and emotional development. Head Start program also emphasizes the role of parents as their child's first and most important teacher.
Do You Qualify for Head Start North Dakota?
How to apply for North Dakota Head Start?
This entry was posted in State Head Start and tagged Bismarck Head Start, Fargo Head Start, Grand Forks Head Start, Head Start ND, Head Start North Dakota, Minot Head Start, ND Head Start, North Dakota Head Start, North Dakota Head Start Program on May 28, 2015 by Head Start.


If two qualities are needed above all others in a top class sprinter, they are are surely 'ability' and 'consistency'. Just a day after litter brother Argentina had won the Gain Puppy Derby, Calzaghe Flash went unbeaten through the Local Parking Security National Sprint at Nottingham.
It was the 11th race of Flash's career (6 wins, 2 seconds, 3 thirds) and his two length winning time over Gentle Storm was 17.55 (+10) for the 305m – just one spot quicker than his semi final win.
The race also marked the retirement of Jean Liles' Trapstyle Jet. The British bred son of Droopys Jet was contesting his third NS final having won it two years ago.


text:
Why ONE
ONE Demo
Take a look at our latest projects
The platform of choice for industry-leading distributors
Take a look through a selection of our latest projects to learn more about how ONE has helped our clients to rejuvenate their digital presence, enabling them to maximise the reach of their catalogues and ultimately sell more content.
A selection of our latest projects.
A New Era of Distribution for AMC
After bringing their previously outsourced sales team in-house, AMC needed to update their digital presence to help support the new team.
ONE presented the ideal solution and we worked closely with the team at AMC to create a unique design for the website and application that really brought to life elements of their brand, while also customising ONE's functionality to fit their internal processes and workflows. The result is a perfect showcase for their industry-leading catalogue that's easy to manage for AMC and enjoyable to browse for their buyers.
Revitalising ITV Studios' Distribution Platform
We initially starting working with ITV Studios five years ago. They had a disjointed website that was difficult to use, no central system to manage their 40,000+ hours of content and above all, they were struggling with several fragmented systems that took a lot of manual effort to keep afloat. We overhauled their strategy and built them a bespoke platform that led to a large increase in both visits and the number of registrations on the website.
Fast forward 5 years, and we now have experience in working with many other distribution companies via our product ONE. We were conscious that a lot of the new features being added to our core system took advantage of newer technologies that wouldn't be compatible with ITV's bespoke solution.
ITV chose to migrate to ONE so they could enjoy the many advantages of a SaaS model. They can focus on driving forward new features and functionality, knowing that site maintenance and improvements are covered as part of the ONE platform.
A vibrant & exciting new look & feel for Keshet International
Keshet International were keen to really bring their branding to life through their new website & application. Our creative team worked closely with them to truly integrate the Keshet look & feel throughout ONE, and the result is a vibrant, exciting website that really does justice to the amazing array of content in Keshet's catalogue.
Efficiencies & Automation with ONE
When we started working with Banijay they were undergoing a transformation process, investing in new technology to help automate processes and drive efficiencies through the business. One of the biggest challenges their team faced was having to duplicate work across different platforms. Updating each system was a manual, time-consuming process, and Banijay were looking for a programme management & screening platform that integrated with their existing technology.
ONE was the ideal solution, providing the team with a new website and iPad application managed from one central database - any changes made to the website are synced to the app automatically. The platform also seamlessly integrates with their existing technology, so the team no longer have to manually update every system whenever they make a change.
Seamless Screening for DRG
DRG is an innovative, creative and fast moving business with content at its core. Starting life as a conventional programme distributor in 2007, they have evolved into a 360-degree content business that today is involved with programme origination and development, financing, talent, production, production services and distribution across all platforms.
How do I get it, what's involved?
See how ONE could revolutionise the way you distribute content.
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text:
Q: How to test AngularDart components? I try testing some component:
https://gist.github.com/Rasarts/000e233092b6781128a8488cbbb7a051
dependencies:
  angular2: '^3.0.0-alpha+1'
  angular2_components: '^0.4.0-alpha'

dev_dependencies:
  angular_test:
   git: "https://github.com/dart-lang/angular_test.git"
   version: '^1.0.0-alpha+5'
  test: '^0.12.20+2'

@Component(selector: 'page-view', templateUrl: 'page_view_component.html')
class PageViewComponent {}

@AngularEntrypoint()
void main() {
  test('Should create a new component in the DOM', () async {
    NgTestBed testBed = new NgTestBed<PageViewComponent>();
    NgTestFixture fixture = await testBed.create();
    expect(fixture.rootElement.innerHtml, contains("PageViewComponent"));
  });
}

