#brolly attack scene

[isqueedmyself]

So tell me about the brolly attack. She spins around clockwise, presumably to build up momentum. Then they cut, and she conks him. Counterclockwise.

gif request meme  →  anonymous asked: doctor who + favorite story arc  ↳ The Vault/Missy’s Redemption

[brisbanelife]

Melbourne Express, Wednesday, June 12, 2019

Security cameras capture shocking gun attack on home in Reservoir.Credit:ninevms Police have released images and footage of two shootings that occurred within one week at a Reservoir house, which police believe may be linked to outlaw motorcycle gangs and Middle Eastern organised crime. A gunman fired five shots into the home on Tuesday June 4 before jumping into a car and fleeing. Four days later, a resident was walking out of the house when a guman jumped out of a waiting car and started firing shots, continuing to fire as the victim ran back inside for cover. Residents in Campbellfield, Epping, Lalor and Somerton have been warned to close windows and doors and keep the roads clear as a factory fire blazes in Campbellfield. The fire started at a shed connected to a factory on Rex Street in Campbellfield around early in the morning. Firefighters were called to the scene about 3.30am and as of 5am had the fire under control. Although there is no danger to residents, anyone living in the areas is warned to stay alert. It's looking all clear on the trains right now - hooray! On the roads, the left lane of the Nepean Highway is closed northbound in Mornington near Beleura Hill Road due to a burst water main. And watch out if you're planning on using Scoresby Road in Bayswater, there has been an accident southbound at High Street. We'll leave you with this PSA from Victraffic: Hello and welcome to Wednesday. It's a pleasant 16 degrees right now in Melbourne but don't expect it to last - we're in for some torrential rain and wild weather as the day goes on so grab your brolly and buckle up. Hop up and make yourself a coffee. We'll be back soon with the latest traffic and today's headlines. See anything worth sharing? Let us know on email or Twitter. https://www.brisbanetimes.com.au/national/victoria/melbourne-express-wednesday-june-12-2019-20190612-p51wq8.html?ref=rss&utm_medium=rss&utm_source=rss_feed

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND January 25, 2019  - The Kid Who Would Be King, Serenity

(Yes, I realize the weekend just ended for most, but hey, might as well get an early crack at NEXT weekend, huh? January is winding down with what’s going to be seem like a fairly boring weekend after last week’s M. Night Shyamalan sequel disappointing when compared to the sensation of Dragon Ball Super: Brolly, a movie that few movie writers knew about before Wednesday but grossed $21 million in six days. But hey, variety is the spice of life, and the two movies opening wide this week certainly add some spice with a duo of films from reputable British writer/directors.

THE KID WHO WOULD BE KING  (20thCentury Fox)

Written and directed by Joe Cornish (Attack the Block) Cast: Louis Ashbourne Serkis, Dean Chaumoo, Angus Imrie, Tom Taylor, Rebecca Ferguson, Patrick Stewart, Rhianna Doris, Denise Gough MPAA Rating: PG

On the one hand, this action-adventure film is an exciting one, because it’s the second feature from Joe Cornish following his astonishing 2011 debut Attack the Block, but also, because it’s Cornish’s first studio feature for a mainstream audience, geared towards family audiences in particular.

It’s a fairly standard take on the King Arthur mythos with a young British lad (played by Andy Serkis’ son) finding Excalibur, the legendary sword in the stone and having to team with his best friend (and a couple school bullies) to take on the return of Morgana le Fey (Rebecca Ferguson).

It seems like a good idea to get kids, especially young boys, interested in the tales of King Arthur even though the last few movies have bombed as neither Guy Ritchie’s 2017 film King Arthur: Legend of the Sword or the Jerry Bruckheimer-produced 2004 movie King Arthur found much of an audience. In fact, trying to bring any British legend to the screen and get American moviegoers interested might be a fool’s errand, as seen by last year’s Robin Hood bomb.

The thing is that other than Patrick Stewart – star of Fox’s ongoing X-Men franchise, which seems to be in limbo these days -- and Rebecca Ferguson from the last couple Mission: Impossible movies, there are no stars in the movie that could entice those on the fence about whether to see this movie.  On the other hand, reviews have generally been good which could help boost interest a little more going into the weekend.

