#just before jack & diane’s ceremony begins

[bobbie-robron]

A little lesson in life, girls. Always keep your friends close… and our Valerie even closer. (Part 3.1)

Diane gives Val an important role in the wedding… walking her down the aisle. Poor, poor Andy… a watcher from afar. Louise is surprised to see Val, what nerve, but Diane has her reasons. Danny notices Robert SMIRKing at Rodney 😂. Robert winding up Jack. Val has a chat with Andy how things will change in time.

21-Sep-2004

[undertheinfluencerd]

https://ift.tt/2X2MXow #

After making her screen debut in 1989, Sandra Oh has enjoyed a remarkable career in both film and television. Although the versatile talent and 12-time Emmy nominated actress is best known for her iconic roles as Cristina Yang on Grey’s Anatomy and Eve Polastri on Killing Eve, Oh has also worked with some of the finest movie directors, including Alexander Payne, Steven Soderbergh, Mina Shum, John Cameron Mitchell, and more.

RELATED: Killing Eve – 10 Best Quotes From The Show

As fans continue to enjoy Oh’s new hit Netflix sitcom The Chair, it’s worth recollecting her best movie moments for those who want to see more of the talented actress on the big screen.

10 Defendor (2009): 6.8

Peter Stebbings’ dark offbeat superhero comedy Defendor stars Oh as Dr. Ellen Park, a psychiatrist who gives hilarious facial and verbal reactions to the outlandish story relayed to her by Arthur Poppington (Woody Harrelson), an ordinary man moonlighting as a vigilante crime fighter.

Cut from the same genre-bucking, irreverent cloth as James Gunn’s Super, once Arthur confesses his secret life to Dr. Park, she convinces the judge to go easy on him and allow him to continue his heroic activity. When tragedy strikes, Oh shows how much heartfelt pathos she can portray by attending a touching ceremony for her patient.

9 Under The Tuscan Sun (2003): 6.8

Written and directed by the late Audrey Wells, Under the Tuscan Sun is a delightfully uplifting rom-com about Frances (Diane Lane), a writer who ups and leaves her life in San Francisco to live in Tuscany after discovering her husband’s infidelity. Oh plays Patti, Frances’ best friend who encourages her to travel to Italy.

RELATED: Sandra Oh – 10 Best Roles, Ranked (According To Rotten Tomatoes)

In addition to the gorgeous locations, breezy tone, and rich cinematography, Oh adds complexity to the story as Patti, a lesbian expecting a child even after her lover Grace (Kate Walsh) has left her. It’s Patti’s visit to Tuscany when she’s nine months pregnant that helps Frances find the courage to pursue true love despite the painful past.

8 Double Happiness (1994): 7.0

Oh made her feature film debut in Mina Shum’s must-see coming-of-age tale Double Happiness, in which she plays the lead role of Chinese-Canadian Jade Li. The intensely personal semiautobiographical drama shows how divided Jade is between her traditional Chinese upbringing and her modern Canadian lifestyle.

With a natural performance by Oh matched with the authentic, well-observed writing of Shum, the movie is a universally relatable tale of a person grappling with their own identity while trying to appease the expectations of loved ones. In her first film performance, Oh won the Genie Award for Best Actress in a Leading Role, proving what a titanic talent she has been from the start.

7 Rabbit Hole (2010): 7.0

John Cameron Mitchell’s Rabbit Hole is a bruising account of a family dealing with the death of a young child at the hands of a teenage driver. Nicole Kidman gives a memorable and towering performance as Becca, a mournful mother who begins to find solace by interacting with Jason (Miles Teller), the driver who accidentally took her son’s life.

Although she has a smaller supporting role, Oh plays Gabby, a fellow grieving parent who helps Howie (Aaron Eckhart) deal with his loss at the group therapy sessions he and Becca attend. With profound empathy for Howie, she becomes instrumental in his healing process.

6 Meditation Park (2017): 7.1

Twenty-three years after working with Mina Shum for the first time, Oh reunited with the filmmaker for the sweet-natured drama Meditation Park in 2017. The story concerns Maria Wang (Pei-Pei Cheng), an aging woman in the throes of an existential crisis upon suspecting her husband’s infidelity. Oh plays Maria’s daughter Ava, a mother of two who encourages Maria to reconcile with her estranged brother ahead of his wedding and break free from her husband’s hold.

