Showing posts from 2014

Saint Laurent

Disclaimer: Expectations were high going into this film for two reasons: (1) it triumphed over the superbly brilliant and universally acclaimed Blue Is The Warmest Colour as France's entry for The 87th Academy Awards Best Foreign Language Film; (2) this is the second of two Yves Saint Laurent biopics of the year - the first being: Yves Saint Laurent.

Saint Laurent was a stylish movie with a disjointed and non-cohesive narrative, saved by the charismatic Gaspard Ulliel as the eponymous fashion savant and Yves Saint Laurent's gorgeous designs.

At about 30 minutes too long, director Bertrand Bonello's 150 minutes biopic gave the audience no insight into mind and inner workings of fashion's enfant terrible. It focused on a brief chapter of his life but yet in choosing just that short time-frame, Bonello was not able to find any focus for his story: his fashion? his ideas? his relationships? his scandals? It was a hotchpotch of ideas and imageries. With the camera fleeting f…


An entertaining Australian sci-fi movie that had a very cool concept and story, but perhaps got a bit too lost in its own perceived smarts that if you just tug a bit at the logic thread, the whole tapestry will unravel.

For fans of the sci-fi and time-travelling genres, the - inevitable - twist could be guessed within the opening minutes of the movie, and writers/directors The Spierig Brothers had padded the whole 97 minutes with enough clues and hints that even Elle Woods would have solved it.

In addition, if The Spierig Brothers had focused less on the crime noir sub-genre and made a film exploring the psychology behind the concept, this movie might have been even better, Although, realistically, a more intelligent movie would also mean less box office receipts.

Ethan Hawke was competent in the role, but to be honest, other than when he was working with Richard Linklater, Hawke's characters tend to blend in with each other.

The real stand out here was Aussie actress Sarah Snook…

The Hobbit: The Battle of the Five Armies [IMAX/3D]

The final chapter of this drawn out trilogy is unfortunately the weakest of the lot, and that is saying something since The Hobbit is already incomparable to The Lord of the Ring.

At 144 minutes, this is the shortest entry of the lot, but yet it felt so bloated. There is essentially only one set where the whole story is based on (yes, we do venture to other locales briefly, but those scenes were mere interludes), and there really was not any substantial plot to sustain the length.

In addition, everything we see had a been-there-done-that feeling to it. Peter Jackson did not give us anything new or innovative to distract us from the thinness of the plot and the repetitiveness of the action.

The biggest problem with this trilogy is that we do not care about this "fellowship". There was not really any character development or investment by Jackson and company to make the audience feel attached to the characters. Likely because Tolkien himself did not really intend for this sto…

The Flash

Disclaimer: Doing things differently for some shows now because of personal time constraints. Binge-watched The Flash from its Pilot to the Winter Finale over two days. Previously, I had watched Arrow but did not make it through the first season, although from what I hear, Arrow has vastly improved.

Pilot: A very good pilot - did everything that a pilot is meant to do. Introduced the protagonist and the main cast, developed a potential long term (or at least a season-long) mystery, start the conflicts between various aspects of The Flash's life, and most importantly, not laden it with too much exposition. Trusting the audience to know enough on their own - which is important in a comic-book adaptation, especially of a more well-known hero. Grant Gustin was an interesting choice to play Barry Allen, but his dorkiness is adorable - a lot like New Girl's Jesse - and instantly a lot more relatable to the average audience. Especially as this is an origins story, it make sense for hi…

Exodus: Gods and Kings [IMAX/3D]

2 words to describe this movie: Epic. Spectacle. 
Ridley Scott is a masterful storyteller - Prometheus, for all its plot holes and heightened expectations, had a great story to tell - and he knows how to direct big set pieces without getting too complicated. Together with cinematographer Dariusz Wolski - gorgeous wide-angle lensing - and composer Alberto Inglesias - epic, awe-inspiring score - this is a visual and auditory spectacle that is worth to be seen and heard in an IMAX theatre. The 3D, however, not very much so.
Pacing-wise, the movie did slowed down a bit too much towards the end of the first act, and, as gorgeous as they were visually, the plagues dragged on too. For most audience, they would be familiar with the plagues, but if you were going to add internal conflict for your protagonist, then you better be willing to explore it more. Especially since, ironically or not, or purposely or not, Moses felt like a terrorist at one point. That angle should have been explored mo…


What an original and darkly engaging directorial debut from director/writer Dan Gilroy! Jake Gyllenhaal was mesmerising as he disappeared into a role that is wholly unique, with equal parts charming and frightening.

Gilroy gave us a story with a relatively original concept, bringing us into the world of news video capturing. But at the same time, it was also a satirical rift on modern news channel relentless focus on crime and violence which is only because of the viewers' insatiable appetite for such "news". Aaron Sorkin will have such a field day with this - oh wait, he did already with The Newsroom.