At first, I thought maybe this would end up with around $10 million, but it’s basically going to be a family movie coming into a market where most other family films have been in theaters for three weeks or more. (Dragon Ball is an exception.) Fox was also able to get it into more than 3,4000 nationwide, because wisely, it waited until after Glass opened for this.  Because of this, I’m going to goose up my number to somewhere between $11 and 13 million with most of the family movies geared towards boys falling away and Joe Cornish’s older fans maybe giving this a look. Sadly, the movie is not being marketed as “from the director of Attack the Block” as it clearly should be.

Mini-Review: Granted that Attack the Block was always going to be a hard act to follow for Joe Cornish, and yet he has written and directed a follow-up that might appeal to younger moviegoers though maybe not so much Cornish’s older teen fans from his directorial debut.

Louis Ashbourne Serkis, who is indeed the son of Andy Serkis, plays Alex Elliot, a fairly normal 10-year-old, who stands up to a couple school bullies and while being chased by them finds a sword embedded in rock on a construction site. It is indeed the fabled “Sword in the Stone” Excalibur as used by King Arthur. Along with his best friend Bedders (Dean Chaumoo) and their two relentless bullies (Tom Taylor, Rhianna Doris), they all go on a quest to fight Arthur’s evil sister Morgana (Rebecca Ferguson) and save Britain.

The first major hurdle this otherwise fine kids’ action-adventure faces is the fairly weak cast, because without liking Alex or his colleagues, it’s hard to root for them even with the stakes never feeling too great. The one exception is Angus Imrie as the young Merlin who somehow manages to get more laughs than the older Merlin, played by Sir Patrick Stewart. Alex’s mother is played by Claire Foy lookalike Denise Gough, and she also doesn’t bring much to what should have been touching scenes with Serkis. Ferguson is decent as Morgana, although the role doesn’t give her much to do.

Using many of the same creative team used by buddy and sometime producer Edgar Wright on Baby Driver, including DP Tim Pope and editors Jonathan Amos and Paul Machliss, as well as production designer Marcus Rowland, it’s a safe bet that Cornish has made another movie that looks damn good.  As with Attack, Cornish’s FX team perfectly integrate the many CG beasties with the human characters.

The thing is that Cornish does a fine job with this material, so that the movie is better than the Percy Jackson movies or other similar family films, and he should be commended for making such a smooth transition to studio family films. Even so, by the third act, I was just getting very bored, especially when I thought it was ending, and it went on for another 15 minutes.

The Kid Who Would Be King is perfectly fine -- it has its moments -- but there’s something about it that left me wanting, because it seems like it should have been a lot better overall.

Rating: 6.5/10

SERENITY  (Aviron)

Written and directed by Steven Knight (Locke, Redemption, “Peaky Blinders,” “Taboo”) Cast: Matthew McConaughey, Anne Hathaway, Diane Lane, Jason Clarke, Djimon Hounsou  MPAA Rating: R

The other new release of the weekend is something that possibly could have done very well in the ‘90s or early ‘00s as an erotic thriller, a genre that has had its ups and downs but has mostly done decently at the box office. This is the third movie from Steven Knight, the director of Lockeand writer of Eastern Promises, “Peaky Blinders” and “Taboo,” though I’m not sure his previous hits will convince many to see this in theaters.

Matthew McConaughey plays fishing boat captain Baker Dill, who has been living in hiding on Plymouth Island after his divorce. His ex-wife Karen, played by Anne Hathaway, shows wanting her to kill her violent and abusive husband (Jason Clarke) in order to save her and Baker’s teen son.  

McConaughey’s career has been all over the place in recent years, but his recent crime-thriller White Boy Rick didn’t do very well, and it feels like Serenity is heading towards a similar fate. In fact, McConaughey has been in quite a string of bombs since winning an Oscar for 2013’s Dallas Buyers Club with his biggest hit being the animated Sing. His most high-profile movie The Dark Tower made $120 million worldwide based on $60 million budget which made it barely profitable but especially disappointing due to its studio’s franchise plans.

Having Anne Hathaway could help as she’s been a lot more careful about her choices since winning her own Oscar a year earlier with last year’s Ocean’s 8, in which she played herself,being a relative hit with almost $300 million worldwide. Her last movie with McConaughey was Christopher Nolan’s Interstellar in 2014, which grossed $188 million domestically, so that’s somewhat of a bonus. The cast is rounded out by the ever-present Jason Clarke, who has yet to really break-out despite being involved in many Oscar-caliber films, as well as Djimon Hounsou, who is becoming a superhero film regular, having just appeared in Aquaman and having roles in Captain Marveland Shazam.  (Some might remember that he also had a great scene with Chris Pratt early in the first Guardians of the Galaxy movie.)

