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Yang tadinya dalam bahaya, jadi selamat. Hanya saja mereka tidak menggarapnya sehingga menjadi cukup intens. Film ini terlalu standar untuk menjadi tontonan yang patut diperhitungkan dalam genre survival dan perang. Toh, film ini menyampaikan maksudnya; Jika film G30S PKI sukses berat memperlihatkan PKI sebagai antagonis, maka film ini tak pelak membuat kita lebih nyaman percaya kepada kekuatan militer Indonesia. The Palace of Wisdom gives 3 gold stars out of 10 for MERAH PUTIH MEMANGGIL. Bisa dibayangin sendiri apa jadinya kalo perkembangan teknologi berkomunikasi tidak pernah terjadi. Tidak ada buku, tidak ada internet, bahkan mungkin tidak akan ada sejarah yang terekam karena menulis pun manusia belum tentu mampu. Ngomong-ngomong apa sih penemuan paling penting dalam sejarah perkembangan komunikasi umat manusia. Pffft plis, telefon apa, Alexander Graham Bell cuma nyiptain telegraf pake suara. Hanya suara. Menurut film ini, bentuk komunikasi terpenting yang pernah ditemukan adalah emoji. Karena dengan wajah-wajah kecil dan gambar-gambar imut tersebut, kita bisa mengekspresikan perasaan, sehingga cowok pemalu seperti Alex bisa mengatakan “I’m awkward and not good enough” dengan cara yang keren. Mereka nge push emoji sebagai bentuk komunikasi terpenting, mereka literally bilang begitu lewat narasi yang dibawakan oleh Gene. Dan currently, Alex lagi naksir cewek, teman sekelasnya. Dia pengen nyapa, ngajak kenalan tapi Alex enggak tahu mesti bilang apa.

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Numbers will be updated throughout as they arrive from Fox, Sony and Warner Bros. Guardians will get one more frame out of China where the typical window is four weeks. TMNT still has Japan to go, but that won’t be until February 7 next year. That gave the movie 2nd place behind Turtles which had about 1,000 more screens. It’s also playing great in Germany where it’s also No. 1 again and had a miniscule 3% drop. That was good for No. 2 in the market where family animation Big Hero 6 is tops during the school holiday period. It also bested by 69% the opening of Quentin Tarantino’s war-themed Inglourious Basterds, in which Pitt starred. There were over 2,600 admissions on roughly 5,700 screens in 61 markets. There were no new openings this frame, giving the take even more heft. Venezuela will be the final market for the vampire backstory on November 21. Ouija was No. 1 for two days out of the weekend and slipped to No. 2 behind Ninja Turtles on Sunday.

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You’re Driving Me Crazy is the first Van Morrison album to be released on Sony subsidiaries throughout the world (a fact obscured slightly by Versatile, which inaugurated his domestic deal with the label in the U. . but was licensed to Caroline elsewhere). But that doesn’t mean he was scrambling to record a bunch of gibberish, the way he did in 1967, so he could leave Bang Records and make Astral Weeks for Warner Bros. Five decades later, he doesn’t seem to be in a rush to get anywhere; judging by Roll With the Punches and Versatile, two pleasurable albums of familiar tunes performed by a crew composed largely of longtime Van veterans, he’s happy right where he is. Joined on occasion by Van’s vocalist daughter, Shana, the quintet knocked out the album in a couple of days, just like acts used to do in the mid-20th-century heyday of Blue Note and Prestige. He’s not a throwback, though; he’s carrying on a tradition, and that may be why he sees a kindred spirit in 47-year-old DeFrancesco, who has spent his career extending the legacy of music made before his birth. DeFrancesco started out as a wunderkind, signing to Columbia Records as a teenager in the late 1980s and becoming one of the youngest musicians ever to tour with Miles Davis. Eventually, he settled into a groove as a savvy traditionalist: He’d record a tribute to hard-bop pioneer Horace Silver but had enough of a sense of humor to title a 1999 album Goodfellas and pose as a mafia don on its cover. Respectful but impish, the organist jabs new retorts into tunes the two know by heart. Morrison and DeFrancesco don’t reinvent these classics so much as they inhabit them, the sheer verve of the group rendering each one vivid and alive. Morrison doesn’t disregard the lyrics; his interpretations are always grounded in the spirit of the original. But he’s clearly thrilled to play with a band as lively and dextrous as DeFrancesco’s, so he positions his voice as another boisterous instrument within the group. There’s a palpable joy to these performances that distinguishes this album from its two immediate predecessors, even as its kinship with Roll With the Punches and Versatile underscores how Van Morrison’s latter-day music is all about the present moment. Early in his career, he searched for truth within his own songwriting.

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