Directed by Susan Lacy, Spielberg is a documentary film about the life and career of one of the key figures in cinema in Steven Spielberg. The film chronicles many of the films Spielberg made including some of his rarely-seen student and home movies he made when he was a kid as well as the themes of the films he made told by the man himself as well as many of his collaborators as well as film critics, filmmakers, and members of his family. The result is a fascinating and lively film from Susan Lacy.
The name Steven Spielberg is often synonymous with populist cinema as some claimed that he started the Blockbuster era with 1975’s Jaws and would continue to give the film industry a jolt in the arm financially through films such as Close Encounters of the Third Kind, the Indiana Jones film series, E.T.: The Extraterrestrial, and Jurassic Park. While he had been criticized from moving American cinema away from personal and more serious subject matter that had dominated in the 1970s. There are those that disagreed with that sentiment including Spielberg himself as he states that many of his films are personal. The difference is that they’re big personal films as his parents Arnold Spielberg and Leah Adler as well as sisters Anne, Nancy, and Sue will agree to that as there’s scenes from his films that is based on his own life and the life of his family.
Among the themes Spielberg often explored is family as it relates to the dysfunctional family life he had when he was young when his parents split up as well as his own growing pains as a child and teenager. Part of his reasons in making Schindler’s List had to do with his own issues about his Jewish faith as he felt ashamed of being a Jew when he was young and had ignored until he married actress Kate Capshaw in 1991 who got him to come to terms with his Jewish faith. Capshaw would be at his side when he made the film as he also chose not to profit from any financial success of the film in order to create a foundation that allowed Holocaust survivors to give their testimonies. It’s among the one of many stories Spielberg would tell as well as why he would make films outside of his comfort zone like The Color Purple, Empire of the Sun, and A.I.: Artificial Intelligence as a way to challenge himself but also know his limits as a storyteller.
The film also explore some of the business ventures he did such as founding Dreamworks with Jeffrey Katzenberg and David Geffen as well as producing other films for other filmmakers while remaining friends with filmmakers such as Martin Scorsese, Francis Ford Coppola, George Lucas, and Brian de Palma who are also interviewed in the film. Even film critics/historians such as A.O. Scott, Annette Insdorf, David Edelstein, J. Hoberman, and Janet Maslin talk about why his films endure and still matter as well as revealing why Spielberg has had a polarizing relationship with critics despite being championed early in his career by the famed critic Pauline Kael. Collaborators such as cinematographer Vilmos Zsigmond and screenwriter Melissa Mathison are both interviewed in the film before their respective deaths in 2016 and 2015 as well as Spielberg’s mother who died in February 2017 as the film is dedicated to her as they all talk about Spielberg’s gift in telling stories as well as stories about children. While films such as Always, Hook, The Terminal, and The Adventures of Tintin aren’t mentioned with the other films that are discussed in the documentary at the time Spielberg was in production for his 2015 film Bridge of Spies. Susan Lacy does provide a great insight into his body of work with the aid of editor Deborah Peretz in compiling footage from those films as well as some rare making-of footage.
Cinematographers Ed Marritz and Samuel Painter would film many of the interviews what were filmed which would feature many of the actors who worked with Spielberg along with collaborators who are often part of Spielberg’s filmmaking family. Sound editor Steve Borne would compile some of the audio from other interviews including clips from other films as much of the music that is played on the film is from many of Spielberg’s films which is mainly the music composed by John Williams.
Spielberg is a marvelous film from Susan Lacy. Not only is the film essential for fans of the filmmaker but also an engaging documentary that explore many of the filmmaker’s methods in making films as well as the kind of stories he want to tell. Even as it offers some rare footage of his personal life without revealing too much and give the man the chance to speak for himself as he’s still a vital force in the film industry. In the end, Spielberg is a remarkable film from Susan Lacy.
Steven Spielberg Films: (Duel (1971 TV film)) – (The Sugarland Express) – (Jaws) – (Close Encounters of the Third Kind) – (1941) – (Raiders of the Lost Ark) – (E.T.: The Extraterrestrial) – (Twilight Zone: the Movie-Kick the Can) - (Indiana Jones & the Temple of Doom) – (The Color Purple) – (Empire of the Sun) – (Always) – (Indiana Jones & the Last Crusade) – (Hook) – (Jurassic Park) – Schindler's List - (The Lost World: Jurassic Park) – (Amistad) – Saving Private Ryan - (A.I. Artificial Intelligence) – (Minority Report) – Catch Me If You Can - (The Terminal) – (War of the Worlds (2005 film)) – (Munich) – (Indiana Jones & the Kingdom of the Crystal Skull) – (The Adventures of Tintin: The Secret of the Unicorn) – (War Horse) – (Lincoln) – (Bridge of Spies) – (BFG) – (The Post (2017 film)) – (Ready Player One)
© thevoid99 2017
Directed by Michael Showalter and written by Showalter and Laura Terruso that is based on two short films by Terruso, Hello, My Name is Doris is the story of a woman in her 60s who falls for a much-younger co-worker as she tries to woo him as well as become independent from her family and older friends. The film is an exploration of a woman trying to put some spark in her life as she goes after a man who is young enough to be her grandson. Starring Sally Field, Max Greenfield, Tyne Daly, Beth Behrs, Natasha Lyonne, Stephen Root, Elizabeth Reaser, and Wendi McLendon-Covey. Hello, My Name is Doris is a delightful and charming film from Michael Showalter.
The film follows a shy and eccentric woman whose mother had just died as she falls for a new and much-younger co-worker in his 20s as she tries to figure out how to get his attention. It’s a film that explores a woman who is given a new jolt in life through this young man as she tries to understand what he likes and what he does while she is coping with the loss of her mother as well as being known as a hoarder of things she finds and brings to her home. The film’s screenplay by Michael Showalter and Laura Terruso shows the world that Doris (Sally Field) is in as someone who has collected so many things at her home as she wears quirky yet colorful clothes, sports a weave, and sometimes wears two glasses to read things. Yet, Doris lives alone despite the offer from her younger brother Todd (Stephen Root) to live at his home with his wife Cynthia (Wendi McLendon-Covey) and their two kids as well as sell the house.
