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  • Craig Richardville, a healthcare consultant with a focus on technology, describes the potential ways in which AI can benefit patients and providers alike. With AI in the picture, providers can automate some of their repetitive and time-consuming tasks and spend more face time with patients who truly need their personal attention.

    Craig Richardville Explains How Technology is Changing Healthcare

    Craig Richardville Explains How Technology is Changing Healthcare and leading to better outcomes. Read this interview from Craig Richardville.

  • The gel packs made by Scott Malcolm are different from any other gel packs made in the city. They are useful and stay for a longer period of time. They can be used at any time. They are used by a wide number of people. They are largely used by any number of people.

    Quality Made Gel Packer By Scott Malcolm

    Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get them in front of Issuu’s millions of monthly readers. Title: Quality Made Gel...

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    Scott Malcolm gives a colossal assortment of liberty made gel packs. His gel packs are ordinarily a versatile plastic sack loaded with ref...

  • Randon James Morris believes that Car Insurance is a needed expense, however, for many vehicle owners, it’s also a source of financial strain. Now the question is how will you strike a balance? The good news is that there is no particular standard for car insurance rates, and that leaves a lot of room for cost-cutting and negotiation.

    These five proven strategies from Randon James Morris can make quality car insurance more affordable for every household – just watch your rates drop.


    1. Assess What You Own


    One of the most common mistakes people make while buying Car Insurance is choosing a plan and then never changing it; When it comes to insurance they believe in ‘set it and forget it’ approach. Sometimes this can backfire, however, as older cars normally don’t require as much insurance. If your car is older and paid off, would you really get it to repair after a major accident? Most of the time it is best to just eliminate accident coverage on older vehicles. Because otherwise, you’re paying to protect a car that’s on the edge of being replaced anyway.

    2.  Combine Your Plans

    Insurance companies acknowledge loyal customers by offering a variety of plans. To grab a better deal, then, consider moving your car and home insurance to the same company. Such collective plans come with a bulk insurance rate that will surely save you money overall. The only thing to worry is that usually, all drivers must live at the address of the home insured on the plan, so in case you share your car with a non-resident relative, it might be difficult for you to qualify.

    Read the Whole Blog:



    • Entertainer
      Entertainer published a blog post 30 Minutes on: "Mid-90s"

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      "Mid90s," about a young skateboarding teenager falling in with a group of older boys, is an accomplished debut feature from actor turned writer-director Jonah Hill. It's affecting, loose, sharply observed, emotional but not sentimental. It's also faithful to the period but not aggressively nostalgic, recreating the era in order to walk around in it and look at it, rather than merely marveling at how long ago it now seems, and how innocent "we" supposedly were. Some of the best scenes in the movie put the characters into a specific situation and watch them behave, without keeping one eye on the clock at every second and constantly fretting about whether exposition has been delivered with sufficient panache and that the plot has been moved along to everyone's satisfaction. It creates life and watches it unfold.

      Before shooting started, Hill supposedly showed his collaborators a few key works that he wanted them to keep in mind. One of them was Larry Clark's notorious 1995 New York teens-in-trouble drama "Kids." The result has that sort of pre-millennium indie movie vibe. All that being said, the atmospheric details are strong enough that viewers of a certain age might find themselves traveling falling into emotional rabbit hole anyway, even if their own experience of the era was nothing like the one depicted onscreen. Maybe the highest compliment that can be paid to this kind of movie is to say that it feels like it's of the era, not just about it or set during it. 

      My favorite scene in the movie is a longish visit to a local park where 13-year-old Stevie (Sunny Suljic) and his friends skate, smoke pot and talk to each other. One of the boys, a budding filmmaker known as Fourth Grade (Ryder McLaughlin) because he's considered a dimwit, films two of the other teens as they talk to a currently unemployed non-skater who tells them that he used to work in data entry. They all shoot the breeze for a bit. Hill keeps their conversation on the soundtrack as the movie cuts to images of people elsewhere in the park, all enjoying the day in their own way. You get a sense of the park as an extension of the scene, and the scene as a microcosm of life itself. If you let your mind roam (as I think the movie wants it to) you might feel momentarily warm about the prospects of the human species. 

      The entire scene—including the fact that somebody else is onscreen recording it—has the feeling of a caught slice-of-life moment from a documentary, something that was witnessed and recorded rather than written and performed. If this and other moments like it (including scenes of the teens busting each other's chops and trying to one-up each other with outrageous, often racially provocative banter) make it feel as if Hill created "Mid90s" so that he could go back in time and really pay attention during moments that meant a lot to him in retrospect. It's part of a continuum of films about young men hanging out while aimlessly entertaining each other and themselves, trying to get their minds off troubles at home and fear of the future by getting drunk and high and trying to score with girls and occasionally risking their lives heroically or more often stupidly. You could draw a direct line from Federico Fellini's "I Vitelloni" through Martin Scorsese's "Mean Streets," Michael Schulz's "Cooley High" and Richard Linklater's "Dazed and Confused" and "Everybody Wants Some!" 

