#loose source: everybody loves raymond

[gammacousin]

Natasha Romanoff: *slamming the door* “I’ll tell you what; My mother and my father?! We’re through with them!”

Bruce Banner: *excited* “Aww, you read my letter to Santa…!”

[tribeca]

“Kumail Nanjiani and Emily V. Gordon’s script for their highly-autobiographical, girlfriend-in-a-coma romantic comedy The Big Sick contains such sweeping affection for all its characters that it manages to imbue each and every one of them with detail, dignity, and deep feeling. That is no small feat and it’s one enriched even further by the actors who have brought these personae to life. Nanjiani might be playing a thinly-veiled version of himself but that should in no way detract from the limber and expressive comedy he creates on a moment-to-moment basis within the film, drawing on his improvisational background to keep the action spry and unpredictable. But even more unexpectedly, The Big Sick also announces Nanjiani as a particularly soulful leading man. He interacts gorgeously with Zoe Kazan and proves more than ready to downplay a gag in order to grasp and convey the graver truth of a moment.

And Nanjiani’s not the only comedian stretching himself in the film. Ray Romano springs into the film alongside the glorious Holly Hunter as Kazan’s protective parents, immediately varying and strengthening the film’s comedic tenor with their relaxed, loose-ended interactions, each an informal demonstration of a messy but comfortable marriage that endows the film with some of its toughest insights. In the years since Everybody Loves Raymond, Romano has aged into a nimbly inspired character actor who can still blast forth with a perfectly-paced punchline or lend his dialogue scenes with Hunter and Nanjiani specific rhythms that can only be pulled off by a seasoned comedian of meticulous timing. But Romano also nails the scattered moments of softer intimacy that set The Big Sick apart from the bulk of present-day comedies. His observations on love and fidelity feel genuinely spontaneous, his anecdotes about past mistakes convincingly well-worn. Romano’s wry, layered performance is one of the great surprises of the film year and a humbling reminder that so many performers contain dimensions we are seldom allowed to see. When we finally do, as in Romano’s case, the discovery is more than worth the wait.” — Matthew Eng

The 10 Best Male Film Performances of Early 2017

(Source: TribecaFilm.com)

[aion-rsa]

Best Movies Coming to Netflix in August 2021

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As quickly as the summer movie season of 2021 seemed to come upon us, it’s already about to begin its long, languid slide through the dog days of August into fall. That’s not to say that theaters won’t still have plenty of interesting fare to encounter, with films like The Suicide Squad, Free Guy, Respect, Candyman and The Night House all on deck. Hopefully the other hideous sequel happening at the moment — Pandemic 2: The Delta Variant — won’t set any of these potential hits back.

In the spirit of keeping August entertaining, Netflix is rolling out a slew of new streaming additions as well, including an underrated Spielberg gem, fantastic teen comedies both old and new, a couple of stoner classics and perhaps the finest film from the canon of one of the modern era’s most revered directors. We’ve rounded up our recommendations below, and hope you stay cool and healthy whatever you’re watching!

Universal

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Beethoven (1992)

August 1

Hollywood in the 1990s was a glorious and furry era when studio executives never met a family movie that couldn’t be improved with the addition of at least one animal character. Beethoven is one of the most successful examples of this winning formula. Directed by Brian Levant from a script co-written by John Hughes himself (alongside Mystic Pizza co-writer Amy Holden Jones), Beethoven is basically the story of how a husband and father, Charles Grodin’s George Newton, feels threatened by the attention his family gives their new dog, a St. Bernard named Beethoven.

George eventually works through some of his issues and accepts the charming Beethoven into the family, a process that comes to a head when Beethoven is dog-napped into an animal experiment scheme run by evil veterinarian Dr. Herman Varnick. (Honestly, the plot isn’t dissimilar to the story in cinematic masterpiece Paddington.) The deep supporting cast includes Bonnie Hunt, David Duchovny, Joseph Gordon-Levitt, Oliver Platt, Stanley Tucci, and Everybody Loves Raymond‘s Patricia Heaton. The film’s sequel, Beethoven Second, will also be available on Netflix starting on August 1st.

Dreamworks

Catch Me If You Can (2002)

August 1

As one of Steven Spielberg’s most charming and laid-back efforts, Catch Me If You Can is a breezy and star-studded entertainment. The story is loosely based on the real grifts of conman Frank Abagnale Jr., who beginning as a teenager was able to pass himself off as a pilot, lawyer, doctor, and many other things. But really, this is a cat-and-mouse chase movie between a still baby-faced Leonardo DiCaprio as Abagnale and Tom Hanks as the FBI stiff who hunted him down. It’s all good stuff, with the movie enjoying a light touch and fresh take on Spielberg’s favorite subject matter: fathers and sons.