Doris refuses as she spends much of her time with longtime friend Roz (Tyne Daly) who has spent much of her time raising her 13-year old granddaughter Vivian (Isabelle Acres) since her daughter is in prison awaiting a parole hearing. When Doris meets this young man in John Fremont (Max Greenfield), she falls head over heels for him as she turns to Vivian for help on things about him as well as creating a fake Facebook account and getting advice from a self-help guru. Learning about what music he likes and other interests, she does whatever he can to get to know him and be with him as there are these moments of fantasy into what Doris would see life with John is like yet she would have to contend with reality. Not only for the fact that she’s in her 60s and John is in his 20s but also other realities that include reasons into why she’s a hoarder and how this pursuit of John has alienated friends and family.
Michael Showalter’s direction is very straightforward as it opens with the funeral of Doris and Todd’s mother as it play into how odd Doris is in the way she looks as well as how she’s coping with the loss. Shot largely in Los Angeles though many of the exteriors are shot in New York City where the film is set, Showalter mainly goes for intimate compositions with the usage of medium shots and close-ups while exploring the world of modern-day New York City youth culture such as indie music, EDM, and other places that hipsters are known to frequent at. There are moments in the film where Showalter would create these moments of fantasy as it relates to Doris’ reaction towards John as it is playful. There are also moments in the film that showcase the humor very naturally such as the scene where Doris is eating dinner at Todd’s home where she’s wearing odd clothes because she’s about to attend a EDM concert with John later in the night. It’s among these weird moments that has Doris be part of a world she has no clue of what it’s about yet they would include her as they think she’s really cool. The film’s tone does change in the third act as it relates to not just the reality that Doris is facing about herself but also John and his own life as it’s filled with things that she doesn’t really know about him or what he wants in his life. Overall, Showalter crafts a charming and heartfelt film about a woman in her 60s who falls for a man in his 20s.
Cinematographer Brian Burgoyne does excellent work with the film’s cinematography as much of it is straightforward with the exception of the neon lights for the scenes at the EDM concert. Editor Robert Nassau does nice work with the editing as it is straightforward for much of the film with the exception of a few scenes such as Doris’ fantasies and a montage sequence of her dressing for a party. Production designer Melanie Jones, with art directors Catherine Devaney and Eve McCarney plus set decorator Karuna Karmarkar, does fantastic work with the look of the office floor that Doris and John work at as well as her home that is filled with all of these antiques and stuff she’s found over the years.
Costume designer Rebecca Gregg does brilliant work with the costumes from the colorful and offbeat clothes that Doris wears throughout the film as it adds so much to her character with everyone else being straightforward. Sound editor Tom Paul does terrific work with the sound as it is straightforward with the exception of the concert scene. The film’s music by Brian H. Kim is wonderful for its low-key score of soft orchestral and jazz-like pieces while music supervisor Andrew Gowan creates a fun soundtrack that features a mixture of EDM music and pop music to play into the different world and musical tastes of John and Doris.
The casting by Sunday Boling and Meg Morman is great as it feature some notable small roles and appearances from Jack Antonoff of Fun as the singer of the EDM band that John and Doris sees, Rebecca Wisocky as Doris’ boss, Kyle Mooney as band photographer, Rich Sommer as a young co-worker of Doris in Robert, Kumail Nanjiani as another young co-worker of Doris in Nasir, Natasha Lyonne as a co-worker of Doris in Sally, Don Stark as John’s uncle Frank who tries to flirt with Doris at a party, Isabelle Acres as Roz’s granddaughter Vivian who helps Doris know more about John, Caroline Aaron as a friend of Doris and Roz in Val, and Peter Gallagher in a terrific small role as the self-help guru Willy Williams. Beth Behrs is superb as a young woman named Brooklyn who is often seen with Jack during the film’s second-half while Elizabeth Reaser is fantastic as Doris’ psychiatrist Dr. Edwards as a woman that is trying to understand Doris as well as see the things in Doris’ home. Wendi McLendon-Covey is wonderful as Todd’s wife Cynthia who is always critical of what Doris has in her home as she would unknowingly push Doris’ buttons while Stephen Root is excellent as Doris’ brother Todd who is just trying to help her as well as express his own issues with her as it relates to their mother.
Tyne Daly is amazing as Roz as Doris’ longtime friend who is still dealing with the loss of her husband many years ago as she becomes baffled by Doris’ strange behavior as well as having to accept the fact that she is getting old. Max Greenfield is brilliant as John Fremont as a young man in his 20s who becomes a new superior for Doris as he is curious yet welcoming towards Doris’ presence as he admits to the difficulties he’s having in his life at work and in his personal life. Finally, there’s Sally Field in a spectacular performance as Doris as this woman in her 60s who falls for this young man as she tries to get his attention as it’s this incredible mixture of comedy and drama where Field just exudes this air of awkwardness and physicality to her performance as it’s really a master at work making it one of Field’s defining performances.
Hello, My Name is Doris is a remarkable film from Michael Showalter that features a phenomenal performance from Sally Field. Along with its ensemble cast, themes on aging and exploring new worlds, and moments that are funny and endearing. It’s a film that manages to be not just entertaining but also give audiences something full of heart in this exploration of a woman trying to nab a man that is much younger than her. In the end, Hello, My Name is Doris is a sensational film from Michael Showalter.
Michael Showalter Films: (The Baxter) – (The Big Sick) – (The Last Ride of Cowboy Bob)
© thevoid99 2017
Directed by Hal Needham and screenplay Jerry Belson and Brock Yates from a story by Michael Kane, Smokey and the Bandit II is the sequel to the 1977 film in which the Bandit and the Snowman are asked to transport an elephant to the GOP National Convention in Texas from Miami with the aid of Frog as they’re once again pursued by Buford T. Justice aka Smokey. The film is another adventure of fun and car chases in the South where the Bandit tries to go for another ride as well as deal with some issues as Burt Reynolds reprises his role of the Bandit and Jackie Gleason once again playing Smokey. Also starring Sally Field, Jerry Reed, Mike Henry, David Huddleston, Pat McCormick, Paul Williams, and Dom DeLuise. Smokey and the Bandit II is a wild yet adventurous film from Hal Needham.