Watching the movie itself leads the audience to question not only their own morality but also the ethics behind journalism.

Gilroy framed the movie in three distinct Acts, making Gyllenhaal's character's story easy to follow as we see him dip his toes, then start to swim, and finally dive all the way. In addition, the character himself was written very well, as hi…

State of Affairs

Pilot: NBC is taking a gamble with this new series, not only because Katherine Heigl is in the lead (for the record, I personally think she is a good actress with on-screen presence and I do not really give a damn about her PR-drama), but because how do you properly do a spy-drama when there will be inevitable comparison with the revitalised Homeland and consistently excellent The Americans over on cable? Nonetheless, the premise is interesting enough and at least the showrunners show us a different aspect of the CIA: the President's Daily Briefing. But herein lies the biggest trouble. Heigl is too glamorous and inappropriately dressed for her supposedly high-security clearance character (according to Wikipedia, she should be the Director of National Intelligence). and consequently, she lacked that necessary gravitas to give her role and credit. Nonetheless, Heigl has screen presence and is relatable but not convincing. Alfre Woodard, on the other hand, eased into her role as the …

Maps to the Stars

Bolstered by a powerful female cast - from the raw and vanity-free Julianne Moore to the cold and yet fragile Mia Wasikowska and the always talented and under-rated Olivia Williams - David Cronenberg's latest is a dark, strange satire on the dysfunction of Hollywood that lies below all the glitz and glamour.

The story, written by Bruce Wagner, unfold in layers and in pieces, with each piece slowly falling into place as the layers are slowly peeled off. All that happened as Wagner and Cronenberg satirised the dark comedic truths behind the Hollywood machine. With name-droppings like snow in Winter, the pop-savvy and intelligent audience will get the comedy behind the darkness. However, if not, some parts may not make much sense.

Moore was riveting throughout the movie as we see her character morph and change through the 112 minutes. The accolades were justified as was her Best Actress win at Cannes'. The role was vanity-free and Moore really let herself go and embraced all the…

How To Get Away With Murder

Pilot: First time really watching a Shonda Rhimes series, so am expecting much and yet also at the same time not expected to be blown away. And that was what I came away with after the pilot episode. The premise is interesting and the likely series-long mystery does seem intriguing, however the flash forward technique is getting more and more contrived every year we move away from Lost. Viola Davis is a fabulous actress but her character is such a contrived mess. There had better be a good back story to explain her character. None of the other main cast appear to be likable or relatable, not even the underdog, perhaps only Connor is mildly interesting because he turned out to be gay. Liza Weil is underutilised. The case-of-the-week structure so far is fairly interesting as it at least it involved the interns - whom we are supposed to be invested in - vying to get Davis' attention.

Episode 2, "It's All Her Fault": The case-of-the-week concept got a big boost here if Da…

Gone Girl

Disclaimer: I really didn't like the book by Gillian Flynn. I could understand why people liked it - especially the concept - but I didn't like how the book/story was presented. 

Gone Girl is a typical David Fincher movie, i.e. smart (if you have never read the book), stylised and strangely sexy, but at the same time it is also a typical David Fincher movie, i.e. the style palette, directing and soundscape. Nonetheless, Fincher's hands definitely improved the telling of Flynn's story. 
Without ruining the plot, the story unfold closely to the book in terms of structure and was presented smartly and smoothly by Fincher.

For those who do not know the book, the movie was well paced, gripping and tense throughout its 2.5 hours run. 
Even those who knew the plot, the movie was still stylised enough to hold your attention. But then the faults become more apparent and jarring especially the music by Fincher's frequent collaborators Trent Reznor and Atticus Ross, and the r…

Hunger Games: Mockingjay Part 1

Expanding the third book into two parts may be the best thing this series has done. With the increased length time, they are now able to tackle the more substantial issue of a revolution - giving it more depth and showing the broader country-wide social impact - rather then the slightly more juvenile - albeit more personal - survival game itself. This was also something that Suzanne Collins was not particularly good at when writing book 3, so kudos to writers Danny Strong and Peter Craig, and director Francis Lawrence.
All the old cast were great and were welcomed back like old friends especially Effie, Elizabeth Banks - who was not in the book. She was the definite comedic highlight of the show; even more so than in the previous installments where she tend to be too screechy. 
Philip Seymour Hoffman and Woody Harrelson had smaller roles here but those roles were vital and showed what great actors they are. 
Liam Hemsworth, on the other hand, was not missed, and he did nothing outsta…

The Babadook

The best horror movie since Insidious and if only its Third Act could have maintained that level of creepiness, horror and originality, this would have easily been one of the best horror film in a long time.