Warner Bros. Pictures

Deep Blue Sea (1999)

August 1

A shockingly entertaining B-movie about a bunch of genetically engineered super-sharks which break out and take over a testing facility, this is horror silliness at its best with great turns from Samuel L Jackson, Thomas Jane, Saffron Burrows and LL Cool J. Partially shot on sets built around the same water tanks used for Titanic, with animatronic and CGI sharks, Deep Blue Sea is action-packed, schlocky fun from director Renny Harlin (Cliffhanger).  

STX Entertainment

The Edge of Seventeen (2016)

August 1

A bit like Lady Bird before there was a Lady Bird, Kelly Fremon Craig’s Edge of Seventeen is an underrated gem that stars a teenage Hailee Steinfeld as a young woman stumbling through an especially awkward time in her life. Steinfeld is terrific in her best performance since True Grit, playing Nadine as a bundle of insecurities, yet still nobody’s victim. Also of special value is Craig’s hilarious and authentic script, which captures the specificity of growing up in the social media age while being near-universal in its accessibility and empathy for a wide ensemble which also includes Kyra Sedgwick, Haley Lu Richardson, and Woody Harrelson.

Paramount

Ferris Bueller’s Day Off (1986)

August 1

Just in time for the dog days of summer comes one of the best summer movies ever. Relying on charm and sharp characterization instead of special effects for its spectacle, John Hughes’ Ferris Bueller’s Day Off is a truly great teen comedy that follows the easygoing bon vivant (or secret sociopath?) of a high school’s senior class when he decides to take the day off in the best fashion: by faking he’s sick and then guilting his BFF into giving him the keys to his dad’s Ferrari.

Read more

TV

Should Netflix’s Pokémon Live-Action Series Explore the Franchise’s Dark Side?

By Matthew Byrd

TV

Never Have I Ever Season 2 Review: This Netflix Teen Comedy Deserves to Run and Run

By Louisa Mellor

It’s silly yet curiously honest stuff about the pressures of young adult life, at least in 1980s suburban America, and a beguiling showcase for an ensemble that includes Matthew Broderick in his coolest role, as well as Alan Ruck, Mia Sara, Jennifer Grey, and a seriously stoned Charlie Sheen. If you haven’t seen it yet, you’re due.

Warner Bros. Pictures

Inception (2010)

August 1 Still Christopher Nolan’s most complete and satisfying film to date (yes, even more so than The Dark Knight), Inception is a cerebral sci-fi set of stacking dolls combined with a rollicking James Bond adventure that all happens to be mostly situated inside one guy’s head. Leonardo DiCaprio leads a team of professional thieves who steal things from people’s minds — only this time they’re hired to implant an idea, even if they have to dive deep into the mark’s subconscious to do it.

Mind-bending imagery and several jaw-dropping action sequences are wrapped around a surprisingly emotional core, with only the usual unwieldy exposition there to remind you that there are some things Nolan may never get right.

Lionsgate

The Lincoln Lawyer (2011)

August 1 Based on a novel by crime writer Michael Connelly, this gripping, suspenseful 2011 drama arguably kicked off “the McConaissance,” a shift from rom-coms to more serious roles by Matthew McConaughey that launched a new, largely acclaimed phase of his career.

McConaughey is formidable as attorney Mickey Haller, a slick lawyer who works out of his Lincoln Town Car and undergoes a crisis of conscience as his new case starts to feel disturbingly like an old one. In addition to McConaughey stepping up his game, this Brad Furman-directed thriller is the kind of character-driven, literate melodrama we don’t see much on the big screen anymore — although we see plenty of them these days on, of course, Netflix.

Paramount Classics

The Machinist (2004)

August 1 Director Brad Anderson followed up his cult classic 2001 horror effort Session 9 with this surreal, Kafka-esque psychological thriller. Christian Bale plays Trevor Reznik, whose inability to sleep leads him to cause an accident at his industrial job that costs a co-worker (Michael Ironside) his arm. Already physically and mentally deteriorating, Reznik begins an even deeper descent as he tries to unravel what’s happening to him and why. Bale is intense and viscerally shocking as the emaciated Reznik, with his riveting performance anchoring an atmospheric, visually striking film that is sometimes an exercise in style over substance.

New Line Cinema

Magnolia (1999)

August 1

Boogie Nights pushed director Paul Thomas Anderson into the spotlight, but it was his massive, sprawling jigsaw puzzle Magnolia that made him into a superstar filmmaker. Following multiple narratives and numerous characters all finally brought together by a climactic storm of frogs, this is high art packed with standout moments.