The film is sort of a rehash of the first film where the Bandit is being asked to transport an elephant to the GOP National Convention in Texas where he will be paid lots of money as he also has to endure the pursuit of Smokey and his dim-witted son Junior (Mike Henry). Yet, the situation is different as it relates to Big Enos Burdette (Pat McCormick) trying to run for governor of Texas with help from his son Little Enos (Paul Williams) as they deal with their rival candidate John Coen (David Huddleston) where things had gotten ugly. The Burdettes are trying to get the Bandit to help them but the Bandit has become a drunken, washed-up mess who is dealing with heartbreak and the downside of fame. The film’s script doesn’t just explore the Bandit trying to get back in the game with help from his friend Cledus aka Snowman (Jerry Reed) and ex-girlfriend Carrie aka Frog (Sally Field).
Once they learn what they have to transport and get some help from an Italian doctor in Doc Carlucci (Dom DeLuise), the stakes get much higher as it adds to the Bandit thinking more about himself rather than this elephant. The Bandit’s selfishness lead to some tension but also some issues that relates to the Bandit who is still trying to coast on his fame without really thinking about the fact that not everyone likes him. It is a harsh reality that the Bandit has to face while knowing that he is still being pursued by Smokey who has called on some help from his brothers Reggie and Gaylord (both played by Jackie Gleason) for a wild climax.
Hal Needham’s direction is quite lavish for its big action sequences and moments that are quite spectacular as it includes a massive climax involving lots of police cars and trucks. Yet, the film is more grounded where even though Needham uses a lot of wide and medium shots for many of the film’s locations as much of it is set in Florida with a few shots in Texas and Georgia. Needham’s usage of close-ups and some of the medium shots to focus on the characters where they would rest for a while would really be the meat of the film as it showcased characters coping with their situations. Even as there’s a scene where a gas station attendant thinks the Bandit is an asshole as the Bandit takes offense to that as it does add to some of the reality in the film. Needham does manage to balance that reality with some humor where some of it is lowbrow from the opening sequence the Burdettes and their rival do outlandish things to humiliate each other. It all plays into some of the hilarity that occurs throughout the film as it is all about a chase and a trooper trying to get some revenge. Overall, Needham creates a fun and exhilarating film about a trooper trying to catch a trucker.
Cinematographer Michael Butler does excellent work with the film‘s cinematography as it is colorful as it plays into the vibrancy of the locations in Florida along with some unique lighting for some of the scenes at night and in some of the interiors in the truck. Editors Donn Cambern and William Gordean do nice work with the editing as it is straightforward with some stylish rhythmic cuts to play into the humor and action. Production designer Henry Bumstead, with set decorator Richard J. DeCinces and art director Bernie Cutler, does fantastic work with the look of the truck interior as well as some of the places the characters go to.
Carrie’s costumes designed by Bob Mackie are amazing from the wedding dress she wears to some of the stylish clothes she would wear during her trip as it play to her sense of style as opposed to the more cowboy look of the Bandit. Sound editor Gordon Davidson does terrific work with the sound as it is natural with some sound effects that help play into the action. Snuff Garrett does wonderful work with the film’s soundtrack that includes a few country-inspired score pieces by Garrett as well as a lot of country music from Jerry Reed, the Statler Brothers, Tanya Tucker, Mel Tillis, Burt Reynolds, Brenda Lee, and Don Williams.
The film’s superb cast include cameo appearances from Brenda Lee as woman attending the wedding, the Statler Brothers and Don Williams as themselves, Chuck Yeager as a party guest, Mel Tillis as a fairgrounds owner, and football legends “Mean Joe” Greene and Terry Bradshaw as themselves helping out the Bandit. John Anderson is terrific as the Texas governor who is angry over the mud-slinging between Coen and the Burdettes while David Huddleston is fantastic as the Burdettes’ opponent in John Coen who decides to humiliate them in the worst way. Mike Henry is wonderful as Justice’s dim-witted son Junior who is once again left in the altar by Carrie as he would say some dumb-ass things. Pat McCormick and Paul Williams are excellent in their respective roles as Big and Little Enos Burdette as the father-son duo where the former is trying to run for governor and pay off the Bandit and Snowman money to do a job for them in three days.
Dom DeLuise is hilarious as Doc Carlucci as an Italian doctor who is asked to help watch over the elephant Charlotte as he provides some nice comical moments that is fun to watch. Jerry Reed is brilliant as the Snowman who would convince the Bandit to do the job as he would name the elephant as he becomes fond of her where he realizes there is much more at stake instead of money. Sally Field is amazing as Carrie aka Frog as the Bandit’s former flame who joins the job for money while she tries to understand what is wrong with the Bandit while becoming concerned for the elephant Charlotte where she gives the Bandit a hard dose of reality. Jackie Gleason is phenomenal in a trio of roles as Buford T. Justice aka Smokey as well as his brothers in the effeminate Gaylord and the opera-loving Mountie Reginald where Gleason provides a lot of humor and hilarious comments as it’s one of his finest performances. Finally, there’s Burt Reynolds in a marvelous performance as the Bandit as the trucker who is dealing with heartbreak as he copes with doing his job but also attain that status as an icon not knowing that not everyone likes him where it’s a performance that has Reynolds be funny but also display some humility.
Smokey and the Bandit II is an excellent film from Hal Needham. Though it isn’t entirely original as it sort of rehashes everything. It is a film that is all about a lot of fun as it involves elephants, big chases, and all sorts of crazy shit. In the end, Smokey and the Bandit II is a superb film from Hal Needham.
Hal Needham Films: Smokey and the Bandit - (Hooper) - (The Villain (1979 film)) - (Death Car on the Freeway) - (The Cannonball Run) - (Megaforce) - (Stroker Ace) - (Cannonball Run II) - (Rad) - (Body Slam)
Related: Smokey and the Bandit Part 3
© thevoid99 2016
Directed by Hal Needham and screenplay by James Lee Barrett, Charles Shyer, and Alan Mendel from a story by Needham and Robert L. Levy, Smokey and the Bandit is the story of a trucker who is helping to carry some bootlegged beer from Texas to Georgia as he’s being chased by a highway state trooper. The film is a mixture of the chase film and the car movies all set in the American South where a lot of things ensue. Starring Burt Reynolds, Sally Field, Jerry Reed, Mike Henry, Paul Williams, and Jackie Gleason as Sheriff Buford T. Justice. Smokey and the Bandit is an exhilarating and exciting film from Hal Needham.