      Scorsese is pretty clearly the biggest influence, though it's the early Scorsese of "Who's That Knocking At My Door?" and "Mean Streets" more so than "Goodfellas," which Stevie, his thuggish older brother Ian (Lucas Hedges) and single mom Danny (Katherine Waterston) are seen watching on their living room television on Blockbuster Night (ask your parents what that was, kids). The way young men try to impress each other and establish a pecking order through jocular sarcasm and insults; the way dares and machismo lead to bad outcomes, as in the film's harrowing accidents; the truthful-seeming observations about how young men and women relate to each other at parties and on the street, all have that affectionate yet anthropologically exact sensibility that Scorsese brought to his early movies, minus the ultra-violence. The only prolonged fight in the film is between a couple of middle schoolers, and the most intense confrontation doesn't get any more physical than Olan Prenatt's frizzy-haired wiseass Fuckshit flicking Ian's nose, to taunt him into a fight he isn't brave or stupid enough to engage.

      The movie manages to feel loose and tight at the same time, the correct aesthetic for a fairly brief (88 minute) work that's more about stitching together a bunch of caught-seeming moments than attempting any kind of sweeping, coherent statement. The only thing I can really say against "Mid90s" that it's so elliptical that it feels underwritten. It's never clear why the older kids put up with Stevie, who's so young (and small even for a younger kid) that he's practically a mascot, and who doesn't skate well enough to justify himself as anything else. And whenever the movie presents elements of deep darkness—such as Stevie's tendency to harm himself, which hints at past traumas that the movie itself isn't prepared to address, and Stevie's first sexual encounter, which age-wise would be classified as statutory rape—it glosses over them, in such a way that you can't be sure if it's trying to be subtle and failing, or reflexively adding a bit of extra grit because that's what we expect from this kind of film. I wanted a bit more context for Stevie's behavior, not because we can't imagine it, but because we almost can. Most of the pieces (such as Dabney casually commenting on Ian's birthday that when she was his age, she was breastfeeding him) are already present, and could've been shaped with more care. It's hard to tell if this part of the story was never written in the first place, or written or shot and then cut. 

      Either way, the film's lightness and looseness is a source of strength as well as weakness, and it's easy to imagine it turning literal minded or preachy if it went too far in the direction of psychologizing and explanations. It's always clear thats Stevie is simply too young to be involved in a lot of the things he's involved in, and to its credit, the movie seems inclined to view the arc of his experience with the skater kids non-judgmentally--as a bunch of things that happened, many of them regrettable if you're looking at Stevie's life through the eyes of his mother, but all memorable, in both good and bad ways, if you're Stevie. Trent Reznor and Atticus Ross' warm synth score and Christopher Blauvelt's blocky 4x3 cinematography are the only overtly lyrical aspects, and they both feel earned and intelligent. This is the kind of inward-looking movie that a talented thirty-something director makes when he realizes he's not a kid anymore, then wonders if he ever was.

      By: Matt Zoller Seitz
      Posted: November 18, 2018, 4:25 am

    • நூல் : ரங்கோன் ராதா

      ஆசிரியர் : அறிஞர் அண்ணா

      அட்டைப்படம் : த.சீனிவாசன்

      மின்னூலாக்கம் : சீ. ராஜேஸ்வரி
      மின்னஞ்சல் :

      வெளியிடு :

      உரிமை : Public Domain – CC0

      உரிமை – கிரியேட்டிவ் காமன்ஸ். எல்லாரும் படிக்கலாம், பகிரலாம்.





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      புத்தக எண் – 465

      By: admin
      Posted: November 17, 2018, 8:03 pm

      ரங்கோன் ராதா – நாவல் – அறிஞர் அண்ணா
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      Park Chan-wook’s attention to detail is well-known among cinephiles. From the brutal beauty of his Vengeance Trilogy (“Sympathy for Mr. Vengeance,” “Oldboy,” and “Lady Vengeance”) to his stunning work on 2016’s “The Handmaiden,” he doesn’t leave much to chance. His films often feel like incredibly calculated affairs, and yet he still somehow allows for human fallibility and emotion to feel genuine. He’s a stylish, meticulous filmmaker who only rarely allows that style to smother his characters. All of this makes him kind of a perfect fit for John Le Carre, a masterful writer who was also obsessed with detail. Park makes his TV debut directing all six episodes of AMC’s adaptation of Le Carre’s “The Little Drummer Girl,” and the result is a sometimes drawn-out affair but in a way that the filmmaker clearly loves. And his passion for the detail and procedure of espionage is infectious, both to his A-list cast, who all deliver, and to us as viewers.