While erotic thrillers have done well in the past, this movie was originally supposed to come out last September, and there was advertising trailers all summer – I know that because I saw the trailer for this in front of a ton of movies – but then it was moved to January, which is never a good sign of faith. This is a rare release from fledgling distributor Aviron Pictures, who released just two movies in 2018.  Aviron is releasing this one into just 2,500 theaters, which might already be too many screens considering how little marketing the film has

Reviews are still embargoed until Thursday (never a good sign), but I’m probably not going to review the movie, since I saw it quite some time ago, though I do have to say that that the big twist in this movie angered me more than anything in M. Night Shyamalan’s Glass.

This movie looks like the epitome of a late January bomb, one that probably won’t come close to $10 million for the weekend and might even end up closer to $5 million or a little more. Either way, it won’t have to make that much to end up in the top 5 this weekend since it’s going up against many movies that have been playing since before Christmas.

This week’s Top 10 should look something like this…

1. Glass   (Universal) - $19 million -53%

2. The Kid Who Would Be King  (20thCentury Fox) - $11.6 million N/A

3. The Upside (STX) – $10 million -33%

4. Serenity (Aviron) - $6.5 million N/A

5. Aquaman (Warner Bros.)  - $5.5 million -47%

6. Dragon Ball Super: Brolly (Funimation) – $5 million -49%

7. Spider-Man: Into the Spider-verse  (Sony) - $4.8 million -37%

8. A Dog’s Way Home  (Sony) – $4.2 million -42%

9. Mary Poppins Returns  (Disney) - $3.1 million -45%

10. Escape Room  (Sony) - $2.8 million -46%

LIMITED RELEASES

Many of my colleagues will be heading to the Sundance Film Festival this week, but I’m not going, so I don’t have much to say about it. Sorry!

On a more local level , we get  FIAF ANIMATION FIRST FEST over the weekend, focused on the booming French animation film industry with a 20thanniversary screening of Michel Ocelot’s Kirikou and the Sorceress and 17 US  and New York premieres, including the New York premiere of Funanand a number of shorts programs. Studio Ghibli’s Isao Takahata, who died last year, will be honored. You can read the full program and schedule of events Here.  I personally have never attended, but if I wasn’t busy I might check out some of the programs.

As far as the limited releases…

Following its November qualifying run as Germany’s Oscar entry and with two Oscar nominations under its belt, Oscar-winning filmmaker Florian Henckel von Donnersmarck’s (The Lives of Others) new movie NEVER LOOK AWAY (Sony Pictures Classics). The historic drama is loosely based on the life of visual artist Gerhard Richter with Tom Schilling (Woman in Gold) playing a young artist who has watched East Berlin go from Nazi occupation, watching his older sister be sentenced to death due to her mental illness by a ruthless Nazi doctor (Sebastian Koch), to falling in love with a young woman (Paula Beer) who happens to be that doctor’s daughter and escaping to West Berlin during the country’s contemporary art movement.  I found the movie to be overly long and a little confusing, because I wasn’t sure what the movie was supposed to be about until about 30 minutes into it.  

Just a few months after his last film The Mercy barely got a glance, The Theory of Everything director James Marsh’s new heist film  KING OF THIEVES (Saban Films) will open in theaters (including New York’s Cinema Village) and on VOD and Digital HD on Friday. The true crime tale about a group of retired crooks trying to stage an elaborate jewelry heist stars an ensemble of legendary British actors in Michael Caine, Jim Broadbent, Michael Gambon, Ray Winstone, Tom Courtenay along with Charlie Cox aka Daredevil. I had high hopes for this movie being better than the likes of Zach Braff’s Going in Style, something classier like last year’s The Old Man and the Gun, but sadly, it’s an obvious money grab for older British men and women reminiscing about all the better crime movies made by the cast.

Claus Räfle’s docudrama THE INVISIBLES (Greenwich) follows four German-Jewish youth who decide to stay behind in Berlin as World War II is beginning, living vicariously while dodging Nazi officials before eventually joining the resistance.  This story of survival opens at New York’s Quad Cinema and Landmark 57, as well as in L.A. at the Laemmle Royal on Friday.

