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This doesn’t last long though, and once the film shows its hand it doesn’t have anywhere to go other than away from the fertile territory and into the barren, well-trodden lands of films like Insidious and The Grudge. This is flat-pack screenwriting; a Horror 101 textbook chewed up and spat out into feature-length tedium. Even the make-up and effects wouldn’t look out of place on a doorstep trick-or-treater. Then you will probably like listening to us too so check out our podcast. The Overlook Theatre Reviews: Ouija: Origin of Evil. I happened to be on vacation in a picaresque burb in Napa when I went to see Ouija: Origin of Evil, which turned out to be the perfect place to enjoy this suburban tale of malicious spiritual woe. First it must be said that as a film that is trying to scare you, Ouija was quite effective. I personally have no belief in spirits of any kind, but scenes where tension turned to terror had me gritting my guns at times, and while this movie has no new conceptions to offer the possession narrative, I was nonetheless unnerved. What IS new and exciting is that, for (No? apparent reason other than to make me happy, Origin of Evil happens to be a splendidly well-done period piece, and furthermore one with a genuinely endearing family that feels firmly rooted in said period. As a man enamored with history and period pieces in general, it was exciting to discover the films 70's color palette and almost sfumato texture. Of course, none of this would matter if the lead performances didn't sell you on the world from frame one. Mike Flanagan seems to have a penchant for casting talented redheads, because the emotional dynamic between this woman and her two daughters give their predicament and poignant urgency reminiscent this films cinematic mother (of which this title pays a sweet little homage to). Flanagan has shown he seems to be able to deliver a great horror film and Ouija: Origin of Evil is no exception. From acting, pacing and scares, this retro style prequel surpasses the original by a landslide. The characters are developed nicely and authentically. The standout for sure is Lulu Wilson who plays 11 year old Doris; she basically carried the film to its conclusion and is genuinely creepy. After watching 2014's Ouija, most would expect this prequel to fall flat.

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I just wish that view wasn’t monopolised by people whose vision is tinted by a security and a certainty me and mine will never possess. We have so much to say about beauty, our sense of it is urgent and acute, bound about as it is by the pressures and privations of our daily lives. Say what you like about what I do, but when Fran Lock looks at a sunset you fucking know about it. I’ve fought hard to bring these landscapes into print, and to defend my vision of these places and these people as beautiful and good. Most don’t look at squats and doss houses and rusty caravans and council estates and flyovers and petrol station forecourts and muddy rec grounds as sites of and occasions for beauty. They’re wrong. These were my places, my people, and they’ve just as much right to intelligent, nuanced and textured language as anything or anyone else. Richness is an act of remembrance, preservation, grieving, a radical act of love. In 2013 one of their factories in Dhaka collapsed killing and trapping hundreds of workers. At a subsequent demonstration in Dhaka by factory workers in 2015, police opened fire on grieving protestors. Primark avoided paying over 9 billion in corporation tax this year. Patroness of Impossible Causes, pray for us, that we might flip a decade’s deadweight like a mattress; gather our Godspeed, walk away from ourselves. By which I mean, this is not, in any literal or linear sense, the story of English radicalism. In order to answer that question I needed to go back to childhood, and to an English state school system where history came to us potted and piecemeal, portioned out into discreet periods named for their reigning autocrats; autocrats, it seemed, of largely irrelevant and undifferentiated character. In state school history the role of the poor was to suffer, a motiveless mass at the mercy of larger happenings: privations, plagues, famines, fires, religious persecutions and insane moral panics. The effect was disjointed to say the least, and could only ever afford us the merest fleeting glimpse of the lively dissenting communities that have underpinned and undercut English society on every level at every historical turn. There is no monolithic entity we can easily identify as Radical History. Movements diverge and intersect, interests collide and coalesce, logics compete for supremacy, contesting the cultural space.

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If the gov't in charge of it, it will, without a doubt, be poorly run. Kudos to the JS. In a little while, these folks may well be deciding whether or not you can have that medical procedure. r not. Good luck with that. Aaron Rodgers of the Green Bay Packers, who didn't switch teams, broke into the top 20, ranking 19th. No other Packer player had a jersey ranked in the top 25. Michael Crabtree, a wide receiver who hasn't even signed with the San Francisco 49ers, ranked 20th. Interestingly, Michael Vick of the Philadelphia Eagles, who switched from prison to football, ranked 4th in jerseys sold. -Don Walker, JS --OK, first of all, Favre's jersey sold more in 2 weeks than any other jersey did in 5 months. As a former retail manager, I chuckle at next year, second half of August, when your sales are down 70%, and this conversation takes place: Corporate figurehead: Al, your sales are down 72% this week. Al: I know, all of MN is way down, remember, last year is when Favre signed. CF: Al, you know we don't make excuses in this company. Al: Yeah, but let's be realistic, last year, sales were up because traffic was up, not because average purchase was up. This year, traffic's way down, and we're suffering. In fact, the average purchase is up 8%, meaning we're doing a better job merchandising and selling. CF: Well, if you think a negative 72% is acceptable. hat's that noise?