      “Now the fiction and reality become one.” This line is said almost four full hours into “The Little Drummer Girl,” which unfolds in a very unique manner—in two-episode installments over three nights. For the first 2/3rds of the mini-series, we’re witnessing what is largely set-up, but Park and his team dive deep into that set-up, illustrating the difficulty in going so deep undercover that you might possibly lose yourself. This is what happens to Charlie (Florence Pugh), an actress recruited by an agency in 1979 led by an Israeli spy named Martin Kurtz (Michael Shannon) and trained by a fellow spy named Becker (Alexander Skarsgard). Charlie and Becker blur the lines between her real personality and that of the woman she will become, infiltrating a group of Palestinian terrorists. In a sense, Martin is the director of this little play, and Becker is the writer. Charlie will be the star.

      That little plot recap only hints at the complexity of “Little Drummer Girl,” but this is the kind of piece you can appreciate even if you don’t follow the plot (or find it sometimes convoluted). Not only does Park bring copious amounts of style and beauty to the filmmaking, but he directs his leading lady to one of the fiercest, most fascinating performances of the TV year. Charlie is an actress interested in pro-Palestinian causes, and those two elements of her personality impact the way she engages in the world of espionage. She lights up during scenes of what are basically “back story,” something common to both performers and undercover spies. And Pugh brilliantly conveys the malleability of her character without ever feeling like a device. Many actresses would have gotten lost in this part, losing it to the charade or politics, but Pugh never does. Shannon and Skarsgard are both very good, but the series belongs to Pugh.

      Well, Pugh and Park. The international dynamic at play in the production of “The Little Drummer Girl” starts to feel like it adds a layer of tension and personality to the overall affair. After all, it’s a Korean director helming a piece with American and British stars about an Israeli-led spy mission. There are scenes when Park’s outsider status feels almost replicated in the storytelling, adding an effective sense of otherness and confusion to what we’re watching, whether it’s the sometimes-odd-sounding dialogue or compositions that feel like the rest of Park’s filmography. “The Little Drummer Girl” is about an outsider to the culture in which she’s going undercover and it’s different than it would have been were it made by a Brit or Israeli. There’s something just a bit off about every episode in a way that makes it distinctly Park’s, and often riveting.

      Some people will feel that the story was drawn out to meet a six-episode contract as if four episodes wouldn’t feel as prestigious, and they’d have a point, but the pace of “The Little Drummer Girl” feels appropriate for Le Carre and the subject matter at hand. Park and this series really blur the lines between actress, spy, and terrorist, noting how much all three rely on scripted narratives to accomplish their goals. It’s another high-profile mini-series that rewards the patient, and further proof of its director’s international importance. 

      By: Brian Tallerico
      Posted: November 16, 2018, 6:32 pm

      • Entertainer

        Thumb mary scots afi fest

        The tale of the ill-fated queen of Scotland is really the story of two queens—Mary and Elizabeth, cousins of different religions. "Mary Queen of Scots," which made its world premiere as the closing gala of AFI FEST 2018. It’s an imperfect film with fine performances by Ronan and Robbie as sister queens but also enemies because "a queen has no sisters, only country.”

        Director Josie Rourke’s take follows some of the conceits of the 1971 movie of the same name, but also gives us this era's sensibilities of inclusiveness and feminism. "Mary Queen of Scots" in 2018 has black (Adrian Lester and Kadiff Kirwan) and Asian faces (Gemma Chan) in the Elizabethan courts and appears to show marital rape. Yet perhaps the film's greatest weakness is falling back on traditional male views of conflict.

        Rourke is best known as the Artistic Director of Donmar Warehouse (Tom Hiddleston's "Coriolanus"). Several of her productions have been made into National Theatre Live broadcasts. In her debut film, she takes full advantage of the freedom from the confines of a stage. Long shots of Scotland serve as transitions between battles, both physical and political. Scotland is claustrophobic, shot in dark rooms with a semblance of natural light although often one wishes a fill light had been used on the faces. In contrast, England has an airier feel.

        In her introductory remarks, Rourke noted that the Elizabethan era was a time that people thought woman leaders was "against nature, against God." For not just Mary, but for Elizabeth, it was "incredibly hard to find their integrity and their hearts."

        If you're not up on British history, there were two Queen Marys in Queen Elizabeth I's life—her older half-sister Mary Tudor (1516-1558) and her cousin, Mary Stuart. Mary Queen of Scots was related to the Tudors through her grandmother, Margaret, who was Henry VIII's older sister. Margaret married King James IV of Scotland. Margaret would be widowed in 1503 and marry Archibald Douglas, 6th Earl of Angus. She would marry a third time (Henry Stewart, the first Lord Methven), but through her second marriage, she would be the grandmother of Lord Darnley, Mary Queen of Scots' second husband. With James IV, Margaret only had one child who survived infancy, James V, the father of Mary Queen of Scots. Mary became queen when she was six days old. Elizabeth was about nine years older.

        Queen Elizabeth was the only surviving child of Henry VIII's second wife, Anne Boleyn, for whom he broke with the Catholic Church (to divorce his first wife, Catherine of Aragon). Anne was beheaded having been charged with adultery, witchcraft and treason.