Set in the American South, a trucker and his friend are asked to travel to Texarkana, Texas from Atlanta to carry and transport 400 cases of Coors Beer, which is illegal to sell east of Texas, back to Atlanta in the span of 28 hours where they will be paid $80,000. That is pretty much what the film is about where a trucker is driving a black Trans Am as a blocker while his friend would drive the 18-wheeler truck to carry all the beer as they’re later chased by a Texan highway state trooper who is angry that his son’s bride has jilted them and join this charming trucker. It’s a film that is a road movie but also a chase movie, a buddy comedy, and a romance as it meshes a lot of genres but do it with such style.
The film’s script doesn’t just play into the events of the chase but also what the Bandit (Burt Reynolds) is doing it for though there is that risk of failure as he has to drag along his friend Cledus (Jerry Reed) to drive the truck who takes his dog Frank with him. Upon picking up Carrie (Sally Field) on the way back, the Bandit finds himself dealing with all of these patrolmen but also Sheriff Buford T. Justice of Texas whose son was supposed to marry Carrie but is jilted at the altar. During the course of the chase, there is this grudging respect between Justice and the Bandit where the latter sees the former as a formidable adversary. Though Justice has no idea what the Bandit is doing, the fact that the Bandit has Carrie just riles him up as he’s kind of this idea of the old school ideals as it’s something the Bandit actually respects.
Hal Needham’s direction is quite stylish in terms of the crazy stunts and chase sequences that are created. Shot largely in Georgia with a few set pieces shot in California, the film does have this look and feel that is very Southern from its trees and rivers as well as some of the locations where it featured restaurants and people that really defined the South. Needham’s compositions are quite simple with its usage of wide and medium shots to capture the location while the close-ups help play into the intimacy and some of the humor. Even as he knows when to give some of the moments set on the road a few stops where it’s about the characters as it helps build the relationship between the Bandit and Carrie. There’s also elements of the comedy that are quite unconventional in the fact that Justice isn’t some foil but rather a man that doesn’t take shit from anyone no matter what the situation is. All of which plays into a chase involving a runaway bride and 400 cases of Coors in a hilarious yet adventurous film. Overall, Needham creates a fun and thrilling film about a trucker going from Georgia to Texas and back in the span of 28 hours.
Cinematographer Bobby Byrne does excellent work with the film‘s cinematography as it‘s very colorful to play into the look of the American South with its many locations as much of the film is shot in the day with only one sequence shot at night. Editors Walter Hannemann and Angelo Ross do nice work with the editing as it is largely straightforward with its rhythmic cuts to play into the action and humor. Art director Mark W. Mansbridge and Anthony C. Montenaro do terrific work with the look of the sets from the place where the beer was at as well as the design of Justice‘s car in its ruined state as well as a few places in the film. The sound work of John Speak and Ray West, with sound editor Anthony Magro, are superb for some of the sound effects of the cars and trucks as well as some of the moments in parties and gatherings. The film’s music by Bill Justis and Jerry Reed is amazing as its country-based music and score play into the world that is the American South with some songs that help tell the story.
The casting by Jennifer Shull is great as it feature some notable small roles from Alfie Wise as an Alabama state trooper, Susan McIver as a friend of the Bandit called Hot Pants, and George Reynolds as a sheriff that tried to catch the Bandit only to be foiled by the Bandit and Justice. Pat McCormick and Paul Williams are fantastic as the father-son duo in their respective roles as Big and Little Enos Burdette as two wealthy Texans trying to hold a shindig in Georgia and want the Bandit to bring them Coors. Mike Henry is terrific as Justice’s son Junior who is this dim-witted moron that Carrie was supposed to marry as he just tries to help his daddy in the most idiotic ways. Jerry Reed is excellent as the Bandit’s friend Cledus Snow aka Snowman as the Bandit’s friend who reluctantly drives the big 18-wheeler truck with his dog Frank as he deals with bikers and all sorts of shit that is happening while knowing that the Bandit will always have his back.
Jackie Gleason is amazing as Sheriff Buford T. Justice aka Smokey as a highway patrolman that tries to go after the Bandit as it’s just a performance that is really funny as well as showing Gleason not afraid to be the foil but also prove that there is something about him that can be admired as it’s really an iconic performance. Sally Field is brilliant as Carrie aka Frog as this runaway bride who realized she is about to marry the wrong man as she befriends and falls for the Bandit while being very funny and be able to handle herself. Finally, there’s Burt Reynolds in a marvelous performance as Bo Darville aka the Bandit as this charming and calm trucker who can drive very fast while being someone that has some honor and tries to do what is right as it’s a comical but fun performance.
Smokey and the Bandit is a phenomenal film from Hal Needham that features great performances from Burt Reynolds, Sally Field, and Jackie Gleason. The film is just an entertaining and raucous road-chase film that is all about fun, beer, chicks, and all sorts of fun shit. It’s not high-art cinema nor does it need to be as it knows what it is and gives the audience wanting to have a good time. In the end, Smokey and the Bandit is an incredible film from Hal Needham.
Hal Needham Films: (Hooper) - (The Villain (1979 film)) - (Death Car on the Freeway) - Smokey and the Bandit II - (The Cannonball Run) - (Megaforce) - (Stroker Ace) - (Cannonball Run II) - (Rad) - (Body Slam)
Related: Smokey and the Bandit Part 3
© thevoid99 2016
Based on the comic by Stan Lee and Steve Ditko, The Amazing Spider-Man 2 is the sequel to the 2012 re-boot where Peter Parker deals with new foes as well as trying to protect his girlfriend Gwen Stacy while trying to uncover the secret of his parents’ disappearance. Directed by Marc Webb and screenplay by Alex Kurtzman, Roberto Orci, and Jeff Pinker from a story by Kurtzman, Orci, Pinker, and James Vanderbilt. The film has Parker struggle with his role as superhero as he also deals with elements of his family’s past as well as deal with new foes as Andrew Garfield reprises his role as Peter Parker/Spider-Man. Also starring Emma Stone, Sally Field, Dane DeHaan, Jamie Foxx, Paul Giamatti, Felicity Jones, Campbell Scott, Embeth Davidtz, and Chris Cooper. The Amazing Spider-Man 2 is an extremely messy, bloated, and very uninteresting film from Marc Webb.
