Year: 2009 (UK Release 2010)
Director: Jaume Balagueró, Paco Plaza
Screenplay: Jaume Balagueró, Paco Plaza, Manu Díez
Starring: Jonathan Mellor, Óscar Zafra, Alejandro Casaseca, Ariel Casas
Synopsis is here
Other reviews have said it more eloquently so I'll also jump on the bandwagon in saying that Rec 2 is the Aliens to Rec Alien. Like James Cameron's arguably superior (to some) sequel. This film concentrates on bulking up the action and expending the universe. Not a terrible thing in a world where sequels usually try and mimic the original and add nothing new (See also certain remakes). The issue with this in Rec 2 however is, you suddenly realise that less is more. By the time the film springs it's big surprise, you won't be bitching to Toto about Kansas. In fact, screw Oz for that matter, as Rec 2 goes into a brave new world of bonkers. Some of it's inventive, a lot of it is visceral but nothing compares to how bloody barmy the whole thing is.
As I said before in my review for Survival of the dead. The zombie sub-genre doesn't need to look to Romero for interesting commentary anymore. Rec's combination of hand-held immediacy, quarantined setting and vague religious codec was a heady blend which ended on a perfect note. It also remembered that less is more, especially when it comes to found footage. Even Cloverfield knew it had to hide it's monster for as long as possible.
Rec 2 feels that it needs to fill the gaps by utilizing many, many references to various other horror flicks and some awkward (read: silly) plot moments. As it explains what the virus is and what these new characters have to do in order to survive/cure the virus. The thing is, Rec had our imagination do the hard work and the fun was in not knowing. Rec 2's quasi-exorcist shenanigans and cornball plot twists do their best to show how deep the rabbit hole goes, however, not only do they take away some of the mood (the last third becomes very jarring) but they also help expose the fact that the screenwriters had to create an uber twist to justify the films very existence. Added to this a much weaker cast (with no character development in sight) and once again you have a lesser horror sequel.
There are good points however. The films first third brings back some of the claustrophobic tension that made the first film so memorable. The films setting is still brilliantly handled at times and the use of lighting and sound really brings together that "bump in the night" feeling. There is also one or two well executed jump scares and action set pieces that help capture that familiar kinetic energy.
Rec 2's wish to expand the situation really plays havoc with what made the original what it was. One must remember that, while the first film isn't an in-depth character study, but it did have people we wanted to watch. This added to the tension that the setting and situation brought. The insistence of adding more to the films streamlined narrative really screws with the chi. With Rec 3 and 4 on the way there's a good chance that this franchise will be running on fumes very soon.
Monday, 18 October 2010
Wednesday, 13 October 2010
Review: Winter's Bone
Year: 2010
Director: Debra Granik
Screenplay: Debra Granik, Anne Rosellini
Starring: Jennifer Lawrence, John Hawkes, Kevin Breznahan
Synopsis is here
There's a small but telling moment in Debra Granik's Winter Bone, in which the films protagonist peeks into one of the classrooms she used study, and spies a group of children learning how to look after babies. The look on her face is a knowing one. While the kids hug their dolls and enjoy the make believe, Ree Dolly (a towering performance from Jennifer Lawrence) has already faced the reality. She's not at all envious. She just knows that what's going on in the classroom isn't her life anymore.
Like Andrea Arnold's wonderful Fish Tank, Winter's Bone is a film about strong young women. Both are willing to make tough choices, accept their mistakes, and fight against their harsh realities to realise their individuality. With Julia Roberts gaining some "less than inviting" reviews, it's once again refreshing to find a film in which has women finding themselves through their moral choices and inner strength rather than shoes and chisel jawed hunk accessories. So while other teens are debating over Team Edward and Jacob, girls like Ree Dolly are; to steal a term from The Road: carrying the fire.
Flames are unfortunately; the last thing you will find in this films harsh winter setting. Captured beautifully by Michael McDonough (the look alone makes you feel cold in the auditorium); the films grim backdrop, parallels the bitterness of the characters Ree encounters. Granik and Rosellini's screenplay highlight this with their sparse uncomplicated script. Watching the piercing glares from the so-called "family" that Ree tussles with, you realise that it's what is not said, that gives the film such an unsettling vibe. The ruined landscape only helps enhance the foreboding atmosphere and heightens the mystery surrounding her missing father.The plot of the film also has a scant feel to it, but this only makes the film even more provocative, as we watch the characters way of life, their false truths and the antagonists damaged sense of honor provide a huge amount of emotional weight.