When I run pub run test -p dartium command I get failed test:
00:02 +0 -1: test/client/components/page_view_test.dart: Should create a new component in the DO
M [E]
  Cannot find reflection information on ApplicationRefImpl
  package:angular2/src/core/reflection/reflection.dart 24:7     NoReflectionCapabilities.factory
  package:angular2/src/core/reflection/reflector.dart 85:37     Reflector.factory
  package:angular2/src/core/di/reflective_provider.dart 130:27  resolveReflectiveFactory
  package:angular2/src/core/di/reflective_provider.dart 156:8   resolveReflectiveProvider
  dart:_internal                                                ListIterable.toList
  package:angular2/src/core/di/reflective_provider.dart 163:60  resolveReflectiveProviders
  package:angular2/src/core/di/reflective_injector.dart 363:12  ReflectiveInjector.resolve
  package:angular2/src/core/di/reflective_injector.dart 392:58  ReflectiveInjector.resolveAndCre
ate
  package:angular_test/src/bootstrap.dart 35:42                 bootstrapForTest
  package:angular_test/src/frontend/bed.dart 192:14             NgTestBed._createDynamic.<fn>
  dart:async                                                    Future.Future.sync
  package:angular_test/src/frontend/bed.dart 190:16             NgTestBed._createDynamic
  package:angular_test/src/frontend/bed.dart 171:12             NgTestBed.create
  page_view_test.dart 17:43                                     main.<fn>.<async>
  ===== asynchronous gap ===========================
  dart:async                                                    Future.Future.sync
  package:angular_test/src/frontend/bed.dart 190:16             NgTestBed._createDynamic
  package:angular_test/src/frontend/bed.dart 171:12             NgTestBed.create
  page_view_test.dart 17:43                                     main.<fn>.<async>
  ===== asynchronous gap ===========================
  dart:async                                                    Future.Future.microtask
  page_view_test.dart                                           main.<fn>

00:02 +0 -1: Some tests failed.

When I run pub run angular_test:test, I get:
Could not find bin/test.dart in package angular_test.

When I run pub run angular_test and open Dartium, in console I get:
00:00 [32m+0[0m: Should create a new component in the DOM[0m
(program):1 00:00 [32m+0[0m[31m -1[0m: Should create a new component in the DOM [1m[31m[E][0m[0m
(program):1   NoSuchMethodError: Class 'DynamicComponentLoaderImpl' has no instance method 'loadAsRootIntoNode'.
  Receiver: Instance of 'DynamicComponentLoaderImpl'
  Tried calling: loadAsRootIntoNode(Type: class 'PageViewComponent', Instance of 'ReflectiveInjectorImpl', overrideNode: Instance of 'HtmlElementImpl')
(program):1   dart:core                                              Object.noSuchMethod
  package:angular_test/src/bootstrap.dart 75:37          _runAndLoadComponent.<async>
  dart:async                                             _ZoneDelegate.run
  package:angular2/src/core/zone/ng_zone.dart 176:21     NgZone._run
  dart:async                                             _CustomZone.bindCallback.<fn>
  package:angular2/src/core/zone/ng_zone.dart 162:11     NgZone._scheduleMicrotask.<fn>
  dart:async                                             _ZoneDelegate.run
  package:angular2/src/core/zone/ng_zone.dart 176:21     NgZone._run
  ===== asynchronous gap ===========================
  dart:async                                             _Completer.completeError
  package:angular_test/src/bootstrap.dart 90:1           _runAndLoadComponent.<async>
  dart:async                                             _ZoneDelegate.run
  package:angular2/src/core/zone/ng_zone.dart 176:21     NgZone._run
  dart:async                                             _CustomZone.bindCallback.<fn>
  package:angular2/src/core/zone/ng_zone.dart 162:11     NgZone._scheduleMicrotask.<fn>
  dart:async                                             _ZoneDelegate.run
  package:angular2/src/core/zone/ng_zone.dart 176:21     NgZone._run
  ===== asynchronous gap ===========================
  dart:async                                             Future.Future.microtask
  package:angular_test/src/bootstrap.dart                _runAndLoadComponent
  package:angular_test/src/bootstrap.dart 47:12          bootstrapForTest.<fn>
  package:angular2/src/core/application_ref.dart 314:26  ApplicationRefImpl.run.<fn>
  dart:async                                             _ZoneDelegate.run
  package:angular2/src/core/zone/ng_zone.dart 176:21     NgZone._run
  dart:async                                             _CustomZone.run
  package:angular2/src/core/zone/ng_zone.dart 305:23     NgZone.run
  package:angular2/src/core/application_ref.dart 312:10  ApplicationRefImpl.run
  package:angular_test/src/bootstrap.dart 46:17          bootstrapForTest
  package:angular_test/src/frontend/bed.dart 192:14      NgTestBed._createDynamic.<fn>
  dart:async                                             Future.Future.sync
  package:angular_test/src/frontend/bed.dart 190:16      NgTestBed._createDynamic
  package:angular_test/src/frontend/bed.dart 171:12      NgTestBed.create
  page_view_test.dart 17:43                              main.<fn>.<async>
  ===== asynchronous gap ===========================
  dart:async                                             Future.Future.microtask
  page_view_test.dart                                    main.<fn>