The Brazilian animated film TITO AND THE BIRDS  (Shout! Studios) from filmmakers Gustavo Steinberg, Gabriel Bitar and André Catoto tells the story of a boy and his father who are looking for the cure for an illness inflicted on someone after being scared. After playing a number of film festivals, it also opens at the Quad Cinema in New York

It’s hard to believe that 88-year-old French New Wave filmmaker Jean Luc Goddard is still with us and making movies, but all the recent repertory series in New York and L.A. have been leading up to his latest film THE IMAGE BOOK (Kino Lorber). Don’t know much about this film which received a special Palme d’or at Cannes last year, but apparently it’s a “collage film essay,” which means that it probably doesn’t have a plot or narrative that’s easy to explain. It opens at the IFC Center and Lincoln Center in New York.

Tom Arnold and Sean Astin star in Ron Carlson’s Dead Ant (Cinedigm) as the members of an ‘80s hair metal band called Sonic Grave who had a power ballad hit 30 years earlier, and while they’re on a road trip to Coachella, they find themselves trying to be relevant again…. Until they’re attacked by giant killer ants. Okay, I think I need to see this movie, as it seems like my kind of movie.

Playing for one night only nationwide on Thursday as a Fathom Event is Timothy Woodward Jr.’s horror film The Final Wish (Cinedigm), starring the wonderful Lin Shaye (Insidious), Michael Welsh, Melissa Bolona and Tony Todd, and produced by Jeffrey Reddic (writer/producer of Final Destination).  Welsh plays Aaron Hammond who returns to his hometown after the death of his father to help his bereaved mother (Shaye) and deal with the demons from his past, finding a mysterious item while going through his father’s belongings.

Opening at New York’s Cinema Village on Friday and at L.A.’s Laemmle Music Hall on Feb. 1 is Francois Margolin’s controversial French drama Jihadists (Cinema Libre), co-directed by by Lemine Ould Salem, which was banned in France. It follows two filmmakers who were given access to fundamentalist clerics of Sunni Islam to show what it’s like to live your life under jihadi rule.

From Bollywood comes Vikas Bahl ��s drama Super 30 (Reliance Entertainment), starring Hrithik Roshan as Patna-based mathematician Anand Kumar, who runs the famed and prestigious Super 30 program in Patna. Not sure of the theater count but it’s probably opening in a dozen or so theaters.

Opening on Wednesday following its premiere at Doc-NYC is Robert Townsend’s doc The 5 Browns: Digging through the Darkness, which looks at the 5 Browns, a group of Julliard-trained sibling pianists who rose to stardom only to be devastated when it’s revealed that the three sisters were sexually abused by their manager father Keith Brown. It opens at the IFC Center for a single-week run.

Also opening at the Cinema Village and in select cities is John Kauffman’s Heartlock (Dark Star Pictures), a love story about a female prison guard, played by Lesley-Ann Brandt,  who becomes the subject of affection from a charming male convict (Alexander Dreymo) who wants to use their relationship to help him escape.

STREAMING

The main film streaming on Netflix on Friday is Jonas Akerlund’s POLAR, his follow-up to Lords of Chaos, which premiered at Sundance last year and comes out a few weeks later. Based on the Dark Horse graphic novel, it stars Mads Mikkelson as assassin Duncan Vizla, known as the Black Kaiser, who is getting ready for retirement in a suburban town when he’s dragged back into one last job, but when it goes wrong, Duncan’s new love interest (Vanessa Hudgens) is dragged into it. I’ve never read the graphic novel, and I’ve generally been mixed on Akerlund’s films, but this one is definitely in the same absolute insanity realm of his earlier film Spun with a lot of crazy over-the-top performance from the likes of Matt Lucas (Little Britain) and Johnny Knoxville (Jackass), but in this case, it’s not a good thing. Mikkelson gives another stellar performance, and Hudgens is also quite good (didn’t even recognize her) but the craziness surrounding them from Lucas and the other assassins sent after Duncan made it hard to enjoy the film, especially compared to Mikkelson’s other upcoming film Arctic, but hey, it’s on Netflix so I’m sure people will watch it anyway.

Speaking of which, I also want to note that last week, I didn’t notice that a science fiction film called IO: Last on Earth, starring Margaret Qualley (Novitiate),was also streaming on Netflix. I haven’t watched it yet, but one of the writers also co-wrote Claire Carée’s Embers, which is one of my favorite festival discoveries from the past few years.