In the center of this, is a mesmerizing display by Jennifer Lawrence who plays a girl whose clearly had to rise three people before the age of consent and will do anything to keep the family whole. Lawrence gives Ree a steely selflessness stoic heroism that cuts through the cold surroundings and is hard to ignore. Much has been said about Lawrence, but something also has to be said about the stunning display by John Hawkes whose makes sure that it's the expressions that make the impressions. There's an amazing scene involving Hawkes and a police sheriff that shows that the ice doesn't just rest on the ground.
There's true heroism within the film, displayed by a character needing to do right in order to survive. You see her fear and worry but her spirit and will to fight through the family secrets is remarkable to watch. Winter's Bone was a joy to watch from it's quiet opening moments, to it's subtly optimistic ending. Great Viewing.
Director: Debra Granik
Screenplay: Debra Granik, Anne Rosellini
Starring: Jennifer Lawrence, John Hawkes, Kevin Breznahan
Synopsis is here
There's a small but telling moment in Debra Granik's Winter Bone, in which the films protagonist peeks into one of the classrooms she used study, and spies a group of children learning how to look after babies. The look on her face is a knowing one. While the kids hug their dolls and enjoy the make believe, Ree Dolly (a towering performance from Jennifer Lawrence) has already faced the reality. She's not at all envious. She just knows that what's going on in the classroom isn't her life anymore.
Like Andrea Arnold's wonderful Fish Tank, Winter's Bone is a film about strong young women. Both are willing to make tough choices, accept their mistakes, and fight against their harsh realities to realise their individuality. With Julia Roberts gaining some "less than inviting" reviews, it's once again refreshing to find a film in which has women finding themselves through their moral choices and inner strength rather than shoes and chisel jawed hunk accessories. So while other teens are debating over Team Edward and Jacob, girls like Ree Dolly are; to steal a term from The Road: carrying the fire.
Flames are unfortunately; the last thing you will find in this films harsh winter setting. Captured beautifully by Michael McDonough (the look alone makes you feel cold in the auditorium); the films grim backdrop, parallels the bitterness of the characters Ree encounters. Granik and Rosellini's screenplay highlight this with their sparse uncomplicated script. Watching the piercing glares from the so-called "family" that Ree tussles with, you realise that it's what is not said, that gives the film such an unsettling vibe. The ruined landscape only helps enhance the foreboding atmosphere and heightens the mystery surrounding her missing father.The plot of the film also has a scant feel to it, but this only makes the film even more provocative, as we watch the characters way of life, their false truths and the antagonists damaged sense of honor provide a huge amount of emotional weight.
In the center of this, is a mesmerizing display by Jennifer Lawrence who plays a girl whose clearly had to rise three people before the age of consent and will do anything to keep the family whole. Lawrence gives Ree a steely selflessness stoic heroism that cuts through the cold surroundings and is hard to ignore. Much has been said about Lawrence, but something also has to be said about the stunning display by John Hawkes whose makes sure that it's the expressions that make the impressions. There's an amazing scene involving Hawkes and a police sheriff that shows that the ice doesn't just rest on the ground.
There's true heroism within the film, displayed by a character needing to do right in order to survive. You see her fear and worry but her spirit and will to fight through the family secrets is remarkable to watch. Winter's Bone was a joy to watch from it's quiet opening moments, to it's subtly optimistic ending. Great Viewing.
Monday, 11 October 2010
Review: Mr Nice
Year: 2010
Director: Bernard Rose
Screenplay: Bernard Rose
Starring: Rhys Ifans, Chole Sevigny, David Thewlis, Crispin Glover, Omid Djalili, Christian McKay
This should have been a given to me. A British film, written and directed by a director I admire, with a cast I like. The trailer looked fun, and it was about an interesting man in Howard Marks how could I lose?
Well you can lose if you expect something more than what Mr Nice is, which is quite a bog standard biopic with a lead character who is kept at quite a remarkable distance. There are intermittent moments of humor and the performances are watchable. However, for me, I found it strange to how boring the everything is.