(program):1 00:00 [32m+0[0m[31m -1[0m: [31mSome tests failed.[0m
(program):1
page_view_test.html:1 Uncaught Unhandled exception:
Dummy exception to set exit code.
#0      _rootHandleUncaughtError.<anonymous closure> (dart:async/zone.dart:1138)
#1      _microtaskLoop (dart:async/schedule_microtask.dart:41)
#2      _startMicrotaskLoop (dart:async/schedule_microtask.dart:50)
#3      _ScheduleImmediateHelper._handleMutation (dart:html:49306)
page_view_test.html:1 Observatory listening at http://127.0.0.1:33685/

How it can be testing?
https://github.com/dart-lang/angular2_components/issues/62

A: Try going back to angular2 version 3.0.0-alpha. angular_test is still work in progress and will need an update to work with 3.0.0-alpha+1.


text:
'Hillbilly Elegy' Review: A purposeless diagnosis in a moment that demands more
Glenn Close and Amy Adams are gunning for elusive Oscars in a drama engineered for simple conclusions.
Credit: Netflix
Author: David Lynch (KENS 5)
Published: 1:21 AM CST November 24, 2020
Updated: 6:11 PM CST November 26, 2020
"All you do is yell at me!" cries the frustrated child protagonist late in "Hillbilly Elegy," and by this point in the miscalculated Ron Howard-directed drama about generational and cultural reckoning, it's tempting to throw our hands up in the air and accuse the movie itself of doing the same thing. The ability to overcome is a theme that's entrenched in this rough-hewn story from the moment an opening voiceover waxes poetic about the elusiveness of the American Dream, and while it's a soft-spoken declaration compared to the fiery domestic outbursts that are to come (and come, and come), it's still no less guttural than the blunt and banal methods by which that sentiment will continue to be reinforced. "Hillbilly Elegy" both begins and ends in a place of emotional rawness, which may be something to appreciate about this diorama of addiction, economic stasis and parent-child connection if its portrayal wasn't so keen on distracting us from a lack of original insight—mostly through lots and lots of awards-show-calibrated yelling.
Because "Hillbilly Elegy" has a basis in reality, its makers – Howard and scribe Vanessa Taylor and source material author J.D. Vance – perhaps believe they have the luxury of shrugging away any requirement of acknowledging the family-in-turmoil subgenre tropes littered throughout the new Netflix film. It's an adaptation of Vance's conversation-sparking 2016 memoir that laments the gritted-teeth foundations of a certain kind of blue-collar Americanism while illuminating his bruised journey as the son of a drug addict mother who aspired to a level of success his family isn't meant to reach. Or so the implication goes.
That context may play a role in assessing the movie, but it's overshadowed by a more immediate timeliness—that of its release into the culmination of a four-year period that laid bare the country's gilded consciousness about who the American Dream truly remains elusive for. Because of this – and, more notably, because it chooses not to have the sociopolitics of the times as its North Star, instead tightly narrowing its scope on one family's tendency to fall back on abuse – the movie is less an elegy than it is soliloquy. An airing of grievances about the ebb and flow of small-town tragedies major and minor that seems to plague a teenage J.D. (played by Owen Asztalos) when he would rather just watch "Meet the Press" (you know, like any 14-year-old Middletown, Ohio boy).
Those who come into "Hillbilly Elegy" unfamiliar with its source material might wonder why it's J.D. who seems like the protagonist of this story when the marketing has placed such dominant focus on Glenn Close's judicious Mamaw and Amy Adams's ever-troubled Bev, the boy's grandmother and mother, respectively. In reality (and with all due respect to Haley Bennett's soulful contributions as J.D.'s sister, Lindsay), this is a three-hander, with J.D., Mamaw and Bev forming a triumvirate of languishing forward momentum and anguished reductivity to stereotype. Oscillating between bad times and halfway-pretend-decent ones, "Hillbilly Elegy" quickly settles into a routine in which the inescapable closeness of the Vance family suddenly becomes kindling for shouting matches and more horrific breakdowns, typically centering on Bev turning on her children before Mamaw restores some semblance of order. It's the only kind of routine they know, although psychological explanations are scant. If "Hillbilly Elegy" does one thing consistently, it's checking all the boxes. Jobs aren't held for very long, the pantry is rarely stocked and J.D. – for all the strange hints of aspiration projected from his attraction toward the latest developments out of the Monica Lewinsky scandal and other current affairs – struggles in school.