        Regents (including her mother, Mary of Guise) would rule for Mary while she would be educated and married in France, but her first marriage, to the Dauphin of France, would be short-lived. Her husband became King Francis II in 1559 and was dead by December 1560. The now widowed Mary returned to Scotland in August of 1561. By 1565, she was married to Henry Stuart and in 1566, she would have a son, James. Henry Stuart would be murdered in 1567, leaving Mary widowed again. Within a month, she would be married to James Hepburn, 4th Earl of Bothwell. By 1567, she would abdicate and her son would become king. She then sought sanctuary in England. After a little over 18 years under Elizabeth's custody, she would be found guilty of plotting to assassinate Queen Elizabeth I and beheaded in 1587.

        "Mary Queen of Scots" begins at the end. The still beautiful Mary (Saoirse Ronan) is first praying and then escorted to the chamber where she will lose her head. Underneath her somber black robes, she's wearing red, symbolic of being martyred. Her death won't be a swift because it took three swings of the executioner's weapon to detach her head, but "Mary Queen of Scots" mercifully doesn’t take us there. 


        Beau Willimon's ("House of Cards") script, which is based on John Guy's book Queen of Scots: The True Life of Mary Stuart, flashes back to the day Mary returns to Scotland. The landing requires the ladies and the queen to wade through the cold waters to the shore in their cumbersome long skirts. Once safely at the castle, Mary finds herself less than welcome. Her half-brother, James Stewart, Earl of Moray (James McArdle)—the illegitimate son of her father who was almost a decade older than Mary, had been satisfied ruling in her stead. Despite her tolerance of her predominately Protestant subjects, the Catholic Mary is bitterly opposed by John Knox, the founder of the Presbyterian Church of Scotland (David Tennant).

        The matter of marriage concerns not only Mary and her court, but also her cousin Queen Elizabeth (Margot Robbie). Elizabeth plots to gain control of Mary through her favorite, recently widowed Robert Dudley (Joe Alwyn), and offers him as a suitable second husband, but the capricious Mary falls for her cousin Lord Darnley (Jack Lowden). Darnley is a seducer of both men and women and this script has him sleeping with Mary's private secretary, the Italian David Rizzio (Ismael Cruz Cordova). It's Mary's determination to produce an heir that results in first her forceful seduction and then what could be interpreted as marital rape as Darnley becomes the aggressor. Darnley wishes to be both husband and king of the castle, but he also is weak-willed. He allows his brother-in-law James Stewart and his cohorts to convince him that Rizzio should be murdered—in his wife's presence. Mary at first defends Rizzio and then fearfully cowers after Rizzio has been stabbed, but the stabbing continues.

        Rourke captures the vulnerability of this queen, a woman amongst brutal warriors. She may lead them in battle, but she is no match for them with only her birthright as a flimsy shield. With the death of Rizzio, the cowardice and rationalization of Darnley's murder is established and the end of Mary's time in Scotland is inevitable.

        Her next husband, Bothwell, abducts her and rapes her to force her into marriage. Willimon's script strips the romance from the marriages of this tragic queen and Rourke tastefully, but clearly presents the physical violations against this young and beautiful queen. Yet her marriages cannot shield her from religious radicals. Knox rails against her. She is not a queen; she is a whore. Some things haven't changed.

        In the 1971 movie "Mary, Queen of Scots," Vanessa Redgrave played the title character and faced off against Glenda Jackson's Elizabeth I. The screenplay (by John Hale) had the two cousins meet twice and suggests there was a homosexual liaison between David Riccio (Ian Holm) and Mary Stuart's second husband, Henry Stuart, Lord Darnley (Timothy Dalton).

        With Willimon's script and under Rourke's direction, the new version of "Mary Queen of Scots" is more emphatic about this homosexual connection, but not explicit. Willimon's script also can't resist the meeting of these two queens, something that didn't happen in real life.

        Elizabeth, now pock-marked and be-wigged, faces the still defiant Mary, whose long red hair hangs in a simple braid down her back, and Elizabeth declares that in her beauty, her marriages and her motherhood, "you've surpassed me in every way" but "your gifts are your downfall."

        Mary places her faith in Elizabeth who swears she will be safe in England, but we know this won't be true. The script builds toward this confrontation instead of drawing upon the psychological horror of the unseen and unknown. Earlier in the film, Elizabeth has declared herself a "man," but she still is plagued by the need for male admiration though she finds men cruel. Yet visually, we see Elizabeth becoming increasingly a caricature of a queen, white-faced with an increasingly elaborate red wig. She is the slightly toned down version of Helena Bonham Carter's Red Queen in the 2010 "Alice in Wonderland."

        At the time of Mary's execution (1587) at 44, Elizabeth was 54 and her favorite, Robert Dudley, had married again (1578), this time to Anne Boleyn's grandniece, the widow Lettice Knollys. Elizabeth would never forgive either.