REPERTORY

METROGRAPH (NYC):

The Metrograph has a couple new series starting Friday, including Hou Hsiao-Hsien in the 21st Century, featuring 35mm prints of four of the Chinese filmmaker’s recent films: Millenium Mambo, Three Times, Flight of the Red Balloon and Café Lumieré. Then on Saturday, the Metrograph will show the classic Gone with the Windto kick off its Produced by David O. Selznick series, and there’s some great stuff to come, including Alfred Hitchcock’s Spellboundand Rebecca.  The theater will also be screening a 35mm of Ken Loach’s 1991 film Riff Raff, starring Robert Carlyle, who would breakout in Danny Boyle’s Trainspotting. On top of that, Kay Francis: Queen of Pleasure continues with William Dieterle’s Jewel Robbery (1932) and 1929’s The Cocoanuts this weekend, while this weekend’s Late Nites at Metrograph  option is Chantal Akerman’s News from Home  (1977) and Playtime: Family Matinees shows the 2015 animated film Shaun the Sheep.

THE NEW BEVERLY  (L.A.):

Weds. and Thurs. see double features of the 1977 film The Late Show and ‘78’s The Big Fix, starring Richard Dreyfuss. Friday sees a double feature of American Graffiti  (1973) and The Lords of Flatbush  (1974) with More American Graffiti (1979) added on Saturday… for just 10 bucks!The weekend family matinee is 1947’s The Secret Life of Walter Mitty, starring Danny Kaye.  The Sunday/Monday Franco Zeffirelli double feature is Romeo & Juliet (1968) with Brother Sun, Sister Moon  (1972). Tarantion’s Jackie Brownonce again plays at midnight Friday and the Tuesday Grindhouse triple feature is Katt Shea’s Poison Ivy  (1992), Streets (1990) and Stripped to Kill  (1987), which is already sold out online but may have more tickets at the door.

FILM FORUM (NYC):

Far Out in the 70s: A New Wave of Comedy, 1969 - 1979 continues with La Cage Aux Folles and The Seduction of Mimi on Wednesday, double features of Who is Killing the Great Chefs of Europe? and Theater of Blood on Thursday, Woody Allen’s Sleeper and Bananas on Friday, then Blazing Saddles, Young Frankenstein, Rock ‘n’ Roll High School, Monty Python and the Holy Grail on Saturday, and Papermoon, What’s Up, Doc? starring Barbara Streisand and Woody Allen’s Play It Again Sam on Sunday. As part of the series focusing on the great filmmaker and actor Elaine May, Film Forum will show A New Leaf (1971) and Mickey and Nicky (1976) next Tuesday. The weekend’s Film Forum Jr. is Gordon Parks’ 1969 film The Learning Tree.

EGYPTIAN THEATRE (LA):

Beginning another fun series of double features this weekend with Argento/De Palma with a double feature of Suspiria and Carrie on Thursday, Blow Out and Inferno on Friday, and Dressed to Kill and Tenebrae on Saturday. Saturday sees a special presentation of Craig Owen’s The Silent Film Era at the Alexandria Hotel, while the 1916 Douglas Fairbanks film His Picture in the Papers will also screen on Saturday with live music accompaniment.

AERO  (LA):

The AERO is offering an eclectic mixed bag of films this weekend including the 4k restoration of Wim Wenders’ Wings of Desire (1987; Janus Films) on Friday night, David Fincher’s Fight Club  on Saturday, and the WC Fields comedy My Little Chickadee (1940) on Sunday night.

QUAD CINEMA (NYC):

Continuing the theater’s attempt to keep up with ‘90s Cinemax with its X-rated fare, Just Jaekin’s erotic drama Emmanuelle (Kino Lorber; 1974) will screen in a special engagement, leading up to next week’s Beyond Emmanuelle Just Jaeckin retrospective and Erotic Journeys: The Many Faces of Em(m)anuelle. 

IFC CENTER (NYC):

On Friday and Saturday at midnight, the IFC Center will show the 4k restoration of Dario Argento’s Suspiria as part of its Late Night Favorites series. While The Image Book opens here on Friday, Weekend Classics: Early Godard  continues with a 35mm print of A Woman is a Woman  (1961) and Waverly Midnights: The Feds screens Michael Mann’s Manhunter(with Silence of the Lambs and Hannibal coming in the next two weekends!)

LANDMARK THEATRES NUART  (LA):

Friday night’s midnight screening is the Rocky Horror Picture Show follow-up Shock Treatment (1981).

MOMA (NYC):

This week’s Modern Matinees: Sir Sidney Poitier offerings are A Patch of Blue  (1965) on Weds, They Call Me Mr. Tibbs! (1970) Thurs, and No Way Out  (1950) on Friday. MOMA is also screening Ida Lupino’s Never Fear (The Young Lovers) (1950) to end its 16th annual To Save and Project series, although there’s a couple second screenings for those (like me) who only just found out about it now.