RELATED: Asian-American Movies to Watch If You Loved Crazy Rich Asians

As another trenchant glimpse at the immigrant experience and a statement about the importance of women finding their own voice, Shum’s film is tender, touching, and triumphant.

5 Hard Candy (2005): 7.1

David Slade’s Hard Candy is a deeply unnerving glimpse at a predatory pedophile (Patrick Wilson) getting his just deserts when a teenager (Elliot Page) tricks, traps, and tortures him in his apartment. Oh plays the man’s neighbor, Judy Tokuda, admitting she only took the role due to her working relationship with Page, a fellow Canadian she worked with on Wilby Wonderful the year prior.

With most of the action set inside the inescapable apartment, the visceral terror of the violence that Hayley (Page) exacts on Jeff (Wilson) is met by the suffocating sense of claustrophobia, making for a really upsetting experience. However, the hugely satisfying conclusion helps atone for the squeamish and uncomfortable moments of carnage.

4 Last Night (1998): 7.2

The most unheralded of Oh’s top films happens to be Last Night, a mordant pitch-black comedy about the impending apocalypse and the rag-tag band of Canadians with differing views on how to react. With the end of the world set to strike at midnight, Sandra (Oh) tries to make it out of her stranded position in Toronto and reunite with her husband, Duncan (David Cronenberg). One bad thing after another ensues.

Weird, wild, and ultimately winning, Last Night boasts writer/director Don McKellar’s signature brand of dark humor and anarchic energy. As such, the film has become an unforgettable cult classic among those who’ve seen it.

3 Raya And The Last Dragon (2021): 7.4

With great respect and honor for the rich historical traditions of Southeast Asia, Raya and the Last Dragon is one of Disney’s most beloved recent animated movies. Sandra Oh lends her voice to the commanding role of Virana, the Fang chieftess and mother of Raya’s main rival, Namaari (Gemma Chan).

RELATED: Raya And The Last Dragon – What The Voice Actors Look Like In Real Life

With a moving story, spellbinding animation, and characters never before seen, Raya and the Last Dragon continue to soar in the hearts and minds of viewers.

2 Sideways (2004): 7.5

Directed by her then-husband Alexander Payne, Oh demonstrated her hilarious comedic chops in the indie darling Sideways, a character study of a failing writer at an existential crossroads. The boozy road trip follows Miles (Paul Giamatti), an uptight novelist, and his lecherous pal Jack (Thomas Hayden Church), as they hit Santa Barbara wine country on a tasting tour.

Praised for its excellent performances and light tonal touch between comedy and drama, Oh gives a standout turn as Stephanie, a cool sommelier who has a steamy love affair with Jack (whom she does not know has a fiancee). When she finds out, she goes absolutely ballistic in one of the movie’s funniest moments. The story is so sharply penned that it won an Oscar for Best Writing, Adapted Screenplay.

1 The Red Violin (1998): 7.6

Despite playing a bit role as Madame Ming in the fifth and final chapter of The Red Violin, the ambitious epic ranks among Sandra Oh’s most well-received movie to date. The film traces a famed 17th-century Violin from its creation in Italy to its auction in modern-day Montreal, and all that the instrument endured in creating some of the most beautiful music the world has ever heard.

Praised for its sumptuous set decorations and costume designs, Oscar-winning original music, intelligent story, and a throwback style of filmmaking that calls to mind the grand epics of the past, the resonance of The Red Violin is still felt today.

NEXT: Steven Spielberg’s 10 Best Historical Epics

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[weekendwarriorblog]

The Weekend Warrior November 6, 2020 – LET HIM GO, JUNGLELAND, KINDRED, PROXIMA, THE INFORMER and More!

It’s November, which under normal circumstances, would be the holiday season, the thick of awards season, the beginning of the end to the Oscars, but this year? Not so much. Instead, we’re suffering the after-effects of a hugely close and contentious election, although thankfully, there’s quite a few decent movies to check out as we still wait for the whole COVID pandemic to settle down with no end in sight. (And as promised, I got this down to six reviews this week. I wouldn’t expect that next week.)

