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Greengrass proudly picks pieces from the Bourne Book of Cliches and jams them together to create a movie that resembles the previous films in the series a little too much. He takes cues from the movie he created but he fails to take the risks necessary to make a sequel worth watching. You’re left with a movie that feels like a Bourne movie, but doesn’t have enough ideas to feel like a necessary sequel with the purpose of advancing the story. Greengrass’s insistence on using a shaky cam technique has always been controversial, but he has proven that he can keep up with the action despite the fact that him and the rest of the crew love flinging the cameras around like maniacs. It is with deep regret that readers should be informed that the shaky cam has gotten out of hand this time around. The Bourne movies are well known for brilliant stunt coordination and breathtaking action, and Jason Bourne still features those things. It’s just a lot harder to see these complex stunts being performed when the camera looks like it’s attached to the moving blade of a fan. It just has several elements that prevent it from sitting atop the “spy movie throne” like its older siblings. However, the Bourne flicks have become practically iconic over the past decade and a half, and the newest entry doesn’t do the series justice. The announcement of an adaptation of Paula Hawkins’s novel was met with eager anticipation. The novel sold exceptionally well and earned mostly positive reviews among literary critics.

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Hang in there. Alright? My friends be: “You look different. I’ll be: “Uh huh. “Oh man! Are you ticklish. There you go. Oh, yeah. That feels so good. Now I know why I call you best friend forever. I think it’s pretty obvious that I don’t pander in my act.

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Well, we’ve also seen that “shadowsword” term applied to the sword of the shadowbaby that killed Renly, which is implied as a representation of Lightbringer when it is described as “the shadow of a sword that wasn’t there,” meaning’s Stannis’s Lightbringer. Even better if they have actual burning hearts, like fire wights, heh. Ned’s sword is called smoke-dark, and of course the smoke of the Long Night is what shadowed the land. So, the greatest knight in Dorne, and a King Dayne. Obviously if he did wield Dawn, he would not have brought it with him to the Wall, but the original event Vorian may be echoing probably would have involved Dawn or some other magic sword going north. House Manwoody is a metaphor for a dead greenseer going into a weirwood: they hail from Kingsgrave, emblazon their arms with a crowned skull on a black field, and call themselves “man-wood. Were means “man,” as in “were-wolf,” so a weirwood can be thought of as a man-tree, and obviously they are man-trees. They are the graves of greenseers, who are the kings in the grave. Lucifer Dryland and the Sword of the Evening Dayne and a dead greenseer, plus a house known for sinister skinchanging practices. They’ll make excellent green zombie Night’s Watch brothers, or perhaps we can see all six of these people as having redundant Night’s King symbolism. You don’t send guys like Lucifer somebody and somebody somebody Sword of the Evening to the Wall without grabbing our attention, that’s for sure.

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You’ll notice all of these half-dead half-dozen have frozen fire type names; that’s not by accident of course, as we are looking for a dozen valiant souls to give up their (pretend internet) lives for the greater good, rising harder and stronger as zombie brothers and sisters of the Long Night’s Watch. Jon Snow is going to need some backup, am I right. I don’t mean to make light of it, as it is a very serious matter and an emotional scene for Sansa, as is everything that happens to her in King’s Landing while she’s been abused by the Lannisters on a daily basis. But there is something almost three stooges-like about how rapidly the scene goes from bad to worse to much worse, as Sansa starts out waking from a nightmare to realize she’s experiencing her first menstruation to cutting out the bloodstain in her sheets to simply shoving the entire mattress in the fire in desperation. It’s funny in one sense, but at the same time, the desperation and obvious foolishness of trying to burn an entire mattress in a hearthfire underscores the extreme sense of terror and panic Sansa feels at the thought of bearing Joffrey’s children against her will. That’s really the point I want to make here: she’s clearly a Nissa Nissa fire moon figure, filling the air with smoke and burning her moon blood and thinking about unpleasant couplings with the solar king Joffrey. If you want the full breakdown on that one, that can be found in the appropriately named Waves of Night and Moon Blood episode. It’s especially clever because it’s not even in a Sansa chapter; it’s a great example of a sly writing technique Martin uses to add more symbolism to a given scene: have other people talk about it elsewhere. The following is the scene with Arya and Sandor at the Inn at the Crossroads, right before they get into a fight with Poliver and Raff the Sweetling and the Tickler. The mummers have just given Sandor the news that Joffrey was murdered at the Purple Wedding. We heard she killed the king with a spell, and afterward changed into a wolf with big leather wings like a bat, and flew out a tower window.

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The feature is a Halloween Family Comedy titled VAMP IT OUT and will be in the vain of THE NANNY meets ELVIRA meets HOUSE BUNNY. I am following my heart and soul with this piece and my goal is to inspire teenage girls and women to embrace their inner beauty, follow their dreams and when faced with fear, dig deep inside, find their inner vamp and VAMP IT OUT. I started in theatre and toured and did Off-Broadway shows for years in New York and after performing in TONY N’ TINA’S WEDDING Off-Broadway for almost 3 years, 7 shows a week, I burned out a bit. I choose projects that feel right to my soul and, at this time, it doesn’t feel right. When it does again, one day, and my soul is screaming for the stage, I will be there with a big smile. He contacted me directly, after Wil Keiper recommended me, as both an actress and producer. Everyone pulled together to create something wonderful and artistic with a very low budget. For all the original SLIME CITY fans, Greg really stepped it up with the sequel. I play Nicole, a prostitute in the 1959 flashback scenes. I really enjoyed preparing for this character and I hope horror fans enjoy my work in this one. This was a project I chose solely based on the script, my role and Greg’s passion to make the film and it turned out to be quite a gift.

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What about, “We watch, we listen, and we remember”. Obviously I’m not part of that “we” because this royal we doesn’t remember so well. And what about Bran’s line: “They have no idea what’s going to happen”. It’s fine to have opinions and all that but this is getting seriously out of hand. That requires a high level of orchestration which indicates withholding the info from Jon in a dark-cunning way, leading to unnecessary deaths. I love Sansa but I just don’t see a way (based on the writing) where she comes out looking good. That’s the biggest reason, by far, I love reading on a Kindle. I just double-click the word I don’t know, and it freaking gives me the definition. That’s mighty handy when I read Margaret Atwood, but I use it a good deal on practically every book I read. I had to leave for work and should not reply so quickly. I didn’t mean your previous posts specifically, more some of others.

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