        By: Jana Monji
        Posted: November 16, 2018, 6:38 pm

      • Thumb indie memphis film

        The lineup for the 21st Indie Memphis Film Festival was such an embarrassment of riches it would have been impossible to catch all of the screenings over the five days of the fest's schedule (events continued into the following week). Senior programmer Miriam Bale, along with shorts programmer Brighid Wheeler, and executive director Ryan Watt put together an ambitious and diverse lineup. Boots Riley, whose excellent "Sorry to Bother You" screened, was in attendance, giving a keynote speech as well as hosting a screening of Terry Gilliam's dystopian "Brazil," one of the major influences on "Sorry to Bother You." New releases were on the schedule, some of which will probably be players in this year's awards season, as well as some older films, like Barbara Loden's recently restored "Wanda," Brian De Palma's 1973 film "Sisters," Berry Gordy's 1975 film "Mahogany," starring Diana Ross, and the 1994 cult classic "Cabin Boy," with Chris Elliott in attendance. It was also a mini retrospective for South Korean director Hong Sang-soo, with four of his films screening ("On the Beach at Night Alone," "The Day After," "Grass," and "Claire's Camera.")

        Contemporary 2018 releases included Alexis Bloom's "Divide and Conquer: The Story of Roger Ailes," Andrew Bujalski's "Support the Girls," Bing Liu's "Minding the Gap," RaMell Ross's documentary "Hale County This Morning, This Evening," Rungano Nyoni's "I Am Not a Witch," Josephine Decker's "Madeline's Madeline" and Barry Jenkins' long-anticipated "If Beale Street Could Talk," making its regional premiere. Jenkins was unable to attend Indie Memphis, and sent a video greeting, played before the screening of the film. He expressed his regrets he couldn't be there with all of us, in the home of Beale Street itself.

        Along with the film schedule, there was the Black Creators Forum, a two-day symposium featuring guest speakers, panels, and a pitch rally—open to industry and public—for 12 African-American filmmakers looking to fund upcoming projects to be filmed in Memphis (the winner would receive $10,000). 


        The festival got off to a strong start with Melissa Haizlip's documentary "Mr. Soul!", about her uncle, Ellis Haizlip, whose groundbreaking PBS show "Soul!" ran from 1968-1973. Initially conceived as "the black 'Tonight Show,'" "Soul!" developed into so much more, with host Ellis Haizlip presiding over a show filled with music, poetry, dance, politics, literature, with guests as varied as James Baldwin, Stevie Wonder, Patti LaBelle, Nikki Giovanni. Borne out of the strife of 1968, with its riots and assassinations, the show was an attempt to counteract the negative image of African-Americans dominating the news. What other television series ever would devote an entire episode to women reading their poetry? "Soul!" did. "Mr. Soul!" is a portrait of Haizlip himself, as well as a history of the television program. So many artists made their debuts on "Soul!", many of whom were interviewed for the documentary. "Soul!" is long overdue for release on box set, or at least to be hosted by a streaming service. People need to have access to this important part of American cultural history.

        I was on the jury in the Hometowners category, along with Cinereach's Leah Giblin and film editor Michael Taylor. Our category included 4 features ("Memphis Majic," "Negro Terror," "Waiting: The Van Duren Story," and "Rukus"), 8 shorts, and 20 music videos, all films either about Memphis or by Memphis filmmakers. 


        Although we loved everything we saw, our choice for best Hometowners Feature was unanimous. "Rukus," directed by Memphis native Brett Hanover, is a queer coming-of-age story, I suppose, but beyond that, the film defies easy classification. Filmed over a 10-year period, "Rukus" blends documentary with fiction, and Hanover plays himself throughout (or versions of himself). Hanover details his fascination with the Furries subculture, and how that subculture introduced him to a mysterious kid from Florida who went by the online name "Rukus." Structured somewhat like "Citizen Kane" at first, Hanover goes on a quest to find out more about Rukus, all as he himself deals with issues surrounding sexuality and identity. There isn't a cliched frame in "Rukus"; it's a singular vision. 

        For best short, we chose "Windows," directed by Jason Allen Lee, praising its innovative visual approach to the lack of privacy in our world. For music video, we chose the video for Faith Evans Ruch's "I'm Yours," directed by Melissa Anderson Sweazy, a Memphis-based photographer, writer, and director. 

        As an added bonus, I gave a talk on Elvis' Hollywood career, introduced by award-winning Memphis writer and filmmaker Robert Gordon (his It Came From Memphis is essential reading, as well as his beautiful Can’t Be Satisfied: The Life and Times of Muddy Waters). I gave the talk in the Circuit Theatre, once The Memphian, a movie theatre Elvis used to frequent. He'd rent it out for an entire night and show up with his entourage. Standing on that stage, in that building, where Elvis himself had so many happy times, was pretty profound. I showed clips from Elvis' movies, "Love Me Tender," "King Creole," "Viva Las Vegas" and more. It was fun to celebrate those sometimes silly movies with such an enthusiastic interested crowd. 