The biggest wide release this weekend (into 2,200 theaters plus) is Thomas (The Family Stone) Bezucha’s thriller LET HIM GO (Focus Features) starring Kevin Costner and Diane Lane as Montana ranchers George and Margaret Blackledge, who after losing their son James, must try to rescue their young grandson Jimmy, who has been taken to North Dakota to live with his stepfather’s dangerous family, led by matriarch Blanche Weboy (played by Lesley Manville).

I wasn’t really sure what to expect from this movie. The commercials I’ve seen sell it like a straight-up revenge thriller ala the recent Honest Thief, which also isn’t necessarily a straight-up genre film. (Odd coincidence is that this one also has Jeffrey Donovan playing a jerk – I hope it’s not type-casting.) The movie was adapted by Bezucha from a novel by Larry Watson, and it puts Costner into another role where he’s able to ride horses. If you’re a fan of Costner, that might be enough to watch the film, but he gives also gives a typically strong performance as does Lane, as Bezucha reunites Ma and Pa Kent from Zack Snyder’s Man of Steel.

At first, this is more of a family drama where we don’t learn too much about their son before he’s killed – nor do we ever find out who actually killed him. Instead, this is about caring grandparents who worry about how their young grandson might be raised by his new stepfather and his family. It’s particularly suspect when Jimmy’s stepfather leaves for North Dakota in the middle of the night, taking his new wife and stepson with him. It’s enough to make anyone suspicious.

It starts fairly slowly as things are set-up but it leads to more than a few crazy and violent moments including the last act where things really come to a head. Oddly, it isn’t Costner acting like the “tough guy” so much trying to get back Jimmy, despite his background as a sheriff. Instead it’s Lane who impresses with her ability to act super-sweet one moment in order to get results but then fully throwing herself into the film’s violent climax. Oddly, I wasn’t that into Manville’s performance as a malevolent matriarch, and that really surprised me. I do have to call special attention to the amazing Booboo Stewart who plays a Native American lad who helps the couple, this being his second great role/performance of the year after The Grizzlies.

Despite Costner’s presence, Let Him Go feels much more like some of the recent Clint Eastwood movies, and while it has a few issues in terms of tone and pacing, Lane and Costner are more than enough to make this quite enjoyable for what it is.

Even so, that isn’t this week’s “Featured Flicks”…

No, that would be Max (Ceremony) Winkler’s JUNGLELAND (Paramount), an amazing drama starring Charlie Hunnam and Jack O’Connell as brothers Stan and Walter “Lion” Kaminski, the latter who is a brilliant bare knuckle boxers who is constantly dealing with his older brother Stan getting them into trouble with his gambling debts that have left them near to poverty. When Stan gets further into debt with the loan shark Pepper (Jonathan Majors), he agrees to go on a road trip to a big underground no-holds-barred boxing match in San Francisco, but along for the ride is a young woman named Sky (Jessica Barden) who the brothers need to drop off in Reno to the despicable man from whom she ran away in the first place.

This ended up being a far more complex and emotional movie than I expected, although as a huge fan of the movie Warrior, I was interested in seeing how this one diverged from what was one of my favorite movies the year it was released. Well, Winkler does not disappoint, as he finds a way to create a “boxing movie” that’s unlike any other due to a number of elements. We’ve certainly had a few “brother fighters” movies, but what separates Jungleland is that it’s the younger brother played by O’Connell who does all the fighting, his brother acting more as a domineering manager who makes all the decisions for them. You can really feel the love between these brothers and the interesting dynamic that Barden’s Sky brings to the mix.

Maybe you can figure out that there will be some sort of romance between Lion and Sky, but they’re such unique individuals due to the performances by always great O’Connell and an actress who I’m not as familiar with but insures that Sky is not just introduced merely as “love interest.” Sky is bratty and sassy, and she isn’t going to just do what Stanley says even though he always acts like he’s the smartest of the trio, and it’s that attitude that brings so much to the dynamics between the three of them.

There’s a lot of tension leading up to the final fight, as well as a lot of emotion, all enhanced by a gorgeous score from Lorne Balfe that bolsters the performances rather than overpowers them. The way Winkler uses Bruce Springsteen’s cover of Suicide’s “Dream Baby Dream” is the perfect punctuation to a film that keeps you enthralled from beginning to end.