The film revolves around Spider-Man not only dealing with being a superhero who saves everyone in New York City but also coping with who he is as Peter Parker as he tries to juggle a lot in his plate as his relationship with Gwen Stacy (Emma Stone) begins to suffer. Especially as he sees ghostly visions of Stacy’s father (Denis Leary) which forces Peter to keep a promise that Gwen’s father has asked. When an old friend of Peter in Harry Osborn (Dane DeHaan) returns to take over his father’s business, Peter begins to wonder about what happened to his parents and why they left him as he faces a series of villains that all have a grudge towards Spider-Man. It’s a film that could’ve been very simple but due to many subplots and stories revolving around Parker’s struggle in his relationship with Stacy as well as the secrets about his family ends up being a film that is very incomprehensible and hard to follow at times.
The film’s screenplay is an example of how messy the film is as it tries to put a lot into the story where it would move from one subplot to another. It’s one of the reasons why the film felt hollow and unsatisfying as it is unable to really do something. At the same time, there are aspects of the script that look like it wanted to say something but it ended up being cut out in the end due to time constraints and such. The villains in the film aren’t very interesting as Aleksi Sytsevich (Paul Giamatti) is just a crazed thief who only appears in an early sequence and at the film’s ending. The character Max Dillon (Jamie Foxx) starts off as this nerd whom Spider-Man saves but an accident involving electric eels where he becomes Electro has him end up being one of the lamest villains ever. While the character arc of Harry Osborn is sort of interesting, the payoff in having him become the Green Goblin is another disappointing moment.
There’s so much in the script that really fails to really do anything as the story involving Peter’s father Richard (Campbell Scott) does get unveiled but ends up raising more questions about exactly what was Norman Osborn (Chris Cooper) trying to do that led to Richard’s disappearance. Even as it relates to Harry who is succumbing from a disease that would claim Norman as it would play into this confrontation between him and Peter in the third act. There’s attempts to put in some humor in the film as it involves a captured Electro and a mad scientist in Dr. Kafka (Marton Csokas) which doesn’t work at all. While the few highlights in the script involves Peter trying to maintain his friendship with Gwen as well as trying to get answers from Aunt May (Sally Field) about his father. It’s not enough to really save the film from being interesting.
Marc Webb’s direction is definitely all over the place as it’s clear that he was trying to do something where he wants to give audiences everything they want. Instead, it’s a film that feels like several different movies that all feature Spider-Man but none of it really feels cohesive. The sequence of Spider-Man chasing Sytsevich that is inter-cut with Gwen becoming valedictorian is an example of what the film is going to be as it tries to be funny and exciting but ends up being very incomprehensible. While Webb does keep things simple for scenes involving Peter and Gwen as it includes a few funny moments, some of the humor does feel forced such as a scene where a security officer (B.J. Novak) tries to go after Gwen.
It’s among the many issues that the film has where Webb definitely feels overwhelmed by the scale as some sequences such as Spider-Man’s first battle with Electro in Time Square is quite bloated as would the climatic two-on-one battle between Electro and the Green Goblin. There’s very little chance for the audience to grasp into what is happening where it meanders in some places while the payoffs end up being very disappointing. Then there’s the ending which is very clear that Webb isn’t in control as it does feel over-drawn and overblown to set things up for the next film. Even as there’s parts of the film where it feels like they’ve been cut down to get things moving as it feels like they’re part of something longer. All of which is shown that it’s a studio that is in control of the film and the overall result is a film that doesn’t bring anything exciting nor anything that is remotely entertaining but rather pointless and empty.
Cinematographer Daniel Mindel does some nice work with cinematography for some of the scenes in New York City but it never really does anything to stand out visually as it often feels like it‘s dominated by visual effects. Editor Pierto Scalia does terrible work with the editing as it plays into too much fast-cutting for the action scenes while some of the montages of Spider-Man doing his duty is comically bad. Production designer Mark Friedberg, with set decorator Susan Bode and supervising art director Richard L. Johnson, does excellent work with the set pieces from the look of the Oscorp building and its main office as well a few places in the city. Costume designer Deborah Lynn Scott does good work with the costumes as it‘s mostly casual with the exception of the corporate clothes of the people at Oscorp.
Makeup designer Ve Neill does some OK work with the look of Electro in his electronic state though the look of the Green Goblin ends up being very silly. Visual effects supervisor Gregory L. McMurry does some superb work with the visual effects for the way Spider-Man moves around with his webs though some of it is very bloated such as the scenes involving Electro with all sorts of electricity that just looks dumb. Sound designers Eric A. Norris and Addison Teague do some fine work with the sound though some of the sound effects feels like they‘re trying to create sounds for dubstep records which were unnecessary. The film’s music by Hans Zimmer, Johnny Marr, and Pharrell Williams has some worthwhile moments in its orchestral score from Zimmer with some guitar flourishes by Marr yet much of the contributions from Williams as well as Junkie XL, Michael Einzinger, and a few others are awful as it ranges from bad dubstep electronic music to other bombastic moments that are terrible while some of the music contributions from Phillips Phillips and OK Go is just crap.
The casting by Kathleen Chopin definitely has some moments though many of the actors that do appear in the film definitely are wasted in some uninspiring parts such as Felicity Jones as Harry’s assistant Felicia, B.J. Novak as an Oscorp securities officer, Campbell Scott and Embeth Davidtz as Peter’s parents in the film’s opening sequence, Colm Feore as an Oscorp executive who tries to cover things up from Harry, and Denis Leary in a very silly performance as Gwen’s late father who continuously haunts Peter about keeping that vow. Marton Csokas is hilariously awful as Dr. Kafka who is this mad scientist that seems to be from another film as he’s playing music from A Clockwork Orange as it’s a performance that is just mind-numbingly stupid to watch. Chris Cooper is OK in his brief role as an ailing Norman Osborn who warns Harry about what will happen to him as it’s a good performance but definitely under-written considering Norman’s history with Peter’s father.
Paul Giamatti is horrible as Aleksi Sytsevich as this Russian criminal who battles Spider-Man early in the film as he sports a bad accent as he isn’t seen until he is part of the film’s over-drawn ending as Rhino. Sally Field is excellent as Aunt May as she is trying to cope with being all alone and caring for Peter while admitting that there’s some dark truths in relation to Peter’s father that she doesn’t want Peter to know about. Jamie Foxx is alright as Max Dillon/Electro as this nerd who thinks he’s special when he meets Spider-Man only to get into an accident as he becomes this very lame villain which doesn’t do anything for Foxx. Dane DeHaan is pretty good as Harry Osborn as this old friend of Peter who learns he is dying from a disease only to go crazy as DeHaan does goes overboard with being over the top while looking very stupid as the Green Goblin.