        One other film which I saw and loved was Graham Carter's "Shoot the Moon Right Between the Eyes," starring Sonny Carl Davis ("Melvin & Howard," "Where the Buffalo Roam," "Fast Times at Ridgemont High," "Bernie") and David Kendrick, as Carl and Jerry, two con artists traveling through Texas, romancing lonely rich ladies out of their money. Jerry is in charge of the romancing, while Carl holds down the fort in motels and dive bars. Jerry's romance with Maureen (a wonderful Morgana Shaw) unexpectedly turns into something real, throwing his relationship with Carl into disarray. Meanwhile, a scruffy private investigator named Les (Frank Mosley, in a very funny performance) trails Carl and Jerry, determined to catch the con artist who stole his fiancee right out from under him. "Shoot the Moon" is also a musical, with characters bursting into John Prine songs throughout. The film works on the most simple and elemental level, a level difficult to reach for most film-makers: There's a sweetness in operation, but the sweetness does not feel manipulative or pushed. It's natural, gentle, and human. The film surges with swoony romanticism, presented without a wink of irony. "Shoot the Moon Right Between the Eyes" was one of the real discoveries of the festival for me.

        Every festival has its own energy and personality—Indie Memphis is warm and friendly, yet also exciting and intense. Kind of like Memphis itself. You can check out the full list of Indie Memphis awards heres.

        By: Sheila O'Malley
        Posted: November 16, 2018, 7:05 pm

      • Black Friday and Cyber Monday. The biggest shopping opportunities of the year. WP Newsify lists the best Black Friday and Cyber Monday WordPress deals 2018.

        Best Black Friday & Cyber Monday WordPress Deals 2018

        Black Friday and Cyber Monday. The biggest shopping opportunities of the year. We list the best Black Friday & Cyber Monday WordPress deals 2018.

      • Kricpy Khera - The safety, honour & welfare of your country comes first, always & every time. The honour, welfare & comfort of the men you command, come next. Your own ease, comfort & safety come last, always & every time.

      • A Master’s in Business Administration (MBA) from Educational Institutes in India will not be recognized overseas. We are offering you the start towards an international postgraduate degree abroad right here in India in our campus.

      • According to the eye and cosmetic surgeon Dr. James Daniel Carpenter, a Blepharoplasty or "eye lift" is one of the easiest, safest, and most effective procedures to consider for cosmetic surgery. While talking with someone, you generally look at their eyes—not their mouth, nose, or other areas often targeted for cosmetic surgery. In case your upper eyelids look saggy, that can make you look old, tired, and not engaging. Therefore, getting surgery of that redundant skin on the upper lids can make a big difference. Indeed.

        Things You Need To Know About Getting Cosmetic An Eye Lift Surgery
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        • For some people, it is actually difficult to leave bad habits. Especially when it comes to bad driving habits that most people are doing for a long time. Having knowledge about the things that can damage your car help you avoid destroying your transmission. Also, it will help you avoid costly repairs down the road.

          So, let’s find out top 5 mistakes drivers make that can damage transmission with the experts of Mantrans LLC.

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          • Entertainer
            Entertainer published a blog post Mobile Homes

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            “Mobile Homes” does not want to make anything easy for a viewer—that’s its point. It throws you into the unpredictable lives of a trio living off the radar: mother Ali (Imogen Poots), her boyfriend Evan (Callum Turner), their son Bone (Frank Oulton), and the van-based existence they’ve made for themselves. They make some money by selling various pumps and random animals, and have made a practice out of dine-and-dash. Somehow they stay warm in their snowy surroundings, somehow they eat meals, somehow they keep living this way. Writer/director Vladimir de Fontenay keeps his perspective intimate and his editing scattered as their parenting becomes progressively more stressful, and they clearly struggle to sustain their independent way of life. But under his microscope, they don’t feel like real people lost so much as white American trash test subjects. 

            These are humans who serve no masters except for money, and their bond with each other is elastic, if not reckless. Early into the movie, Evan ditches Ali out in the middle of nowhere to walk back in the snow, but he arrives back at their home base motel at night, with fast food in hand, right after she's found her way back; not long after they make amends by doing it in an indoor pool. All the while, the family has a chicken that they’re grooming for battle, which Bone carries around like a pet. 

            After a pivotal cockfight event, which also has Evan getting Bone to sell drugs, the family ties are destroyed. At the movie's midpoint, the script finds some stability as Ali and Bone escape to world of literal mobile homes, under the protection of a paternal mobile home contractor named Robert (Callum Keith Rennie). As he provides her a second chance through construction gigs, and offers some stability to the mother and son, he also informs them that these are houses, but that “a home is what you put inside of it.” 