That’s it for this week… next week, it’s February! Already?? While many movie writers are still at Sundance and others are preparing for Super Bowl Sunday, Sony releases the crime-thriller remake Miss Bala.

[terryblount]

We Happy Few patch 1.6 reworks save system, brings performance improvements and more

Compulsion Games has released a brand new update for We Happy Few that includes fixes for performance optimization, crash fixes, fixes for progression blockers, fixes for gameplay bugs, localization fixes, and a new save game system.

Going into more details, patch 1.6 brings a fix for audio corruption issue that could occur after extended periods of play, fixes many stuck spots, adds missing collisions, prevents subtitles from keep playing when pausing a cinematic and resolves the visual/collision issues that could occur when running too fast.

This patch also comes with numerous gameplay tweaks/fixes. For example, it improves weapon combo feel, prevents AI opponents from attacking when not in range, reduces shoe durability, fixes a bug that could cause the character to continue taking damage when fast travelling in toxic fog and more.

As always, Steam will auto-download this patch the next time you launch its client. The full release notes contain some Quest fixes (that could feature spoilers) so we’ve removed them from the changelog (you can find them here).

We Happy Few Patch 1.6 Release Notes

General Bugs/Stability

• Reworked save system and menu. You now have access to significantly more saves and save slots than before. • Performance improvements. • Crash fixes. • Fix for audio corruption issue that could occur after extended periods of play. • Many localization fixes. • Many stuck spots fixed and missing collision added. • Added missing names to the credits. • Fixed issue where, rarely, the game could return to the main menu after loading occurs. • Save games will no longer rarely get stuck in a state where no input is accepted, including the Esc key. • Loading videos will no longer use the default ‘Happy is the Country with no Past’ if the user is playing in a language other than English • Subtitles no longer keep playing when pausing a cinematic. • Dying now loads the most recent save state, rather than the last autosave. • Emitted lights will no longer sometimes fail to render when entering an area for the first time. • Save/Load no longer causes (Unconscious) NPCs to be tagged as (Deceased) when loading back in. Don’t worry – they were never really dead, just mislabelled. • Alternating the quality game settings no longer causes the weapons equipped on characters to disappear from view. • Train station flashback audio should now always play during their related cutscene. • Running too fast can no longer cause visual/collision issues. • Systemic NPCs and those who should be on patrol in encounters should no longer occasionally stand in place motionless until suspicion is triggered. • Large amounts of corpses or NPCs no longer cause game to behave oddly. • Subtitles should now appear in cinematics for community localizations during Arthur’s prologue. Gameplay Fixes