This is just a wonderful film from Winkler, one that really shows his tremendous growth as a filmmaker, and it’s very much the kind of movie that I absolutely love, especially because it’s always going in different directions from the typical boxing movie.

Another nice surprise this weekend was Joe Marcantonio’s psychological thriller KINDRED (IFC Midnight), starring Tamara Lawrence as Charlotte Wilde, who discovers that she’s pregnant by her boyfriend Ben, but when he dies suddenly, Charlotte finds herself trapped in the large estate of Ben’s mother Margaret (Fiona Shaw) and Ben’s creepy half-brother Thomas (Jack Lowden). She soon realizes that Margaret plans on keeping her trapped there in order to keep control of her son’s baby.

I went into this British thriller not really knowing much about it other than its small cast including the generally decent Shaw and Lowden. I wasn’t familiar with Tamara Lawrence at all, but she does a pretty amazing job carrying the film as a woman trying to deal with some sort of pre-natal depression on top of mourning for her ex while also feeling trapped, probably rightfully so. The dynamics between the three people – this is very much a three-hander – is what keeps Kindred so interesting, because Margaret probably blames Charlotte for her son’s death, but Thomas seems to have more lecherous intentions. The whole time, Charlotte has dreams and visions, sometimes horrifying ones, about birds.

Over the course of the film we learn more about Charlotte’s background and her own mother’s issues dealing with “perinatal psychosis,” which could be a big clue to what is happening with Charlotte. Lawrence is absolutely amazing at giving the film a strong heroine who works hard to try to outsmart her captors, and it’s a film that never really goes far into the most expected realms. Marcantonio’s direction works well at maintaining a steady pace, and the musical choices greatly add to the tension even the few times it’s using overused stock classical musical themes.

Kindred works quite effectively as a tense psychological thriller in the vein of Whatever Happened to Baby Jane? I expect we have not seen the last of either Lawrence or director Marcantonio.

Eva Green stars in Alice Winocour’s PROXIMA (Vertical) as Sarah Loreau, an engineer and astronaut who has gotten the plum assignment to spend a year aboard the International Space Station. Unfortunately, that would mean being apart from her young daughter Stella for a year, and the film deals with Sara’s tough battle to get through the training necessary while dealing with her emotions over being separated from her daughter.

For some reason, I had lost track of Winocour since her amazing breakthrough film Mustangs, and though it’s odd that this would premiere at the same TIFF as Natalie Portman’s Lucy in the Sky, it’s quite a different movie despite a few similarities, mostly that they’re both about women astronauts. Oddly, Lucy in the Sky is based on a true story, although Proxima feels far more grounded, both literally and figuratively. Much of that is because we only see Sara’s journey before getting on the rocket into space.

In many ways, Proxima means to show how tough training for a space mission is on women, particularly having to leave their children behind, and Green does an amazing job in the many demands of the role. Part of Sara’s issue is that she’s dealing within a very heavily competitive male-dominated environment, as typified Matt Dillon’s Texan astronaut Mike, but there’s also the aspect of her not wanting to show any signs of weakness. (It’s a rarity for women, particularly a French one, to have this opportunity.)

Much of what’s keeping Sarah from giving up is because she wants to be a great role model for her daughter, and honestly the scenes between Green and young Zélie Boulant are so wonderful they almost make the movie in themselves. It’s to Winocour’s credit that she continually shows how well she does at casting younger and newer actresses. I’d be neglect if I didn’t mention the gorgeous score by Ryuichi Sakamoto, who seems like such a great get for Winocour, being that he hasn’t scored as many movies in recent years.

Winocour has created another beautiful film, one that really sticks with you because she and Eva Green manage to convey the story of a woman we rarely get to see in movies in such a truly authentic and emotional way. Sadly, Proxima isn’t getting a theatrical release, but it will be on digital and VOD this Friday.

Bryan Bertino, director of The Strangers, returns with THE DARK AND THE WICKED (RLJEfilms/Shudder), an eerie horror thriller mostly set on a farm where sister and brother Louise and Michael (played by Marin Ireland and Michael Abbott Jr.) return to see their dying father only to find their mother  (Julie Oliver-Touchstone) behaving erratically. They soon learn that there’s something dark and wicked (hence the title) holding sway over anyone who enters the place.