Read more

Movies

Top Gun: Maverick Footage Shows Tom Cruise in Real Jet Behind the Scenes

By David Crow

Movies

Best Modern Horror Movies

By Don Kaye

Tom Cruise is electric as a toxic motivation speaker, Julianne Moore is brittle and tragic as a trophy wife who has grown to love her dying husband, while the burgeoning relationship between Melora Walters’ addict and John C. Reilly’s cop added sweetness and hope to a tale of messed up people and damaged families. Epic.

Sony PIctures

Pineapple Express (2008)

August 1 After its trailer introduced everyone to M.I.A.’s amazing “Paper Planes,” Pineapple Express’s work was already done. It didn’t even have to produce a satisfyingly funny movie on top of that. Thankfully the filmmaking team of Seth Rogen, Evan Goldberg, and David Gordon Green decided to give us one anyway, because Pineapple Express is the ideal of the little-seen-or-attempted stoner action comedy.

Rogen stars as process server and marijuana enthusiast Dale Denton, while James Franco portrays his annoying drug dealer Saul Silver. When the pair witness a murder, they are forced to flee hitmen, a pair of corrupt cops, and worst of all, Danny McBride. The Rogen/Goldberg comedy catalog has very few misses and this one is particularly excellent.

Universal Pictures

Seabiscuit (2003)

August 1

No one would ever accuse Gary Ross’ Seabiscuit of being subtle. With its voice-of-god narration by Ken Burns fave David McCoullough, which helpfully spells out the themes of the movie every few scenes, and its achingly sentimental score and dialogue, Seabiscuit is a Cinderella story which all but asserts its titular race horse ended the Great Depression. Yet Ross captures some of the simple American grandeur of Laura Hillenbrand’s non-fiction source material book, as well as the beauty of this true story where a horse that everyone counted out as worthless was nursed by three men into becoming one of the greatest racing animals of all-time.

It’s the type of feel-good yarn that won people over in the 1930s and which is still winning now. When coupled with a handful of strong performances, including from Jeff Bridges, Chris Cooper, Tobey Maguire, and a seriously underrated Elizabeth Banks, you have a crowd-pleaser that actually pleases.

Paramount Pictures

Team America: World Police (2004)

August 1 Roger Ebert’s one-star review of Trey Parker and Matt Stone’s Team America: World Police sums up the film’s nonsensical political stance nicely. “I wasn’t offended by the movie’s content so much as by its nihilism,” the great film critic wrote.

Rog was right to criticize Team America’s incomprehensible worldview. Nearly 20 years later, its seeming position that Alec Baldwin and Kim Jong-Il are equally bad hasn’t aged that well (despite Mr. Baldwin’s best efforts). But it’s hard to argue that the South Park creators’ nihilism doesn’t lead to some great comedy. The novelty of Thunderbirds-style puppets saving the world amid graphic sex acts and voluminous barfing never quite wears off.

The post Best Movies Coming to Netflix in August 2021 appeared first on Den of Geek.

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[ramrachum]

Improving Python exception chaining with raise-from

Improving Python exception chaining with raise-from

This is going to be a story about an esoteric feature of Python 3, and how I spent the last few months reviving it and bringing it into the limelight.

Back in the yee-haw days of 2003, Raymond Hettinger wrote an email to the python-dev mailing list, sharing an idea for improving the way that Python handles exceptions that are caught and replaced with other exceptions. The goal was to avoid losing information about the first exception while reporting the second one. Showing the full information to the user would make debugging easier, and if you've followed my work before, you know there's nothing I love better than that.

That idea was polished and refined by many discussions on python-dev. A year later, Python core developer Ka-Ping Yee wrote up a comprehensive PEP that was then known as PEP 344, later to be renamed to PEP 3134. That idea was detailed there, with all the loose ends, potential problems and solutions. Guido accepted the PEP, and it was implemented for the infamous Python 3.0, to be used... By no one. For a long time.

If there's one thing I don't miss, it's waiting 10 years for the Python ecosystem to adopt Python 3. But finally, it happened. Almost all the packages on PyPI support Python 3 now, and getting a job writing Python 3 code is no longer a luxury. Only a few days ago, NumPy finally dropped Python 2 support. We live in good times.

When a modern Python developer catches an exception and raises a new one to replace it, they can enjoy seeing the complete information for both tracebacks. This is very helpful for debugging, and is a win for everybody.

Except... For one thing.

Two cases of exception chaining

There was one interesting detail of PEP 3134 that was forgotten: It has to do with the question, "What does it mean when one exception is replaced with another? Why would someone make that switcheroo?"