Emma Stone is wonderful as Gwen Stacy as Peter’s longtime girlfriend who copes with him being the superhero as well as the vow he made with her father as she tries to uncover the things that Oscorp is hiding. Finally, there’s Andrew Garfield in a fine performance as Peter Parker/Spider-Man as Garfield has some moments where he is being cool and anguished but some of the humorous moments feel awkward as well as some of the very emotive scenes as it’s really due to the script that doesn’t do him any favors.
The Amazing Spider-Man 2 is a film that doesn’t live up to its amazing namesake. In fact, it is an absolutely horrific and extremely lifeless film that doesn’t offer very much other than elements of boredom and too many storylines that it is hard to follow. It’s a film that showcases what happens when a franchise gets re-booted for the wrong reasons and in the hands of people who don’t know a thing about films. In the end, The Amazing Spider-Man 2 is a horrendously bloated and nonsensical film from Marc Webb and the people of Sony and Marvel.
Spider Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home
© thevoid99 2014
Based on the novel Alias Madame Doubtfire by Anne Fine, Mrs. Doubtfire is the story of an out-of-work actor who poses as an elderly British nanny so he can see his kids following the divorce from his wife. Directed by Chris Columbus and screenplay by Randi Mayem Singer and Leslie Dixon, the film is a light-hearted comedy where a man tries to be with his children as well as deal with the dissolution of his own marriage as the titular character and the role of Daniel Hiller is played by Robin Williams. Also starring Sally Field, Pierce Brosnan, Lisa Jakub, Matthew Lawrence, Mara Wilson, Harvey Fierstein, and Robert Prosky. Mrs. Doubtfire is a charming and entertaining film from Chris Columbus.
The film is a simple story of an out-of-work voice actor who gets divorced from his wife as he couldn’t see his three children as he decides to take on the role of a British nanny by the name of Mrs. Doubtfire when his wife needed a nanny to watch over the children. It’s a film that explores not just the concept of divorce where the children are caught in the middle but also a man who is put into a corner where he is only allowed to see his children for a small amount of time and has to get a steady job and a new home. By becoming Mrs. Doubtfire, Daniel Hiller not only becomes a better person but also realizes the mistakes he made in the way his marriage ended. At the same time, he finds himself having to contend with the presence of his ex-wife’s new boyfriend Stuart Dunmire (Pierce Brosnan).
The film’s screenplay creates not just a story that is compelling with bits of realism but also has a sense of charm and characters that audiences can relate to. While Daniel maybe sort of a man-child who never disciplines his children nor orders them around as he likes to have fun with them. It would be in the form of a birthday party for his son Chris (Matthew Lawrence) that would be the catalyst for the breakdown of his marriage to Miranda (Sally Field) who constantly works as she realizes how chaotic Daniel makes things prompting her to file for divorce. Upon the things he had to do in order to see his kids, Daniel would work at a TV station and live in an apartment that isn’t suitable for anyone at the time being as he can only see his kids for a few hours on a Saturday. At the same time, he would have to receive visits from a court supervisor (Anne Haney) to see if he can create a suitable home for his children. With the help of his makeup artist brother Frank (Harvey Fierstein), Daniel would take on the role of Mrs. Doubtfire.
One aspect of the script that makes it very interesting is how complex the characters are where Mrs. Doubtfire is this very unconventional British nanny as she maybe this big woman but also full of warmth and understanding as she would win over the kids including the eldest Lydie (Lisa Jakub). In this role, Daniel would find ways to better himself as he would eventually surprise Miranda during one visit late in the film. At the same time, Daniel would get a big job opportunity when he meets the TV station boss in Jonathan Lundy (Robert Prosky). The character of Miranda might seem like a woman who is just this workaholic who decided to end her marriage and create problems for her children. Yet, she is really just someone who wants to be happy as she has this great conversation with Doubtfire about what happened with her and Daniel where she does become more sympathetic. The character of Stuart could’ve been a villain but he is someone who manages to be a really nice guy that adores Miranda and the children as he would be an antagonist for Daniel.
Chris Columbus’ direction is very simple in terms of the compositions he creates as he would shoot the film largely in San Francisco. Much of it would include some close-ups and unique medium shots while Columbus would also create moments that play into a sense of energy of who Hiller is as an actor. Some of it would involve some crazy montages as well as lively moments that definitely crossed the line between innocent humor with a bit of bawdiness. One aspect of the film that Columbus succeeds is balancing humor with some drama as it relates to the concept of divorce. Though there are elements of sentimentality, Columbus manages to not overdo it and know to hit the right notes. Especially towards the end as it plays into what children have to deal whenever parents divorce. Overall, Columbus crafts a very entertaining and heartwarming film about a man trying to spend time with his children by pretending to be a British nanny.
Cinematographer Donald McAlpine does nice work with the film’s cinematography as it is very simple in the way many of the locations in San Francisco is presented along with the lighting in some of the film’s interior scenes. Editor Raja Gosnell does terrific work with the editing as it is straightforward with some inventive montages of Daniel’s voice impressions. Production designer Angelo P. Graham, with set decorator Garrett Lewis and art director W. Stewart Graham, does wonderful work with the look of the home Miranda and the kids lived as well as the apartment were Daniel would live in. Costume designer Marit Allen does excellent work with the costume design from the many different clothes that Mrs. Doubtfire would wear.
The makeup work of Greg Cannom, Ve Neill, and Yolanda Toussieng are phenomenal in the way they would create the look of Mrs. Doubtfire in every bit of detail. Sound editor Gloria S. Borders and sound designer Gary Rydstrom do superb work with the sound from the way some of the parts of the film‘s locations sound as well as some moments in the climatic restaurant scene. The film’s music by Howard Shore is amazing for its very light-hearted and low-key score with its orchestral arrangements that would also include some somber pieces while its soundtrack would feature music from James Brown, the Four Seasons, Frank Sinatra, House of Pain, B.B. King and Albert Collins, and Aerosmith.