            There’s a big meaning to all of this, and yet the movie can’t eloquently express it, even though the metaphor is in the title. Instead, it tries to make drama out of it, big (an admittedly impressive chase sequence with a mobile home in the third act) or small (the constant changing sense of home for the family). There are visual splashes too, but they only highlight the metaphor's shabbiness, like a random but hollow time lapse sequence that shows the back of a new mobile home close-up as it’s being driven away. And yet the film persists with its fixation, only working to dispel any stigma that these homes are less than: after watching this movie they do feel beautiful, inside and out. 

            There’s an off-putting atmosphere to “Mobile Homes” that the story puts more care into its poetic whims than its characters, allowing their stressful decisions to define them without providing emotional connection to the audience. That’s assuredly the case with Callum Turner (who is also in “Fantastic Beasts: The Crimes of Grindelwald” this weekend). His Evan is a faded copy of many a wily, grimy young man whose aggression can easily implode into nervous desperation, especially as he seems to only have his girlfriend and son to lord over but also keep him company. He casually traumatizes both of them, and it’s meant to create tension for us, and some type of sadness. But instead of being a tragedy that inspires the deepest of empathy, he's tedious, vacuous. 

            “Mobile Homes” is given a pulse by Poots, as someone worn down by her choices and alternately relieved by a new life. And yet, she still has a haunting capacity to destroy relationships, or to be influenced by people like Evan. There are stolen moments in the film that find her expressing a wonderment with the idea of having a home, a sense of organization; more scenes of her building a mobile home, studying their purpose while finding her own, might have actually helped the story. But de Fontenay seems to want to put this character through the grimy indie wringer as if to make his grand point; the stability that Poots provides at the film’s core proves to not be enough. 

            However we may feel about these characters, it becomes hard to know what the filmmakers feel about them and their decisions. What they do offer runs cheap—impressive abject misery, weather that looks like it's slowly giving everyone frostbite, and the discomfort of watching Bone constantly disappear, as if he’s one bad decision from wandering off and never being seen again. Add to that a fatal lack of texture, that the movie doesn’t take place in a specific location (it's a French-Canadian project shot in Ontario with a lot of New York license plates). This is poverty as a bland color palette, the characters blending in with their desaturated surroundings in a way that becomes plainly uninteresting. 

            “Mobile Homes” pines to fit in with recent films of similar socioeconomic interests—the freewheeling makeshift family of “American Honey,” the visceral nature of homelessness in “Heaven Knows What,” or the non-fantastical idea of youth in “The Florida Project” (de Fontenay’s film premiered at Cannes the day before the latter did in 2017). But “Mobile Homes” is missing that genuine curiosity and detail that can make observations into these off-the-radar lives so revelatory. Even if the coldness towards character and story is the point, there’s much too little to take away. 

            By: Nick Allen
            Posted: November 16, 2018, 2:40 pm

            • Entertainer
              Entertainer published a blog post Cam

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              Daniel Goldhaber’s “Cam,” premiering today on Netflix, has two things going for it that instantly elevate it above a lot of genre product: a great concept and an even better performance. The concept is one that the writers of “Black Mirror” are probably kicking themselves for not coming up with first and the performance is from Madeline Brewer, so spectacularly committed here that she sells the technological nightmare believably. Sure, when you sit back from “Cam” and consider its action and message you might have a few questions, but this is the kind of clever jolt to the system we want from horror thrillers—an unexpected commentary on today’s society burrowing its way through an intense story.

              Horror and sci-fi have long been the genres most deft at commenting on current fears and societal ills, and so it makes sense that a great deal of both genres has turned its attention to how technology has forever altered the human species. Our obsession with our online personas has brought us to a point where some people have more vibrant e-lives than real ones. There’s a definite sense that we’re losing something to the machines we hold in our hands or place in front of our eyes. Of course, the dehumanization of women through online sex shows that allow for anonymity on both sides of the transaction are another element of the 2018 inter-experience that impacts human behavior in ways we probably don’t even fully comprehend yet.

              It’s in that world that “Cam” unfolds, telling us the story of Alice (Madeline Brewer), who goes by Lola on the cam girl site at which she works. Alice hasn’t told her mother (Melora Walters) that 'Lola' is quickly rising up the ranks of the most popular cam girls on the site, fueled by loyal customers like the twitchy Tinker (Patch Darragh) and the gift-giving Barney (Michael Dempsey). Lola’s show is a bit different from the average cam girl, pushing the boundaries of taste and makeup, but in ways that feel unique. Lola tells her friends that she won’t fake an orgasm but the first show we see her do includes an elaborate routine in which she pretends to slit her own throat for tips, complete with excessive fake blood. From the beginning, “Cam” is asking interesting questions about what is real and how far someone is willing to go online for attention.

              And then Alice wakes up one day to find Lola online doing a show. Someone who looks exactly like her and has her screen name and loyal customers is in a kiddie pool in a bikini, surrounded by blow-up dolphins. The customer service people at her company and the cops don’t really care that someone has quite literally stolen Alice’s identity. It’s just a cam girl account. What if someone was online with your voice and body doing sex shows? Naturally, Alice starts to crack, but she perseveres, digging deeper into the mystery of how this has happened. And if it’s happened before.