These can be roughly divided into two cases, and PEP 3134 provided a solution for each case.

The first case is this:

"An exception was raised, we were handling it, and something went wrong in the process of handling it."

The second case is this:

"An exception was raised, and we decided to replace it with a different exception that will make more sense to whoever called this code. Maybe the new exception will make more sense because we're giving a more helpful error message. Or maybe we're using an exception class that's more relevant to the problem domain, and whoever's calling our code could wrap the call with an except clause that's tailored for this failure mode."

That second case is quite a mouthful, isn't it? It didn't help that the first case was defined as the default. The second case ended up falling by the wayside. Most Python developers haven't learned how to tell Python that the second case is what's happening in their code, and to listen when Python is telling them that it's happening in code that they're currently debugging. This resulted in a Catch 22 situation, not that different from the one that slowed down Python 3 adoption in the first place.

Before I tell you what I did to break that Catch 22, I'll bring you into the fold and show you how to make that feature work in your project.

Exception causes, or `raise new from old`

I'm going to show you both sides of this feature: How to tell Python that you're catching an exception to replace it with a friendlier one, and how to understand when Python is telling you that this is what's happening in code that you're debugging.

For the first part, here's a good example from MyPy's codebase:

try: self.connection, _ = self.sock.accept() except socket.timeout as e: raise IPCException('The socket timed out') from e

See the from e bit at the end? That's the bit that tells Python: The IPCException that we're raising is just a friendlier version of the socket.timeout that we just caught.

When we run that code and reach that exception, the traceback is going to look like this:

Traceback (most recent call last): File "foo.py", line 19, in self.connection, _ = self.sock.accept() File "foo.py", line 7, in accept raise socket.timeout socket.timeout The above exception was the direct cause of the following exception: Traceback (most recent call last): File "foo.py", line 21, in raise IPCException('The socket timed out') from e IPCException: The socket timed out

See that message in the middle, about the exception above being the direct cause of the exception below? That's the important bit. That's how you know you have a case of a friendly wrapping of an exception.

If you were dealing with the first case, i.e. an exception handler that has an error in it, the message between the two tracebacks would be:

During handling of the above exception, another exception occurred:

That's it. Now you can tell the two cases apart.

What I did to push this feature

I found that almost no one knows about this feature, which is sad, because I think it's a useful piece of information when debugging. I decided I'll do my part to push the Python community to use this syntax.

I wrote a little script that uses Python's ast module to analyze a codebase and find all instances where this syntax isn't used and should be. The heuristic was simple: If you're doing a raise inside an except then in 99.9% of cases you're wrapping an exception.

I took the output from that script and used it to open PRs to a slew of open-source Python packages. Some of the projects I fixed are: Setuptools, SciPy, Matplotlib, Pandas, PyTest, IPython, MyPy, Pygments and Sphinx. Check out my GitHub history for the full list.

I then added a rule to PyLint, now known as W0707: raise-missing-from. After the PyLint team makes the next release, and the thousands of projects around the world that use PyLint upgrade to that release, they will all get an error when they fail to use raise from in places they should.

Hopefully, in a few years' time, this feature of Python will become more ingrained in the Python community.

What you can do to help

Do you maintain a Python project that already dropped Python 2 support? Install the latest version of PyLint from GitHub. You can do this in a virtualenv if you'd like to keep your system Python clean. Run this to install:

pip install git+https://github.com/PyCQA/pylint

Then, run this line on your repo:

pylint your_project_path | grep W0707

You'll get a list of lines showing where you should add raise from in your code. If you're not getting any output, your code is good!

[gammacousin]

Tony Stark: *to Bruce* “Nat’s been dreaming of this day. She wants to do it. Don’t you love her?! Mess up the invitations so bad, she has to take over.”

Clint Barton: “…You’re like an evil genius.”

Tony Stark: “Alright, let’s think of how an invite would start.”

Bruce Banner: “It would be something like Mr. Shostakov and Mrs. Vostokoff request your presence-.”

Tony Stark: “Alright so, we’re putting down, ‘Lex and Mel’.”

Clint Barton: “For them?! Maybe the ‘and’ is too fancy. Maybe it should be an ‘n’. Lex ‘n’ Mel.”

Tony Stark: “Lex ‘n’ Mel…”

Bruce Banner: “Can we do that?”

Tony Stark: “We just did!”

[gammacousin]

Emil Blonsky: “They must go. Your father has been tearing around on his community golf cart endangering pedestrians.”

Natasha Romanoff: “Oh?”