But those aspirations are realized. It's one of the movie's most unusual and self-defeating maneuvers that this isn't a spoiler. Before we've spent much time with young J.D., that round face has been replaced by the handsome square jaw of Gabriel Basso, who's introduced startlingly early as an older J.D. enrolled in Yale. This timeline is unfolding 14 years later—J.D. has a girlfriend and he's working on nailing down a summer internship at a law firm. Wudjalookathat: things are looking up for the fella! Which only means it's high time for Lindsay to call with news from home: Bev has overdosed. And so too, for the first of many times, does the movie, as it starts to bound back and forth in time in a manner that obfuscates more than it enlightens. Back home in Ohio, this older J.D. begins to reckon with having one foot in the past and another on the path forward—which, come to think of it, is an appropriately simple-minded way of describing what is ultimately a simple-minded movie.
If I may, here's a simple test to determine who may get the most satisfaction out of "Hillbilly Elegy's" overwrought gestures: J.D. is quick to preach about his clan's "code." What virtues might that code center around? One does not need to have sprouted from Appalachian roots to recognize the futility of the movie's generalizations about a society living right above or at the poverty line; because Hollywood itself has been so enamored with glorifying those struggles, "Hillbilly Elegy" comes off as a byproduct of outdated storytelling priorities, despite what the wider scope of Vance's memoir may assert. It isn't that the movie's suggestions about a time, a place and a mode of living aren't legible. It's that they're anachronistic, let alone uncompelling. (Oh, and the answer was "having your family's back," as if it could be anything else. If you wouldn't have guessed, perhaps the film has other surprises in store.)
The movie chugs along on an IV drip of obvious reconciliations, which is a nicer way of saying "Hillbilly Elegy" thinks a bit of dialogue like "Never had a life where I wasn't thinking about the kids!" is a grand epiphany about parenthood's rocky roads. For something slightly more sophisticated, we can occasionally rely on the character of Mamaw, which Close infuses with a genuinely captivating sense of iron will to juxtapose that convincingly crooked gait and who at least teases more interesting truths about destruction as an inevitable side effect of triumph. It's an interesting philosophy, although one that's barely explored. It doesn't help that Taylor's screenplay tends to deal in absolutes, especially in regards to Bev's cycle of bad decisions; the intention may be to portray her as a volatile force, but the result is that Adams's performance feels like caricature. There may be no better weapon in the seasoned (and, yes, Oscar-less) actress's arsenal here than that familiar twinkle in her eye that suggests that, OK, maybe this will be the time she dedicates herself to the long-term outlook, and not short-term highs.
I'm tempted to say that what's sorely missing from the purposeless "Hillbilly Elegy" is a sense of place, but that would suggest a movie with clearly different intentions than the one we got. The story gets some thrust from putting college-age J.D. on a ticking clock—he's wary of leaving his downtrodden mom alone at a sleazy motel, but he's also got to drive back to New Haven for an interview that simply can't be rescheduled. The movie makes a point of emphasizing the ten-hour commute, and it comes off as an eagerness to displace Middletown from, well, wherever J.D. has been studying so hard to get to next. Basso and Adams work double-time to pull off the emotional climax, but it's only muted by the lingering feeling that "Hillbilly Elegy" is less an attempt at recognition and more a work of self-congratulation—on the part of Vance for escaping, and on the part of the film for managing to excuse itself from the task of showing where it is he's actually escaping from.
"Hillbilly Elegy" is rated R for language throughout, drug content and some violence. It's streaming on Netflix Tuesday.
Starring: Amy Adams, Glenn Close, Gabriel Basso, Haley Bennett
Directed by Ron Howard
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'Sound of Metal' Review: An innovative feat of auditory filmmaking, and a career-best Riz Ahmed
'The Twentieth Century' Review: The most absurdly demented movie of 2020
'Run' Review: You'll be way ahead of 'Searching' director's frustratingly neat new thriller
'Ammonite' Review: Kate Winslet, Saoirse Ronan star in deceptively simple tale of budding seaside love
'The Climb' Review: An unconventional bromance stings with its comedy, languishes in its drama
'Let Him Go' Review: A multi-toned neo-Western that veers between soulfulness and explosiveness
'Kindred' Review: A finely crafted, vaguely familiar thriller that would make Edgar Allen Poe proud
'Come Play' Review: Techno-boogeyman thriller offers routine scares, roughly drawn sentimentality
'Holidate' Review: Emma Roberts, Luke Bracey star in Netflix's sardonic attempt at subverting Hallmark Channel sentimentality