• Combat: Combo controls – improved weapon combo feel. • Combat: AIs should no longer attack when not in range. • Shoe durability was way too high. Now shoes should not last until the heat death of the universe. • Chronobalm is no longer effective during cutscenes, conversations and certain animations, which could cause synchronization issues. Reloading the game while under Chronobalm effects also no longer makes Sally move significantly faster without feedback until the effect wears off. • Go Go Juice no longer puts the player into a dying state once it expires. Instead, Go Go Juice withdrawal has been implemented. • Somnambulax effect now depletes over time. • Crawling into a window will no longer cause the player to become stuck. • Rubbish bin hiding has been reworked to not allow you to get stuck in geometry when leaving the hiding spot. • After the final cutscene of Sally’s story, the game will no longer occasionally freeze after pressing “A” to start Ollie’s story. • Fixed possible locations for the Common Pituitary Fluid and Beefy Pituitary Fluid. • Sally: Previously harvested butterflies no longer re-spawn in an unharvestable state. • Sally: Jubilator Activator and Advanced Machine bits now spawn to craft any upgraded version of the Jolly Brolly. • Sally/Ollie can now run once the stamina bar has been depleted at the Hard difficulty while having the Plague, Low Blood Sugar and the Hunger Status Effects. • Arthur/Ollie – The Truth Shall Set You Free: Artifacting no longer occurs on remember/forget scene if random buttons are pushed. • Arthur/Sally: After acquiring the backstabber skill, tranquilizer darts will no longer one shot kill unaware wastrels on the first two garden district islands. Also tranquilizer darts no longer do damage. • Ollie: Can no longer get stuck in a death loop due to high blood sugar. • NPCs should no longer be missing their hair variants in-game. • NPCs now gesture in conversation when standing in front of each other. • Fast travelling while in toxic fog no longer causes the character to continue taking damage. • Flavor text of the Victory Meat no longer incorrectly states that it contains Joy. • Getting shoved while getting inside a Joy booth no longer causes the character to get stuck inside them. • Fixed issues caused by looking down, jumping and getting close enough to mantle a window that has furniture in front of it. • Opening chests with a lock-pick while having a weapon equipped no longer causes the weapon to suddenly appear horizontally on screen during the unlock animation. • Power Cells in compliment machines no longer appear removable. • Quickly alternating between certain actions and the dropping prompt while carrying a body no longer prevents it from being dropped/thrown. • Running into thrown bodies no longer sends them flying away. • No longer possible to buy more than what the character has money for, which lead to an infinite money exploit. • The player can no longer remain indefinitely suspicious due to vandalism. • Grapefruit Juice behaviour is now consistent with its stats. • Lockpicking a door at a certain angle no longer causes the player to pick the lock from the other side of the door. • Players should now always be able to exit the Maidenholm shelter. • Quest NPCs will now respawn if you lure them more than 150 meters away from their location, forcing them to disappear. • On Easy difficulty, fast traveling no longer depletes the Hunger and Thirst meters, eventually triggering the debuffs. • Corporal Cheeseman will no longer fall out of world when hit by Ollie with an enhanced cricket bat. • Plagued Wastrels now aggro/attack the player on sight in all cases. • Player can no longer obtain the Bone Saw with the Breaker Manual. • No longer possible to duplicate equipment by equipping a stack and dropping directly from the equipped item. • Food poisoning and drugged state caused by Histoplasma statuses no longer refresh after performing a save/load. • Tea no longer has a Joy bar in its description. • Toasted Chicory no longer has a Joy bar in its description. • Joy overdose is now no longer suspicious to NPCs in the Village. • Throwing a preplaced body right after grabbing it no longer causes issues. • Blocking or attacking while vomiting, no longer pauses vomiting or leads to temporary paralysis. • Player now receives murder credit from bleeders.

UI

• The prompt to carry a body while performing a takedown now correctly informs the player to HOLD the button rather than press it. • The “Container” menu now shows all items by default (instead of the last item tab selected). • Car “trunk” renamed to “boot”, in accordance with Her Majesty’s lexicon. • Failed quests now moved to the “Completed” section of the Journal. • Ollie: Pressing the “Continue” button from the main menu after completing Ollie’s progression could prompt a confirmation but doesn’t load any game. • Controller Aim Sensitivity X text spells “Hotizontal” instead of Horizontal. This one pains us internally. • Flashbacks in the theatre will no longer be played from the beginning upon pausing and resuming them. • Buying until the till goes past 999£ no longer causes the till counter to split and become hard to read. • Failing an encounter before obtaining it no longer causes the journal entry to be blank. • The fully extended carrying capacity tip has been amended for better clarity. • Objects given to the player via blueprint nodes now properly give the player a notification. • Status UI overlaps with the compass when the aspect ratio is 4:3 or 16:10. • Added a prompt informing the player how to confirm Fast Travel when using a controller for some locations. • Fixed news prompt in main menu when using a controller. • Removed player death statistic from the statistics screen.

Achievements and Collectibles

• Uncle Jack Show broadcasts will now be unlocked in the Theatre when watching them on a home TV or listening to them on a radio already turned on, if you watch/listen for a few seconds. • “Gimme Shelter” achievement now correctly unlocks after discovering all five shelters (previously was 4). • “You Do Know Jack” achievement now correctly unlocks when collecting the last mask in Sally’s Story (even though 1 broadcast was still missing). • “Gotta Catch Them All!” achievement now unlocked after collecting the correct number of butterflies. • The ‘Swimming’ mask in The Great Stink will now be visible from further away. • “News Hour – Well look at you!” is now present in the theatre after collection.

World Generation

• Bobby poppers and other objects should no longer be able to spawn in front of doors or entrances to hiding alleys. • Benches should no longer smerge with waste bins, post boxes, walls, joy booths or other decorators. • Dig Spots should now always spawn at the right height to dig them. • Ollie – A Pomaceous Puzzles: Bobbies and gas mask now spawn on all world seeds. • Fixed issues where the shape of the Garden District Islands may create holes and stuck spots around the edges of the islands where the Village and the Wild portions merge. • Village – Hills and roads/streets can no longer generate lower than intended, leading to multiple issues. • Ollie: Fixed floating terrain in Lud’s Holm • Sally: Fixed road generating irregularly on a certain worldgen.