              Here’s about the point that I usually write about how this is a “Twilight Zone” or “Masters of Horror” concept that would have been better suited to 30 or 60 minutes, but one of the remarkable things about “Cam” is that this is not the case here. Goldhaber maintains the tension of his ingenious concept from beginning to end, thanks in no small part to Brewer’s completely committed, fantastic performance. It’s a turn that really goes to another level when it essentially becomes a dual one, the dead-eyed “sexy” banter of the faux Lola on screen compared to the increasingly frantic Alice. She’s great and this is the kind of role that should immediately take her to another level.

              A few literal questions start to nag in the second half of the film regarding Alice’s behavior, especially around her loyal customers like Tinker and Barney, who one would think would be White Knight saviors to help her, and the subplot about her family’s disapproval feels undercooked, but the narrative questions are displaced by more interesting thematic ones. What if your online persona was completely distinct from you? And then what if it was more popular than you?!?! “Cam” is a fascinating conversation starter driven by a great performance. Turn it on.

              By: Brian Tallerico
              Posted: November 16, 2018, 2:41 pm

              • Entertainer
                Entertainer published a blog post The Last Race

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                You don’t have to be an avid fan of stock car racing to emotionally appreciate photographer-turned-filmmaker Michael Dweck’s “The Last Race,” a somber portrait of vanishing Americana. In fact, you don’t need to have a taste or affinity for cars or speed-races at all, as Dweck’s patiently observed homage to a tumbledown, proudly-ran racetrack in Long Island’s Riverhead isn’t so much about the sport itself. “The Last Race” instead is an empathetic examination of the traditional lifeline of a tight-knit community, threatened to be torn apart by an inevitable capitalist takeover. As Dweck visually surveys the key blue-collar players of the dignified yet rough-around-the-edges Riverhead Raceway, he almost instantly touches a sorrowful nerve amid all the hand-built, rattling race cars and a stacked-up, mom-and-pop-style office—so quaint that its central cluttered work-desk seems to be permanently taken over by an adorably snoozing toy dog. Throughout “The Last Race” it’s simply impossible to stay indifferent to the sight of local heroes who might lose their seasonal triumphs to corporate greed.

                Right from the start, Dweck unsubtly reminds us that this has happened before—a number of informational title-cards quietly lead the viewer into the noisy trances of the racetrack. Turns out, the Long Island of 1927 is where it all started for stock car races. Over the years since then, there had been as many as 40 speedways in the area, with Riverhead being the only survivor that managed to resist becoming an overstuffed discount megastore or a shopping mall, like a local, historically significant airstrip one turned into in the mid-1950s. This loaded intro infuses Dweck’s film with a second layer of life-or-death stakes, in addition to the thrill and danger of stock racing his intimate camerawork and impressive sound design wholly capture. Full disclosure: I did not view “The Last Race” in a theater with a professional sound system. But even on my TV screen and through my modest speaker, the experience was rousing, and at times, aptly distressing, especially when cinematographer Gregory Kershaw (also the co-writer of the film along with Dweck) seizes the airless claustrophobia of a race car, alongside the desperation of teary drivers, helmeted and buckled up inside of their coffin-like craters. A pair of well-selected movements from Mozart’s Requiem (one directly translates into “Day of Wrath”) accompany these hair-rising scenes to a stirring effect.

                But “The Last Race” isn’t all made up of noise and rah-rah, as its world, despite containing some macho eruptions, couldn’t be further away from NASCAR’s. Commendably, Dweck opts for long takes and little talk, and lets the environs do all the explaining through repetition and accumulation of on-screen details. You will be surprised about the amount of texture and breadth of specificity his economically parsed 74 minutes manage to pack in, without ever feeling tedious or overindulgent. His studious photographic compositions of both the unkempt outdoors and the charmingly untidy office of Jim and Barbara Cromarty (the aging couple that owns and refuses to sell the Riverhead Raceway) obliquely recall the intimate charms of JR and Agnès Varda’s “Faces Places.” I admit to pausing my review screener in a number of places just to take in the level of care Dweck caresses his hypnotically illustrative scenes with.

                A gallery of vivid, socially conscious photography, “The Last Race” owes much of its artful strength to the filmmaker’s resistance to being prescriptive about his unambiguous socio-economic message. When we aren’t in the glory of the circular races and cheap-looking trophies over a weekend, he patiently follows the weekday lives of the track’s various, purposely unnamed stakeholders, as they make ends meet through ordinary jobs that even include pest control in contrastingly affluent areas of Long Island. To Dweck’s credit, he doesn’t draw pity for his subjects as they strive to hold on to their valuable land and protect it from greedy realtors we hear from briefly. Perhaps a little too muted and brief for its own good, “The Last Race” eventually passes the strange beauty it sees in an unusual place on to anyone who will care to look at it with compassion.


                By: Tomris Laffly
                Posted: November 16, 2018, 2:41 pm