The problem for me is Rose, a director whose films have always had a wonderful uniqueness and presence, tries nothing too abstract here. The film follows the typical rise and falls of the biopic at a lethargic pace with a character that is hard to root for. Not because he peddles drugs, that not a problem with a film like this, it's more the fact that it's hard to warm to the Marks character in anyway.
The film is all so matter of fact, with no real quirks in style other than an odd placement of these modern characters into old style movie. This unfortunately sticks out like a sore thumb and once again keeps us at an arms length, unlike recent biopics (Sex & Drugs & Rock & Roll, Bronson) which use their style to create effect to create a visual mindscape that helps gain a better grip of the character. Here, it's the slow lulling tones of Rhys Ifans' narration that try and warm the audience. Unfortunately, it's far too assuming to really enjoy.
Like I said, there are good performances within the film. David Thewlis, Crispin Glover, Omid Djalili, Christian McKay make the most out of their flat caricatures and while Chole Sevigny struggles with the London accent she still remains an engaging presence. Rhys Ifans was clearly born for a role like this and fits into it snugly.
The problem is that there's really nothing that make you need to watch this film. It's competently made (it IS Rose) but when the film wants to talk about things such as drug legalization or the curious fact that a man from a tiny mining town in Wales becomes FBI's most wanted criminal, there are other films that have more interesting things to say.
Director: Bernard Rose
Screenplay: Bernard Rose
Starring: Rhys Ifans, Chole Sevigny, David Thewlis, Crispin Glover, Omid Djalili, Christian McKay
This should have been a given to me. A British film, written and directed by a director I admire, with a cast I like. The trailer looked fun, and it was about an interesting man in Howard Marks how could I lose?
Well you can lose if you expect something more than what Mr Nice is, which is quite a bog standard biopic with a lead character who is kept at quite a remarkable distance. There are intermittent moments of humor and the performances are watchable. However, for me, I found it strange to how boring the everything is.
The problem for me is Rose, a director whose films have always had a wonderful uniqueness and presence, tries nothing too abstract here. The film follows the typical rise and falls of the biopic at a lethargic pace with a character that is hard to root for. Not because he peddles drugs, that not a problem with a film like this, it's more the fact that it's hard to warm to the Marks character in anyway.
The film is all so matter of fact, with no real quirks in style other than an odd placement of these modern characters into old style movie. This unfortunately sticks out like a sore thumb and once again keeps us at an arms length, unlike recent biopics (Sex & Drugs & Rock & Roll, Bronson) which use their style to create effect to create a visual mindscape that helps gain a better grip of the character. Here, it's the slow lulling tones of Rhys Ifans' narration that try and warm the audience. Unfortunately, it's far too assuming to really enjoy.
Like I said, there are good performances within the film. David Thewlis, Crispin Glover, Omid Djalili, Christian McKay make the most out of their flat caricatures and while Chole Sevigny struggles with the London accent she still remains an engaging presence. Rhys Ifans was clearly born for a role like this and fits into it snugly.
The problem is that there's really nothing that make you need to watch this film. It's competently made (it IS Rose) but when the film wants to talk about things such as drug legalization or the curious fact that a man from a tiny mining town in Wales becomes FBI's most wanted criminal, there are other films that have more interesting things to say.
Review: The Social Network
Year: 2010
Director: David Fincher
Screenplay: Arron Sorkin
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Rooney Mara, Rashida Jones
Facebook has become a massive influence on many peoples ability to connect with others. How many of people's conversations these days start with a line such as "I was on facebook the other day" or "I posted this on my wall" or one of many other dialogs that are thrown out daily? It sneaked up on us, but now, many use facebook as THE social tool. Lost your phone? Find a laptop and facebook your contacts. Got something to share with your friends quickly? You will almost definitely facebook it. Many of my friends who read me will read my reviews on facebook because I've set up a feed. It's a very interesting and conflicting way to maintain a certain amount of social status in our daily lives.