I was pretty excited to see this movie, because while I wasn’t the biggest fan of The Stranger, I could see from his debt that Bertino definitely had talent as a director in terms of creating a mood and tone that can keep an audience on edge. While I haven’t seen his other two films since then, The Dark and the Wicked proves that my earlier instincts were correct.  With a fairly simple premise, location and relatively small cast that’s usually one or both of the two main actors, Bertino has created an enigmatic and eerier horror-thriller that does both the two elements that makes for good horror – create interesting characters with depth and then proceed to totally fuck with them in any way possible.

In this case, the set-up might seem slow to match its Southern setting, but this is one of those rare cases where slow isn’t necessarily bad. Ti West’s The Innkeepers and House of the Devil is a pretty gauge for whether this is your kind of horror. If you liked those, you’ll probably like this.

Once the gory and quite disturbing stuff starts happening, Bertino rarely lets up. Although some of the imagery isn’t as original – a woman chopping off her fingers for the third time this year! – there’s just a lot of things that are done in such clever and unique ways. There’s little question that Bertino knows how to creep viewers out and put them on on edge, but it’s all greatly helped by the two main actors who really sell the scares. I won’t get too into what the evil is that’s causing people who enter the house to savagely mutilate themselves, but it is of a demonic nature

While at first, this might seem to be in the vein of the recent Relic, of which I wasn’t too big a fan, it also delves into territory ala The Witch (without the historical setting), and that might in fact be the best barometer to decide whether Bertino’s latest is for you. Be warned that like this year’s The Lodge, The Dark and Wicked lives up to its title because you witness a lot of truly awful things, and you should not expect it to end cheerfully. (I also want to give credit to Bertino’s DP, since I’ve watched so many horror movies this year that are so dark, you cannot make out what’s going on, which isn’t the case here.)

A movie that was supposed to be released way back in March by Aviron Pictures is finally coming back via Vertical, Noriva as Andrea Di Stefano’s THE INFORMER finally sees the light of day in the U.S. after being released all over the world. It stars Joel Kinnaman as Peter/Piotr Koslow, a Polish assassin and mercenary, who has been working as an undercover FBI inside man to help them bust criminals. Rosamund Pike plays his handler, Agent Wilcox, while Clive Owen is her immediate supervisor. After a drug bust that gets an undercover cop killed, Piotr finds himself being investigated by a local detective, played by Common.

The Informer starts as as a fairly typical crime-thriller that seems to be inspired a little too much by Breaking Bad, but in fact, it was adapted from a Swedish crime thriller called 3 Seconds, written by Anders Roslund and Borge Hellström. What’s interesting is that it transforms itself from being a passable but bland entry in one of the most overused movie genres ever into something halfway interesting when Peter is sent back to jail to get closer to the drug kingpin known as The General.

If you’re a fan of Joel Kinnaman, then maybe you’ll enjoy this, but I don’t think Kinnaman has very much charisma as an actor and that really hurts the first half of the movie where he’s required to do a lot of heavy-lifting, especially opposite Pike. But it takes a while to adjust to the fact that everyone in this movie, other than Common – showing less range than usual – has taken on some sort of accent. It’s certainly a decision, though I’m not sure it’s the best one.

I have to admit that I didn’t fully understand the dynamics between the characters, and it didn’t get much easier once Peter goes back to prison, but in general, I felt like there was a lot of talent wasted here, particularly Ana de Armas as Peter’s wife. It also is a little devoid of thrills, but again, that’s mostly through when the movie turns into a prison drama, which is where it gets quite a bit better. That said, I’m still not sure if Common is supposed to be one of the good or bad guys…

The Informer may not be the most inspired crime-thriller, and Kinnaman’s typically stiff performance doesn’t help, but there’s some good moments towards the end that makes it not feel like wasted time to watch it.

Opening in 200 theaters this Friday is True to the Game 2 (Imani Media Group), which as you might guess is the sequel to movie called True to the Game, which I have not seen. It’s a street level gangster crime thriller that begins with a lot of black people shooting at each other, which seems rather ill-timed for the current situation in the country (and New York in particular). The movie stars Erica Peeples as Gina, the love interest of Quadir Richards, a drug dealer murdered in the first movie, who decides to leave Philly to recreate herself as a New York journalist. While in L.A. on an important assignment, her past in Philly follows her as Quadir’s killer Jerell (Andra Fuller) wants revenge for a hit against his crew in revenge for them getting revenge for Quadir. Oh, the movie also stars Vivica A. Fox as a woman named “Shoog.” I’m not going to review this, partially because I don’t think I’ll have much to say without having seen the first movie, but this is also not my kind of thing nor am I the target audience for it, so writing a review might just be a waste of all of our time. (Hint: It isn’t a good movie.)