The casting by Janet Hirshenson and Jane Jenkins is excellent as it features some notable small performances from Martin Mull as Miranda’s co-worker Justin, William Newman as a tired and dull TV show host, Scott Carpuro as Frank’s partner Jack, and Anne Haney as a court supervisor who would make a visit for Daniel’s apartment as she would meet Mrs. Doubtfire in a humorous scene. Robert Prosky is superb as a TV station boss whom Daniel meets as he catches Daniel’s act and realize that his station could be saved. Harvey Fierstein is fantastic as Daniel’s brother Frank who would create the mask and look of Mrs. Doubtfire. In the role of the children, Lisa Jakub is brilliant as the eldest child Lydie who deals with not seeing her father as she would warm up to Mrs. Doubtfire. Matthew Lawrence is amazing as Chris as a teenage boy who enjoys playing soccer with Mrs. Doubtfire while Mara Wilson is a total delight as the youngest Nattie who loves to be around Mrs. Doubtfire because she reads stories to her.
Pierce Brosnan is great as Stuart Dunmire as an old friend of Miranda’s who comes back into her life as he proves to be a nice guy that cares about the children though he serves as an antagonistic figure for Daniel. Sally Fields is incredible as Miranda as this frustrated working mom who is trying to find happiness in her life after years of a marriage that didn’t work as it’s Fields being quite calm and also very tender. Finally, there’s Robin Williams in one of his most iconic performances as the titular character and Daniel Hiller. It’s a performance that has Williams be at his funniest where he provides a lot of manic energy and improvisational ideas towards his humor as well as showing a sense of sensitivity and warmth once he plays the role of Mrs. Doubtfire as it’s really a performance for the ages.
Mrs. Doubtfire is a glorious film from Chris Columbus that features a tour-de-force performance from Robin Williams. It’s a film that isn’t just a family film that brings in a lot of laughs and heartwarming moments but also a film that manages to be so much more. Especially as it plays into the idea of family and what people go through with divorce as a man pretends to be a woman just so he can be with his children. In the end, Mrs. Doubtfire is an extraordinarily rich film from Chris Columbus.
© thevoid99 2014
Nostra of MyFilmViews has created a blog-a-thon based on the Lars von Trier-Jorgen Leth film The Five Obstructions. This blog-a-thon challenges various bloggers to write something under a specific guideline where if that blogger succeeds. That person can go to the next round but if that blogger fails, a punishment will happen. In Nostra’s blog-a-thon of the Five Obstructions
She has set a specific guideline one obstruction every month as here is the first obstruction:
For this first assignment, I will be reviewing a film that I know and love as I will be writing this review under a different persona who is far less intelligent and far less cultured than I am. Here is my review of Robert Zemeckis’ 1994 classic Forrest Gump:
Based on the best-selling novel by Winston Groom, Forrest Gump is the ludicrous story about an idiotic man with an IQ of 75 who stumbles into every situation by meeting the American president three times, being an All-American for Alabama, becoming a war hero, a multi-millionaire, and all sorts of things while pining for a slut named Jenny. Under the direction of Robert Zemeckis and screenplay by Eric Roth, the film is an overblown, Oscar-bait film that is extremely manipulative and sappy as its title character is led by Tom Hanks who goes all the way to go for that Oscar by playing a slow, dim-witted moron where he almost goes full-retard. Also starring Robin Wright, Gary Sinise, Mykelti Williamson, and Sally Fields as Forrest’s mama. The film is nothing more than a piece-of-shit inspirational film that does nothing more than tug the heartstrings of the people and make them look just as stupid as Forrest.
Through Robert Zemeckis’ overly-calculating direction that aims to have this sweeping scope filled with lots of gorgeous scenery is overwrought in this story about an idiotic man who watches the world go buy as he would impact them. Yet, many of these situations under Zemeckis’ direction and Eric Roth’s screenplay is ridiculous as it’s all told by the titular protagonist who keeps talking about box of chocolates and his favorite book of all-time is Curious George. The fact that Forrest Gump meets three different U.S. Presidents, become a war hero, a multi-millionaire through the shrimp business and investing money in Apple Computers, being an All-American for Alabama is just ludicrous.
At the same time, Forrest is given dumb and heavy-handed messages from his mama like “stupid is as stupid does” and “life is like a box of chocolates” as he’s seen by most of the people he meets as an idiot. Then there’s the people he encounters in his journey like a black man with big gums named Bubba (Mykelti T. Williamson) who gets killed off nearly half-way into the film and Lt. Dan (Gary Sinise) who loses legs in the war and becomes a paraplegic Vietnam Vet who hates Forrest’s guts for saving him until he realizes the meaning of life. Yet, these characters are nothing compared to Forrest’s love interest Jenny (Robin Wright) who is essentially a liberal slut who goes from one trend to another and takes LSD in the 60s and cocaine in the 70s. She wants to be a folk singer but instead goes from one cause to another only to end up as a single-mother waitress whose child is none other than Forrest’s son as she later croaks due to AIDS.
Adding to the film’s overly-sappy tone is Alan Silvestri’s cheesy yet excruciating score that is filled with some of the most annoying melodies heard in film while its soundtrack is more of… “hey, there’s that song and there’s this song”. The Doors show a bunch of times while there’s a lot of music that is just there to play to a certain period in time yet there’s no music from the Beatles? What the hell?
The bottom line is this. Forrest Gump is an overrated and overblown film that wants to tug at people’s heartstring with Tom Hanks giving a totally blatant Oscar-bait performance as the titular character. It is a travesty in the art of film as it won too many Oscars where it really should’ve gone the best film of that year which is North by Rob Reiner. For anyone who thinks Forrest Gump is one of the best films ever made… Well then… fuck you and die!!!! Take that box of chocolates and shove it up your fucking ass!! "My name is Forrest Gump, people call me Forrest Gump". SHUT THE FUCK UP!!!!!!
Editor’s Note: I actually love Forrest Gump for all of its mawkish cheesiness and sweeping visuals yet it’s got so much that I enjoy including its cast, music, and Zemeckis’ direction. Though I think Trois Couleurs: Blanc & Rouge, Chungking Express, Natural Born Killers, and Pulp Fiction were better films that came out that year. I still have love Forrest Gump and I always watch it whenever it’s on.
© thevoid99 2013
Based on the comic by Stan Lee and Steve Ditko, The Amazing Spider-Man is an origin story of how a teenage Peter Parker became Spider-Man as he searches for what happened to his parents while meeting a scientist who knew his father. Directed by Marc Webb and screenplay by James Vanderbilt, Alvin Sargent, and Steve Kloves from a screen story by Vanderbilt. The film is new interpretation into the Spider-Man saga by interpreting a new take on Spider-Man’s origin story as he is played by Andrew Garfield. Also starring Emma Stone, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Campbell Scott, Sally Field, and Martin Sheen. The Amazing Spider-Man is an enjoyable blockbuster from Marc Webb.