What makes this so interesting to me is that David Fincher's new film; The Social Network, is a film heavily involves about the break up of real human connections. In fact the most intriguing thing about the film is that the bigger the facebook juggernaut pushes forward, the tougher the strain on the relationships within the movies become. The film starts with a a break up between Mark Zuckerberg (a never better Essinberg) and his girlfriend Erica Albright (a neatly cast Rooney Mira). Zuckerberg's condescending manner, smarts and delusional assumptions of what attracts women causes the destruction of the relationship and set the ball rolling. Albright; the voice of reason, is then set up as Zuckerberg's Rosebud; a symbol of hope and counter balance. Like Kane's sled, once that symbol is lost so is he as he starts off with facemash and then "steals" the idea behind Harvard Connection to create thefacebook.
This is Fincher territory that I remember from films like Fight Club and The Game, as Fincher's direction and Sorkin's script tell a story of relationships fractured by territorial masculinity which spins into overdrive due to assumed views on image and status. While the aforementioned movies talk about the rejection of materialistic and jumped up gender values, The Social Network has fun with having these characters embrace such notions. After receiving oral sex from a couple of girls who find out that Zuckerberg and Eduardo Saverin (an emotional but slightly ott Andrew Garfield) are the creators of thefacebook, the two giggle at the fact that "they have groupies". Another amusing moment show one of the brothers Winklevoss constantly rejecting the idea of suing Zuckerberg for stealing the idea of facebook as it's "not what Harvard men do". It's the ridiculous sense of pride that the characters hold about such aspects that separates and divides them. It's also what makes the film so entertaining to watch.
It also helps that Sorkin's rat-a-rat dialogue is so droll and well paced. Like a game of ping pong these characters riff at such a rhythm it could leave one breathless. Many times I missed a one liner because I was still laughing at another. The dialogue is zippy but you never feel lost with the material, the screenplay (with it's Rashomon style structure) rushes through tech talk and law speak but like it's lead character, you always feel aware. Never lost or talked down to, always with the moment.
The idea of "the moment" is clearly important to Fincher as once again like Fight Club, he's managed to tap into the zeitgeist of our society; the fast flow of information we absorb, the deconstruction of how we view people and ourselves is fantastically pinpointed throughout the film with it's tight pace and emotionally broken characters. These days facebook can be used to create another you, a more substantial you something you would struggle with in reality but something these people wish to do constantly with each other. Some have argued that the portrayal of women in the film is negative, however, we are looking through the eyes of people so immensely fractured, proud and blinded by belief of machismo that of course their view is skewered. The films last shots are telling that throughout all of this the underlying aspect is "how will I look to her". Despite the surface shots of drunken co-eds and girls who go to Standfords backsides, we are always reminded that these weak men will constantly need validation.
There's some great performances from young actors in this movie. From Eisenberg's darting eyes and oddball tics, to a brilliantly weaselly display from Justin Timberlake whose rock and roll, cocksure attitude hides a paranoid and scared hanger on. There's also an extremely comical double performance from Armie Hammer, which not only shows the amusing timing of the film, but shows off a fancy digital display (Hammer's face is digitally grafted onto Josh Pence but many won't notice until told).
The Social Network is a fascinating watch, with bold performances, sniper accurate direction and a wonderful screenplay. It doesn't matter how much of it is true as it's damn fine fiction. Who would think the "facebook" movie would be so enjoyable.
Director: David Fincher
Screenplay: Arron Sorkin
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Rooney Mara, Rashida Jones
Facebook has become a massive influence on many peoples ability to connect with others. How many of people's conversations these days start with a line such as "I was on facebook the other day" or "I posted this on my wall" or one of many other dialogs that are thrown out daily? It sneaked up on us, but now, many use facebook as THE social tool. Lost your phone? Find a laptop and facebook your contacts. Got something to share with your friends quickly? You will almost definitely facebook it. Many of my friends who read me will read my reviews on facebook because I've set up a feed. It's a very interesting and conflicting way to maintain a certain amount of social status in our daily lives.
What makes this so interesting to me is that David Fincher's new film; The Social Network, is a film heavily involves about the break up of real human connections. In fact the most intriguing thing about the film is that the bigger the facebook juggernaut pushes forward, the tougher the strain on the relationships within the movies become. The film starts with a a break up between Mark Zuckerberg (a never better Essinberg) and his girlfriend Erica Albright (a neatly cast Rooney Mira). Zuckerberg's condescending manner, smarts and delusional assumptions of what attracts women causes the destruction of the relationship and set the ball rolling. Albright; the voice of reason, is then set up as Zuckerberg's Rosebud; a symbol of hope and counter balance. Like Kane's sled, once that symbol is lost so is he as he starts off with facemash and then "steals" the idea behind Harvard Connection to create thefacebook.