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Remember that when confronting Moulnes practice, which is formally ambulatory, somehow both clear and opaque, and consequently knotty. Literally so in his Blown Knot (2012) series of glass objects, produced during a residency at CIRVA, the Marseilles research centre for art and glassmaking. Bulbous blown forms in three colours (red, yellow and blue), wrapped complexly around each other and interfusing, these are at once deliriously aesthetic things you can follow their soft transparent tunnels and glowing interplay of secondaries and tertiaries for a long time without getting bored and the showy yields of applied physics. Moulne enjoys this doubling-up, his artworks often feeling like traps for the empirical and open-ended alike. A series of mirrors, placed near corners and accompanied by swatches of colourful Lycra pinned tightly by its own corners where the walls meet, are both informative (heres what a part of the world, ie you, looks like; heres what material under multidirectional stress looks like) and amorphous, for whats the relation between you and this colour. Five photographs taken in New York in 2012 a tree, the interior of the Strand bookshop, a pretty girl toting a mobile phone, foodstuffs laid out on Chinese newsprint, a half-blackened building whose burned frontage and plywood-blocked windows make the image Saad Qureshi: Other Crescents, Other MoonsGazelli Art House, London2 November 22 December As a British Asian, Saad Qureshi is particularly interested in what it means to be other or to belong in a multicultural society. Christian and Islamic narratives appear to provide significant source material for his enquiry; here he proposes the Tower of Babel as an ideological blueprint for Other Crescents, Other Moons. Qureshi describes this series of figurative sculptures and drawings as mindscapes; derelict model worlds based on other peoples recollections of places he is also familiar with. The view is often dark, in every sense, but Qureshis handling of miniature matter is exquisite. This combination, for the most part, is incongruous enough to keep one in touch with the artists role as mediator and the notion of memory as an evocative but unstable interpretive tool. All works in the exhibition are derived from a series of interviews Qureshi conducted after posting ads calling for residents to donate descriptions of places he visited. Eastern architectural references aside, it is not clear where he actually went and over what time period. But given that Qureshis interest here is the selective nature of memory, one can understand a reticence to tie the process down with too many facts. The ground floor space is dominated by the work of the exhibition title: a huge black doughnut-shaped sculpture that appears to have crashed to the ground and twisted into a partial sphere on impact. The scale is impressive enough to suggest military or industrial purpose, but not monumental to the point of ruling it out as an elaborate theatre prop. Shadow play on the surrounding walls brings ones attention to tiny structures and scrubby black swatches of Astroturf adhered to the sculptures surface. They could be shrunken oil-field paraphernalia from a bizarre Airfix kit. Delicate carbon-paper drawings hung nearby, meanwhile, might function as the plans for assembly.

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It follows a Vietnamese-American filmmaker as she travels from the north to the south of Vietnam, visiting families affected by the dioxin poisoning from the Agent Orange herbicide, as well as those knowledgeable on the topic and bettering the situation through their work. A great follow-up book is Bare Feet, Iron Will by James G. Zumwalt. The Spy in the Hanoi Hilton (2015) The Hanoi Hilton was the name given to Hoa Lo Prison in Hanoi by the American prisoners of war held, tortured and killed inside. This is also where future senator, John McCain, was held. It follows the story of James Stockdale (1992 Vice Presidential candidate) and his fellow prisoners, and their clandestine communications with US intelligence that alerted the CIA about the horrors going on within the walls of the prison, which prompted a top-secret rescue mission. The film also gives a portrait of a city under siege and devastated by war. Awarded the Prix Italia for best television documentary. Nominated Documentary of the Year by the Royal Television Society, and awarded a First Mention by the ecumenical jury at the 23rd International Documentary Film Festival (Nyon, Switzerland). He discovers that for the homeless of Paris and London conditions have changed very little. The programme follows a year in the life of Danziger and the three children in the West as they adapt to a radically changed lifestyle. Nick Danziger explores some of the staggering 250,000 images he took over nine decades. Using the latest digital technologies, Emily Allchurch, Nick Danziger and Kalpesh Lathigra are challenged to take their own urban, rural and industrial landscapes to create A Digital Picture of Britain in the 21st Century. The State Season 4 Episode 102: The State, Show 102 December 31 st, 1969 No storyline available at this time, please check back later. The State Season 4 Episode 103: The State, Show 103 December 31 st, 1969 No storyline available at this time, please check back later. The State Season 4 Episode 106: The State, Show 106 December 31 st, 1969 No storyline available at this time, please check back later. The State Season 4 Episode 107: The State, Show 107 December 31 st, 1969 No storyline available at this time, please check back later. The State Season 4 Episode 108: The State, Show 108 December 31 st, 1969 No storyline available at this time, please check back later.

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