We Happy Few patch 1.6 reworks save system, brings performance improvements and more published first on https://touchgen.tumblr.com/

[deltamovies]

Una Free Full HD watch online & movie trailer

Release Year: 2016

Rating: 6.5/10 ( voted)

Critic's Score: /100

Director: Benedict Andrews

Stars: Ruby Stokes, Rooney Mara, David Shields

Storyline When a young woman unexpectedly arrives at an older man's workplace, looking for answers, the secrets of the past threaten to unravel his new life. Their confrontation will uncover buried memories and unspeakable desires. It will shake them both to the core.

Cast: Ruby Stokes –

Young Una

Rooney Mara –

Una

David Shields –

Man in Nightclub

Ben Mendelsohn –

Ray

Tara Fitzgerald –

Andrea

Madeleine Brolly –

Courtroom Clerk

Richard Cunningham –

Prosecutor

Gary Finnerty –

Truck Driver

Riz Ahmed –

Scott

Maciej Krupianik –

Foreman

Mandy Surridge –

Picnic Mum

Xanthe Gibson –

Leah

Ciarán McMenamin –

John

Katie Money –

Gemma

Poppy Corby-Tuech –

Poppy

Country: UK, Canada, USA

Language: English

Release Date: 3 Jan 2016

Filming Locations: Camberley, Surrey, England, UK

Opening Weekend: €8,959

(Portugal) (10 September 2017)

Technical Specs

Runtime: 94 min

Did You Know?

Trivia: Ben Mendelsohn and Riz Ahmed had previously starred together in Star Wars: Rogue One (2016). See more »

Quotes:

User Review

Author:

Rating: 7/10 Conventional genre movies work their magic almost entirely through manipulating stereotypes. But many powerful movies work in reverse: they deconstruct stereotypes to challenge our boundary perceptions. Themes like feminism, racism and nationalism, are regularly pulled apart to see what makes them tick. In recent years, child sexual abuse has been in the spotlight and it is overwhelmingly treated as a moral absolute. However, the film Una (2016) challenges the norm by exploring ambivalences in a case of blatant abuse. In doing so, it places the audience squarely on the judge's bench.

Adapted from the acclaimed 2005 stage play Blackbird, this tense drama-thriller explores the moral ambiguities of a criminal act that occurred 15 years ago between 40-year old Ray (Ben Mendelsohn) and 13-year old Una (Mara Rooney). The emotionally immature Ray was obsessed with the lonely and precocious Una over a three-month relationship before having 'consensual' sex with her. By chance, the incident was discovered and he spent four years in jail. Since then he changed his name and has tried to restore his life. Meanwhile Una's world spiralled into an emotional void. Now 28, she has tracked him down and unexpectedly confronts him at the factory where he works. Instead of attacking him for the abuse, she demands to know why he abandoned her after their one night together. They continue talking beyond the factory's closing time, then she tricks another employee to take her to Ray's home where his girlfriend is hosting a party. At this point, the intensity of the factory scenes becomes diluted and the sparring inconclusive.

This is an explosive mix of issues, personality and circumstance. The film consists mostly of their verbal sparring about the illegal 'affair' with dialogue ranging from hysterical, passionate to icy cool within an industrial setting that is claustrophobic and alienating. It is beyond Ray's emotional capacity to understand what Una wants, while she vacillates between wanting to restore her juvenile obsession with him and wanting to see him wallow in guilt for his crime. Every time we feel contempt for him, we see a piece of the emotional puzzle indicating human weakness but not evil. Every time we admire Una's determination to hold Ray to account, we see a glimpse of her complicity and manipulation. Mara Rooney and Ben Mendelsohn fill their characters with confusion and remorse. At the same time, they depict genuine emotional connection with each other despite the legal, emotional and moral prohibitions that still frame their lives. Their performances are brilliant.

At one level, this film is about the horrendous impact on victims and the abrogation of responsibility that occurs in cases of child sexual abuse. At another, it pulls apart the stereotype of victim and abuser to shed light on how it can happen and its painful aftermath. Some audiences may be repulsed at the level of sympathy shown to the perpetrator and the implicit sharing of responsibility between a juvenile and an adult for what is entirely an adult crime. Others may be shaken by the idea that such crimes may have any moral ambiguity at all. In any case, this is brave and provocative cinema that cuts across the guilt versus innocence binary.

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