This is Fincher territory that I remember from films like Fight Club and The Game, as Fincher's direction and Sorkin's script tell a story of relationships fractured by territorial masculinity which spins into overdrive due to assumed views on image and status. While the aforementioned movies talk about the rejection of materialistic and jumped up gender values, The Social Network has fun with having these characters embrace such notions. After receiving oral sex from a couple of girls who find out that Zuckerberg and Eduardo Saverin (an emotional but slightly ott Andrew Garfield) are the creators of thefacebook, the two giggle at the fact that "they have groupies". Another amusing moment show one of the brothers Winklevoss constantly rejecting the idea of suing Zuckerberg for stealing the idea of facebook as it's "not what Harvard men do". It's the ridiculous sense of pride that the characters hold about such aspects that separates and divides them. It's also what makes the film so entertaining to watch.
It also helps that Sorkin's rat-a-rat dialogue is so droll and well paced. Like a game of ping pong these characters riff at such a rhythm it could leave one breathless. Many times I missed a one liner because I was still laughing at another. The dialogue is zippy but you never feel lost with the material, the screenplay (with it's Rashomon style structure) rushes through tech talk and law speak but like it's lead character, you always feel aware. Never lost or talked down to, always with the moment.
The idea of "the moment" is clearly important to Fincher as once again like Fight Club, he's managed to tap into the zeitgeist of our society; the fast flow of information we absorb, the deconstruction of how we view people and ourselves is fantastically pinpointed throughout the film with it's tight pace and emotionally broken characters. These days facebook can be used to create another you, a more substantial you something you would struggle with in reality but something these people wish to do constantly with each other. Some have argued that the portrayal of women in the film is negative, however, we are looking through the eyes of people so immensely fractured, proud and blinded by belief of machismo that of course their view is skewered. The films last shots are telling that throughout all of this the underlying aspect is "how will I look to her". Despite the surface shots of drunken co-eds and girls who go to Standfords backsides, we are always reminded that these weak men will constantly need validation.
There's some great performances from young actors in this movie. From Eisenberg's darting eyes and oddball tics, to a brilliantly weaselly display from Justin Timberlake whose rock and roll, cocksure attitude hides a paranoid and scared hanger on. There's also an extremely comical double performance from Armie Hammer, which not only shows the amusing timing of the film, but shows off a fancy digital display (Hammer's face is digitally grafted onto Josh Pence but many won't notice until told).
The Social Network is a fascinating watch, with bold performances, sniper accurate direction and a wonderful screenplay. It doesn't matter how much of it is true as it's damn fine fiction. Who would think the "facebook" movie would be so enjoyable.
Sunday, 10 October 2010
Review: Wall Street: Money Never Sleeps
Year: 2010
Director: Oliver Stone
Screenplay: Stephen Schiff, Allan Loeb
Starring: Micheal Douglas, Shia LaBeouf, Carey Mulligan, Frank Langella, Josh Brolin
Synopsis is here
While Oliver Stone's original Wall Street is not his best film, there's something about it that still feels relevant despite it's look being so cemented in the eighties. Despite it's odd narrative beats, the films acidity had an all too true to life aspect about it, and it's a vitriolic insight to excess literally oozes of the screen. After being in sales interviews, meetings and the like, it doesn't shock me that many people in those circles still walk and talk like the snake-like Gorden Gekko.
It's surprising, that not only someone felt that we needed a Wall Street sequel, but that everyone involved with this film had made something so toothless. Stone, a director known for his strong mindedness has once again shown a lack of ferocity that has reared it's head once again in his more recent endeavors. One of the the things that make/made Stone films such a fascinating watch, is even if you didn't agree with the message, you could at least admire the balls.
Stone's movie like it's characters, wants too much too soon. It wants to talk about Jake Moore (LeBeouf) and Winnie Gekko (Mulligan) and their story, it wants to mention that Jake's mother (Sarandon) is also bitten by excess, it wants to show that Gorden Gekko, has changed his spots...or not, it wants to have Jake have THREE mentors in the film, including (along with Gekko), boo-hiss bad guy Bretton James (an Oliy Josh Brolin) and poor soul, old dog Louis Zebel (underused but still memorable Frank Langella). It wants to talk about the the recent crash but it all wants to hint at the idea of alternative energies. It also wants to have wry references to the original film, including a cameo that is very misguided.
