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No sense bringing it home to Eugene just to move it back. Jon plans to enlist Wyeast to brew a Porter into it, in exchange for getting some of the whiskey-aged Porter back. Tomorrow I will finally be home from my trip: 139 days. Being able to relax with other brewers and talk shop has been one of the many highlights of my trip. Winter has arrived just as my summer vacation is drawing to a close. There was snow on the side of the highway, and heavy winds plus rain and sleet. The terrain is more varied here than it has been for most of the drive since I left Denver. I've been putting lots of miles on the van as you can see by the number of gas fills on the trip totals list on my website. At this point I am definitely like the horse that smells the barn at the end of the day and wants to go home. In the photo at left, you can see a big logging truck moving toward me as my windshield wipers go. A little past Pendleton and Highway 84 hugs the south bank of the mighty Columbia River. In ancient times during the ice age, a glacier blocked the river upstream until a huge lake grew behind the ice dam. When the ice dam broke, such a huge serge of water flowed through the river's original small channel that it carved out the Columbia River Gorge. You can see one of the bluffs on the Oregon side of the river in the photo at right. Yes I took these photos while driving down the highway. I felt my journey drawing toward a conclusion and I wanted to document some of what I saw from the road. I arrived at Jon's work, Brewcraft USA at the end of the work day, one day earlier than originally planned. I had a lot of long driving days this week, but I was really ready to get back and see Jon.

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Rocky misalnya, ngelakuin ini demi bisa membawa pindah adik perempuannya ke tempat yang lebih baik, Money ingin ngerubah idupnya, sementara Alex selalu ngingetin untuk ngindarin kekerasan dan ngambil secukupnya. Di sisi lain, kita ternyata cuma dikasih tau sedikit-sedikit tentang pemilik rumahnya. Yap, doi adalah veteran tuna netra yang idup sebatang kara paska meninggalnya sang puteri karena sebuah kecelakaan. Antagonisnya jadi victim dan protagonis nya terasa seperti villain. Asli men, ngerampok orang buta sebatang-kara tuh beneran ngga bisa di maafin, dan mereka layak mendapat balesan. Tapiii gue ngerasa naskahnya sekali lagi seperti dibuat agar penonton menjadi peduli dengan nasib mereka. Bahkan kalo diperhatiin, judulnya aja udah ngasih tau itu. Shit, sampe sini sadarlah gue Fede Alvarez dan co-writer Rodo Sayagues emang berniat membuat penonton mengalami dilema dan berpindah ngasih dukungan ( switch rooting ) di sepanjang film. Mereka menghindari stereotip di subgenre ini dimana biasanya kita akan dikondisikan untuk mendukung penuh sang pemilik rumah dan membenci penyusupnya. Pada bagian pertama, kita hanya diberi sedikit pengetahuan tentang mereka. Di paruh kedua, film sedikit demi sedikit menguak fakta, dan di bagian akhir, Alvarez malah ngebebasin penonton untuk menilai. Sementara itu, bates antara bener dan salah pun menjadi kabur karena semua karakter punya alesan kuat atas tindakannya. Sebagai gantinya, akan ada warna baru yang muncul, dan harapannya audiens akan dibuat tertegun ( shock ) dengan pikiran masing-masing. Gue pikir itulah ide Fede Alvarez dan penulis naskah Rodo Sayagues. Tentunya nggak ada yang salah dengan inovasi, hanya saja tiap pilihan memiliki resiko. Dan menurut gue, membuat film 'abu-abu' seperti ini resiko nya adalah bagian ending yang menjadi tidak memiliki klimaks-emosional. Ambil contoh, dalam The Last House On The Left dimana sejak awal gue udah bisa ngebenci villainnya ( Krug cs ), klimaks-emosional terjadi ketika sang protagonis akhirnya ngelawan balik dan mulai ngebales dendam. Ada kepuasan ngeliat karakter yang gue benci akhirnya mendapat ganjaran.

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Added to which, Leito is the only person to know every nook and cranny of the 13th District. Where are the people who are truly pulling the strings hiding. And above all, who will benefit from the bomb? ore info. A movie about the character was inevitable, but even before filming began there was controversy. Two girls in the US got so caught up in the idea of Slender Man that they believed the character was real and tried to murder a third girl to impress him. The victim survived and the assailants were convicted. Public opinion, though, held the idea of the film was in poor taste, even if the story was completely different. The influence, for lack of a better word, of The Ring is everywhere. An online video takes the place of the cursed VHS film in The Ring, as nobody watches tapes anymore. The idea of the bored girls conjuring up some evil force together at night in a basement comes from Ouija board films. T he movie also has echoes of the recent Truth or Dare and The Bye Bye Man, with the small group of young people on the run from the evil they have conjured up. The use of dreams is reminiscent of The Nightmare on Elm Street. The worst part is that is shares something in common with the recent crime bomb The Snowman — the appearances of Slender Man, like the shots of snowmen, simply were not scary in the least. Mo st of the frights in Slender Man were the result of sudden loud bursts of music. Turn off the sound, and the bulk of the film is a scary as a herd of kittens. The re are a few creepy and gross moments, but the filmmakers go the its-only-a-dream well a few times too often. T he story takes place in a town in Massachusetts, and focuses mainly of four high school girls.


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DVD: Paramount Widescreen Collection. USA (Tristar). Color. 109m. DVD: Sony Pictures Home Entertainment. Bartlett, Laile E. Psi Trek. New York: McGraw-Hill, 1981. Bester, Alfred. The Demolished Man. New York: Vintage Books, 1996. William Peter Blatty on The Exorcist: From Novel to Film. Clarens, Carlos. An Illustrated History of the Horror Film. Druffel, Ann, and D. Scott Rogo. The Tujunga Canyon Contacts. Everman, Welch.

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In one fell swoop. There are complications later on, sure, but they end it fast, usually in front of a large, adoring audience. Slavery as a topic shows up, I would suggest, mainly to bolster the white girl saviour queen’s awesome hero image. When Dany has Drogon fry that incredibly over-the-top evil slave merchant, I mean, I loved that. I was a little more cynical when Kelsea declared that slavery was over now forever, but that was probably because Johansen’s book is less about the spectacle than GRRM’s are. It might be fun for Quentin Tarrantino to imagine what he would have done as a white guy in the slavery-era south (so, he’d be a former dentist, current bounty-hunter, and he would mess everything up because he’s too pure to shake a horrible person’s hand) (that movie is embarrassing) (good, but embarrassing), as it might be fun for us to watch young white women take down slavery infrastructure with fire. It’s easy to say, “Slavery was bad and I wouldn’t have participated. It’s harder to say, “We need to rethink our current prison system because it is incredibly racist and if we’re perfectly honest it is a gigantic violation of human rights and it ends up functioning in ways that are quite eerily similar to slavery, which is supposedly illegal now. You can barely say anything even close to that if you’re a politician and you’re seriously considering earning more than, like, ten votes. But if we’re as serious about being anti-slavery as we say we are and as we think we’re demonstrating when we geek out over Dany and Kelsea, then we should probably be thinking about the modern-day ramifications and equivalents of slavery. Because. Come on. You might argue that taking on modern racism by depicting slavery as being still legal could potentially be thought-provoking and norm-challenging, but even if it turns out to be just that, why would nobody instead do an alternate universe in which the Americas were never colonized. Or taking a look at what Africa would be like today without decades of European meddling. My guess is because there aren’t really opportunities to inject white saviour narratives into stories like that. But maybe that’s me being uncharitable. (It isn’t. .