Emil Blonsky: “When our security guards warn your father, he turns his cart and aims for them. If this were the only issue we might be able to work through it, but his overall demeanor is…sort of like a maniac. One night we caught him standing inside of the walk-in fridge eating an entire baloney. But as bad as your father is…”

Natasha Romanoff: “Oooooh, boy.”

Emil Blonsky: “Your mother has brought the morale of our community to an all time low. She has this way of appearing to give a compliment when actually she’s insulting you.”

Natasha Romanoff: “I…can’t imagine where this is coming from.”

Bruce Banner: “Now hold on. Hold on just a minute. We’re not about to sit here and listen to you run down these good people. Oh sure they might be opinionated but everything they do comes from love.”

Emil Blonsky: “I understand that you’re upset-.”

Bruce Banner: *begging* “Please don’t make us take them back!”

[gammacousin]

Natasha Romanoff: “Signal, dad. Before you weave into other lanes.”

Alexei Shostakov: “I only need one signal!” *flips off the car next to him*

Natasha Romanoff: “Great, dad. Awesome. She’s giving it right back, cool.”

[gammacousin]

Melina Vostokoff: “How’s the bird?”

Rebecca Banner Senior: *sweetly* “I took care of it.”

Yelena Belova: “What do you mean?”

Rebecca Banner: “Oh. You know.” *slices across her neck*

Bruce Banner: “Mom grew up on a farm.”

Alexei Shostakov: “…I’m sure the chickens slept with one eye open.”

[gammacousin]

Melina Vostokoff: “Where’s Becca?”

Natasha Romanoff: “With the other half, she’s with Elaine.”

Melina Vostokoff: “Walters?! Well for how long?”

Natasha Romanoff: “She’ll be back tomorrow. What can I do for you?”

Melina Vostokoff: “Oh. Natasha, are you cooking something?”

Natasha Romanoff: “No…? Why?”

Melina Vostokoff: “Well, there’s-…an aroma.”

[gammacousin]

Morris Walters: “You did have that canister! Elaine has been going on about that thing like it’s King Tut’s golden undies.”

Natasha Romanoff: “Please, Morris. Don’t say anything! If she finds out.”

Morris Walters: “You’re in big trouble, lady.”

Natasha Romanoff: “I’m begging you, Morris. What do I do?”

Morris Walters: “Give your heart to god cause your ass is Elaine’s.”

[gammacousin]

Yelena and Alexei: *barging in*

Natasha: “Hey, HEY! What are you doing?! Why aren’t you with ma?!”

Yelena: “Evidently it’s simply not Mother’s Day without Natasha. She sent us over to get you.”

Alexei: “What she doesn’t know is we’re never going back!”

[gammacousin]

Yelena: “Spoiled princess!”

Natasha: “Crybaby!”

Melina: “Stop it! Both of you! What is going on?”

Alexei: “Yes, this is unseemly.”

Natasha: “Yelena got you a marriage counseling book for Christmas!”

Melina: “What?! I don’t understand. Why would you get us a marriage book?”

Alexei: “Yes! Why? I’m not interested in that subject.”

Melina: “We’ve been married 46 years! You think I don’t know everything?! We’ve seen the lows and we’ve seen the highs.”

Alexei: *to Melina* “What day was the high?”

[gammacousin]

Yelena: “What is going on?!”

Alexei: “Your big shot hero sister here wants to give me a ticket!”

Natasha: “-I don’t want to, I have to.”

Alexei: “It’s the end of the month! She’s got a quota!”

Natasha: “You flew into my quinjet!!!”

Alexei: “I’m your father! It doesn’t matter if I kill a guy, you’re supposed to look the other way! Right Yelena?!”

Yelena: “Whatever you do I want to look the other way.”

[gammacousin]

Natasha Romanoff: “You want to know what marriage is like? Fine, Yelena, I’ll tell you. You wake up, he’s there. You come back from a mission, he’s there. You fall asleep, he’s there. You eat dinner, he’s there. You know? And that might sound like a bad thing. But it’s not. Not if it’s the right person.”

Alexei Shoshtakov: “…I’d like a minute for rebuttal.”

[gammacousin]

Alexei: “I don’t like tests! All they measure is book-smart. They don’t measure street-smart.”

Melina: “And you’re street smart?”

Alexei: “I am VERY, street smart.”

Melina: *laughing*

[gammacousin]

Alexei: “Remember how you owe me?”

Bruce: *pointing to the sack* “…Melina’s not in there…”

Alexei: “No I just dug up a rose bush.”

Bruce: “Why did you do that?”

Alexei: “It was in the swing zone of my hammock.”

Bruce: “Well, what do you want me to do?!”

Alexei: *passing the shovel* “Take the rap.”