It wants to do all this with a dazzlingly array of mindless visual tics and stock talk. But it forgets that it's Stone works best when he is single minded and angry. Platoon and Wall Street, with their simple good and evil battles seem born out of frustration, constructed by concern. Here Stone not only wishes to try and place everything under the microscope but with rose tinted specs.
Flashes of interest crop up. For one it's great to see Micheal Douglas play the Gekko role with relish once more, despite being ridiculously diluted, Shia LaBeouf is more charming as a broker than Charlie Sheen and despite being on the verge of tears throughout, Mulligan is works far better as a love interest in this than Dayrll Hannah's vapid designer in the first film. Moments of the film (the dinner meeting between the Gekkos, Gordan's speech) have a certain sharpness to it that is hard to ignore. But as with W, Stone doesn't seem as annoyed with things as he once was. This could explain the melodramatic feel to the whole proceedings, which climaxes with a sickeningly sweet ending that ties everything up way too easily. What made the end codec of the first film so appealing that comeuppance came but it a moment of true closure. There was a sense of justice occurs in both the situation and the character. Wall Streets: MNS doesn't have the true feeling. Much like the rest of the film, you getting feeling that someone or something is coming off light. So much more could have been said.
.
Director: Oliver Stone
Screenplay: Stephen Schiff, Allan Loeb
Starring: Micheal Douglas, Shia LaBeouf, Carey Mulligan, Frank Langella, Josh Brolin
Synopsis is here
While Oliver Stone's original Wall Street is not his best film, there's something about it that still feels relevant despite it's look being so cemented in the eighties. Despite it's odd narrative beats, the films acidity had an all too true to life aspect about it, and it's a vitriolic insight to excess literally oozes of the screen. After being in sales interviews, meetings and the like, it doesn't shock me that many people in those circles still walk and talk like the snake-like Gorden Gekko.
It's surprising, that not only someone felt that we needed a Wall Street sequel, but that everyone involved with this film had made something so toothless. Stone, a director known for his strong mindedness has once again shown a lack of ferocity that has reared it's head once again in his more recent endeavors. One of the the things that make/made Stone films such a fascinating watch, is even if you didn't agree with the message, you could at least admire the balls.
Stone's movie like it's characters, wants too much too soon. It wants to talk about Jake Moore (LeBeouf) and Winnie Gekko (Mulligan) and their story, it wants to mention that Jake's mother (Sarandon) is also bitten by excess, it wants to show that Gorden Gekko, has changed his spots...or not, it wants to have Jake have THREE mentors in the film, including (along with Gekko), boo-hiss bad guy Bretton James (an Oliy Josh Brolin) and poor soul, old dog Louis Zebel (underused but still memorable Frank Langella). It wants to talk about the the recent crash but it all wants to hint at the idea of alternative energies. It also wants to have wry references to the original film, including a cameo that is very misguided.
It wants to do all this with a dazzlingly array of mindless visual tics and stock talk. But it forgets that it's Stone works best when he is single minded and angry. Platoon and Wall Street, with their simple good and evil battles seem born out of frustration, constructed by concern. Here Stone not only wishes to try and place everything under the microscope but with rose tinted specs.
Flashes of interest crop up. For one it's great to see Micheal Douglas play the Gekko role with relish once more, despite being ridiculously diluted, Shia LaBeouf is more charming as a broker than Charlie Sheen and despite being on the verge of tears throughout, Mulligan is works far better as a love interest in this than Dayrll Hannah's vapid designer in the first film. Moments of the film (the dinner meeting between the Gekkos, Gordan's speech) have a certain sharpness to it that is hard to ignore. But as with W, Stone doesn't seem as annoyed with things as he once was. This could explain the melodramatic feel to the whole proceedings, which climaxes with a sickeningly sweet ending that ties everything up way too easily. What made the end codec of the first film so appealing that comeuppance came but it a moment of true closure. There was a sense of justice occurs in both the situation and the character. Wall Streets: MNS doesn't have the true feeling. Much like the rest of the film, you getting feeling that someone or something is coming off light. So much more could have been said.
.
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