Like Insidious, this movie focused its horror using old-school techniques of ratcheting up the tension, with the use of music and edits, and very, very minimal jump scares. The whole movie felt scary and the psychological terror that imbued in the audience was extremely effective.

Unfortunately, the final act fell apart. Not greatly, but still it felt flat compared to the excellent first two acts. It became rather generic and run-of-the-mill, and even then, because of the low budget, the run-of-the-mill-ness felt broken. Which was a real pity.

But nonetheless, the whole movie was definitely worth a watch for horror fans and even just the casual movie goer looking for a good scare.

Boyhood [SQ Inflight Entertainment]

Possibly the best movie of 2014 thus far, and this is saying a lot considering that it was out in Summer and I had only just watched it in Fall.

Amazing, epic and ambitious scope by writer/director Richard Linklater that was matched only by its heart and sincerity. Narratively, it was rather weak but taken as a whole it showed a rare heartfelt glimpse into the growth of a child.

Granted that character development was not significant for many of the characters of the show, but our titular hero was a boy who grew up (over 12 years) into a man and this movie was a depiction of that passage. In many respects this was like the Up series.

Patricia Arquette provided the anchor for the series as the main adult figure for which the parent-child relationship resolved, and she held herself well as we see the changes to her life over the 12 years.

Ethan Hawke was also present throughout the movie and his character gave the boy a father-figure to look up to and possibly even aspire. Again, we see…


Interstellar is like the illegitimate love child between Gravity and Contact with The Hitchhiker Guide To The Galaxy and Space Odyssey 2001 both fighting to be its godparent. You know you are in trouble when the best thing about the movie is the wise-cracking robot a la Marvin from THHGTTG. 

Christopher Nolan has not made a good movie since The Dark Knight and even then his best movie still remained Memento. Perhaps responding to criticisms about Inception, this movie has been dumbed down exponentially definitely as a bid to wow all of Nolan's new found fans. But there is a difference between dumbing down to appeal to the masses and dumbing down to being outright stupid. For the former, see Michael Bay's Transformers; the latter - I can't even think of one now.
Jonathan and Christopher Nolan's script was filled with such bad writing. Clunky dialogue and heavy handed exposition. Poor line readings also did not help matter - will get into that soon. The robots had the be…


Pilot: To be fair, I do not really know much about Constantine the DC comic that this is based on, and as for the Keanu Reeves movie back in 2005, I vaguely remembered that it was entertaining for a Keanu Reeves movie. Anyways, Matt Ryan seems like a good fit thus far, although surprisingly un-british enough: his Constantine needs to be a bit more sardonic and deadpanned (Johnny Lee Miller's Sherlock in Elementarycomes to mind, but less eccentric). Thankfully, the show is losing Lucy Griffith's Liv. Unfortunately she really did not fit the show, seemingly awkward and lacking chemistry with Ryan. There were some good scares in this pilot - kudos to director Neil Marshall - and hopefully the show runners can maintain that level of creepiness. However, David S. Goyer remains one of the most over-rated writer in Hollywood. His script was the second weakest link (after Griffith) with pokey dialogue and clunky exchanges. The idea is there but the execution lacked polish. Hopefully i…

Words and Pictures [SQ Inflight Entertainment]

A more matured-directed rom-com that had its heart in the right place but the soul itself fleeting in and out. Clive Owen and Juliette Binoche are great in their own roles (come on...a Brit as a literary supporter and a French as the snobbish artist - Perfect!) but together their chemistry was stronger when they started out as frenemies than when they became lovers. 
The concept is strong and the material funny, and using a rom-com as a premise to discuss the age old question of words or pictures was a smart decision. A more intellectual discussion would not be very fitting to a movie structure. However, they may have answered their own debate with Music; first there were neither words or painting but sound.

The Immigrant [SQ inflight entertainment]

An achingly sad yet paradoxically hopeful period drama about one woman's struggle to survive wrapped enigmatically in an unlikely love story. Excellent and touching performances by both Marion Cortillard and Joaquin Phoenix, with Jeremy Renner in an outstanding supporting role. 
Director and co-writer James Gray (the latter with Richard Menello) painted a portrait of a bleak and desperate woman but also one who has immense strength in character and faith. Well directed with a good pace and sharp focus on characters. Interesting themes explored particularly sin and survival vs salvation, and forgiveness. 
Cotillard was outstanding as the titular main character: raw, fragile yet her steely gaze can stare down the hardest man. In this case, we have Phoenix giving us another one of his brilliant character creation as the anti-hero that you are secretly rooting for even if pretty boy Renner came in and swooned you/us over. 
Cinematography by Darius Khondji was equally as bleak as the …

The Mysteries of Laura

Pilot: I will admit that I had never watched Will & Grace but, other than her scarves, Debra Messing was rather charismatic on Smash, so I approached this seemingly procedural drama with a bit of trepidation. