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White dialogues are his wiretapping, as surely as he is Hitchcock’s J. Edgar Hoover. There is no ignoring Bereyter’s malevolence. It even puts me in mind of the patron saint of white dialogues, that villainous lip reader who? ? f not the first scholar of white dialogues in film history? ? s certainly the most infamous: namely, HAL 9000, the sinister sentient computer in Stanley Kubrick’s 2001, whose cyclopean surveillance cameras? ? hose exophthalmic crimson lenses, mounted on walls throughout the spaceship? ? re able to read the astronauts’ lips. Like HAL 9000, Bereyter always seems to be taunting Hitchcock (this taunt is the subtext of every white dialogue ): Alfred, although you took very thorough precautions in the florist’s against my hearing her, I could see her lips move. I look again at the white pull-down canvas behind Bereyter. The scene at Ernie’s is still flickering against it, and the woman at the bar is still mouthing her indecipherable message. Whether Bereyter has already read her white dialogue aloud, when I wasn’t paying attention, or whether he is still showboating by exhorting us to listen to her, I cannot discern. He appears to have moved ahead in his lecture, or perhaps he is on a tangent; at any rate he is now discussing the use of white noise in The Birds, in particular the cutting-edge sound design in that film, specifically how an electronically produced subliminal hum is amplified on the audio track during certain bird sequences, to create a suffocating silence as their signature. Ignoring him, I continue to watch the woman at the bar. Every four seconds or so the scene jumps back to the beginning, caught in its loop. In this way she is forced to keep restarting her dialogue, forever unable to finish, like some Sisyphus of speech.

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A. Wynschenk. Introduction and Notes by Evelyn Underhill. London: J. M. Dent, 1916. pp 89, 94 and 110 Further reading Modern editions. The Spiritual Espousals. Trans. by H. Rolfson, intro. by P. Mommaers, edited by J. Alaerts. Collegeville, Minnesota: Liturgical Press, 1995. John Ruusbroec. The Spiritual Espousals and other works. Translation by Eric Colledge. (London: Faber and Faber, 1952) (Reprint 1983 by Christian Classics. The Seven Steps of the Ladder of Spiritual Love.

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Consider yourself lucky if this snarky review is the closest you get to this insufferable overblown piece of cinematic piffle. If imitation really is the sincerest form of flattery, then Michael Bay should feel extremely flattered. An exercise in lazy filmmaking, every trick in the action book is overworked. A pulsating men-of-mayhem score, cliched inane narratives, alien invasions, a reckless antihero, jarring jumps from seriousness to comedy, cringe worthy all-American overtones, the silliness that drips from every scene will see this at the podium to receive the 2012 razzie award for worst picture. At the age of 26, perpetual screw-up Alex (Taylor Kitsch) is the bane of his overly responsible naval officer brother Stone (Alexander Skarsgard). After yet another juvenile display, where Alex attempts to impress the gorgeous hungry girl Sam (Brooklyn Decker) at a bar by breaking into a nearby convenience store to stealing her sustenance of choice a chicken burrito but ends up being tasered twice by police; Stone puts his foot down dragging his petulant brother into the adult world by enlisting him into the US navy. A rapid ascent to a high-ranking position is little comfort however when Alex is faced with the daunting prospect of approaching Sam's father, Admiral Shane (Liam Neeson) for her hand in marriage. After arriving late, and engaging a personal fistycuffs vendetta with rival Japanese captain Nagata (Tadanobu Asano) at the opening event of the year at the Naval war games, his career and likelihood of gaining acceptance is slim to nil. The war games; an annual friendly international exercise, are interrupted when an unidentifiable and untraceable by radar object appears in the water. Under threat and unable to contact its home planet, the object attacks anything it believes to be a threat, focusing on the navy and a small Hawaiian island outpost where NASA sent a message months earlier that brought about their visit. After the aliens annihilate Stones ship and anything else ecapsualted under its protective electromagnetic field, Alex steps up and finds the courage to become the man his brother always believed he could be. Devisiting a plan to use the surviving crew too call back to duty the 70 year old decommissioned USS Missouri (now a museum) and make it become a fully functioning battleship again. As storylines give way to visual gratification, there are few redeeming or noteworthy moments to this film. Real life double amputee Lt. Col. Gregory D. Gadson manages to add a powerful and touching story-thread as the depressed ex-soldier who realizes that legs don't make a man tall. Unable to man the outdated battleship, the young soldiers receive aid from a proud group of grinning geriatric sailors who somewhat resemble a certain spinach eating comic, whilst captain Nagata reveals to the USS John Paul Jones how to utilize a grid system in which to track the alien movement. Each of these scenes hint at a movie that could have been something special, but simply wasn't. The Verdict: If only the Mighty Mo knew how they were abusing her good navel name she would turn her nine rusted 16 inch Mark 7 guns on Hollywood and show them just how much damage a good old lady can do.