The film is essentially a re-telling of the origin story of how Peter Parker became Spider-Man as it relates to the disappearance of his parents and why he had to live with his uncle Ben (Martin Sheen) and aunt May (Sally Field). The film also explores his relationship with his high school classmate Gwen Stacy (Emma Stone) whose father is the police captain George Stacy (Denis Leary) who is suspicious about Spider-Man’s vigilante antics. Yet, the story follows Parker trying to find answers into why his parents disappeared which leads him to meet Oscorps scientist Dr. Curt Connors (Rhys Ifans) who had been trying to create a regeneration formula that can help restore limbs for humans where Parker helped out giving him an algorithm. Instead, things go wrong when Dr. Connors becomes the Lizard forcing Spider-Man to stop him unleash the formula all over New York City.
The screenplay by James Vanderbilt, Alvin Sargent, and Steve Kloves does allow the film to be both a superhero origin story as well as a bit of mystery where it relates to Peter Parker’s search for answers on not just about his parents but also some of the secrets his father had been hiding. Notably the algorithm in a folder that he had been hiding as he showed to Dr. Connors where Parker would unfortunately set off some things that he shouldn’t have. Along with other incidents that Peter Parker would have to endure, he realized the role he has to play along with the responsibility he would have to carry for all of his life. Still, the film is more about how Parker became Spider-Man and how he would have to bear the responsibility of his role though there are several things in the script like what really happened to Peter’s parents that remain unresolved.
While characters like Uncle Ben, Aunt May, Gwen, and Captain Stacy do get provide some key aspects to the story. It’s Dr. Connors who is the most interesting as he is a man who has good intentions for regeneration as he’s a man that had lost his right arm. Yet, there’s an ambiguity to Dr. Connors as he might know about what happened to Peter Parker’s parents or he doesn’t know what really happened as his superior Dr. Ratha (Irrfan Khan) makes a threat about revealing something that relates to Parker’s parents. Yet, Dr. Connors attempt to test his regeneration formula would have some dire consequences as he becomes this giant lizard that is wreaking havoc on New York City.
Marc Webb’s direction is pretty good as he does a lot of what is expected in a superhero blockbuster story while he also finds the time to make it standout a bit from the previous Spider-Man films that were helmed by Sam Raimi. Notably as he creates some engaging moments in the drama as well as some of the humor of the film that includes a hilarious scene of Spider-Man and the Lizard fighting in a library. While it is shot on location in New York City, there are some scenes where it’s a mix of real-life action and CGI where Webb creates moments that are engaging though there are some shortcomings which relates to the story. Overall, Webb creates a solid and entertaining blockbuster film that does what is needed to do though it doesn’t do enough to make it standout more against its predecessors.
Cinematographer John Schwartzman does nice work with the film‘s cinematography from the look of the day and nighttime exterior scenes to some stylish moments for some of the film‘s nighttime interiors with its lighting schemes. Editors Alan Edward Ball, Michael McCusker and Pierto Scalia do terrific work with the editing as it‘s stylized in a few montages as well as some rhythmic cuts for the film‘s action sequences. Production designer J. Michael Riva, with set decorator Leslie A. Pope and supervising art director David F. Klassen, does excellent work with the look of the Oscorp building and some of its labs inside the building.
Costume designer Kym Barrett does good work with the costumes as it is mostly casual. Visual effects supervisors Jerome Chen, Kevin Kolodinsky, and Jim Rygiel superb work with some of the visual effects of Spider-Man flinging his web from place to place as well as the look of the Lizard. Sound editor Shannon Mills and Addison Teague do wonderful work with the sound to create some nice sound effects as well as some moments in the film‘s action scenes. The film’s music by James Horner is brilliant as it is a mix of orchestral bombast as well as some somber piano pieces to play out some of the growing pains Peter Parker goes through. The soundtrack is decent as it features a few rock cuts by the Shins and Phantom Planet as well as a piece from Coldplay that is just terrible.
The casting by Francine Maisler is remarkable for the ensemble that is used for the film as it features some memorable small appearances from C. Thomas Howell as a father whose son was saved by Spider-Man as he would return the favor, Chris Zylka as school bully Flash Thompson, Hannah Marks as a classmate of Parker, Campbell Scott and Embeth Davidtz as Peter’s parents who appear early in the film, and a hilarious cameo from Stan Lee as a librarian who is oblivious to the fight Spider-Man and the Lizard. Irrfan Khan is OK as Dr. Connors’ superior Dr. Ratha where Khan doesn‘t really get much to do except be used as someone who would drive Dr. Connors into drastic situations. Sally Field is great as Aunt May who worries about Peter’s activities as she also has to remind him that she will always worry about him. Martin Sheen is superb as Uncle Ben Parker as a man who is concerned about Peter while instilling him the role that Peter would have to use as a person.
Denis Leary is excellent as Captain George Stacy as a man is trying to maintain his role as a man of law and order as he sees Spider-Man as a vigilante while trying to deal with the Lizard. Rhys Ifans is brilliant as Dr. Curt Connors as a man whose experiments on regeneration wants him to do good but has him becoming maniacal and ambitious as he nearly loses sight on himself. Emma Stone is very good as Gwen Stacy as a classmate of Peter who knows a lot about science as she also tries to deal with his role as Spider-Man as she would help him fight the Lizard. Finally, there’s Andrew Garfield in a marvelous performance as Peter Parker/Spider-Man as Garfield infuses all of the anxiety of a teenage boy as well as someone who is troubled by what he’s dealing with as Garfield adds a lot of dramatic weight to his performance that makes him a major highlight of the film.
The Amazing Spider-Man is a very stellar film from Marc Webb that features an amazing performance from Andrew Garfield. Along with a strong supporting cast and a unique take on the origin story, it’s a film that is definitely enjoyable and engaging to watch though it does have a few flaws in the shortcomings to the screenplay. In the end, The Amazing Spider-Man is a pretty good film from Marc Webb.
Spider-Man Films: Spider-Man - Spider-Man 2 - Spider-Man 3 - The Amazing Spider-Man 2 - Spider-Man: Homecoming - Spider-Man: Into the Spider-Verse - Spider-Man: Far from Home
© thevoid99 2013