Jeff Roda’s 18 to Party (Giant Pictures) is set in a small town in 1984, as it deals with a group of 8th graders who have been dealing with UFO sightings, missing parents and recent suicides as they try to get into a club despite being underage. Boy, does this have a lot of ‘80s references, so it should really be my thing. Sadly, it’s very talkie and not particularly well-written while being derivative of so many other things like Stand By Me and the It movies as filtered through Richard Linklater. Roda does get some points for his choice in music that includes Big Audio Dynamite and one of my own ‘80s favorites, The Alarm. (And yes, U2 DID steal much of its sound and schtick from the Alarm, so kudos for the movie acknowledging it.) Unfortunately, it’s used as awkwardly as most of the interactions between the kids, and yet, I still didn’t hate this. 18 to Party will open via virtual cinemas on Friday through the Laemmle in L.A. in Alamo on Demand (New York and other cities) but then will get a VOD release in North America on December 1.

From Sweden – running the gauntlet of almost every single genre festival since its release overseas in the summer of 2019 -- comes the dark fantasy-horror Koko-Di Koko-Da (Dark Star Pictures) from filmmaker Johannes Nyholm, about a couple terrorized by a sideshow artist and his entourage in the woods. I honestly didn’t get too far into the movie, because like many Swedish movies, this one is so dark and grim that it starts with the couple losing their 8-year-old daughter in the first ten minutes and when the horror element shows up, I just couldn’t get too far. Maybe I’ll give this another chance when I’m in a better head.

Similarly, I saw but don’t have much to say about Alastair Orr’s Triggered (Samuel Goldwyn Films). It’s a stylized horror-thriller in the Saw vein where a group of nine friends are out camping and partying in the woods when they wake up to find suicide bombs strapped to their chests with different countdown clocks, but in order to survive, they need to kill their friends to get more time on their clocks. It’s another high-concept thriller ala the recent No Escape and considering how much I hated that movie, I knew this wouldn’t be my thing either. I’m a little surprised that it’s being released by Samuel Goldwyn since they normally focus on more arty films and not C-level genre fare.

At my beloved local theater, the Metrograph, which I miss deeply, they’re continuing their “Robert Kramer Retrospective,” now showing Milestones from 1975, while Jessie Jeffrey Dunn Rovinelli’s So Pretty will run through Thursday night. This Friday, the terrific doc Decade of Fire, directed by Gretchen Hildebran and Vivian Vazquez Irizarry, will debut as part of Metrograph’s Live Screening series, and I have to say tht this is quite a fantastic doc about the series of building fires that decimated the Bronx in the ‘70s. Monday will see the debut of the 1974 doc Frame-Up! The Imprisonment of Martin Sostre, directed by Steven Fischler, Joel Sucher and Howar Blatt, and I remind again that the Live Screening series can be accessed with an annual Metrograph membership, which is still just $50 a year or $5 month-to-month, and you cannot get a better deal right now within the world of Virtual Cinema with the number of movies being offered for that price.

Metrograph has also begun a “Ticketed Screening” series where you can pay per film, and the second one in that series is the 1965 French anthology Six in Paris (Icarus Films), that has the likes of Chabrol, Godard, Pollet and Rohmer telling short cinematic stories set in Paris, which is a must-see for fans of the French New Wave of the ‘60s. That’s available for $8 for members and $12 for non-members, so being a member is STILL a pretty good deal.

Film Forum’s Virtual Cinema continues King Hu’s Rain in the Mountain, Frederick Wiseman’s City Hall and more, joined by a double feature of Fellini’s Toby Dammit (1969) and Chris Marker’s La Jetée (1962) (the basis for Terry Gilliam’s 12 Monkeys) starting Friday.

Also, just want to throw a quick shoutout to my much-missed neighbors uptown at Film at Lincoln Center, who also have a fairly hearty Virtual Cinema going with new and repertory offerings.

Also, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!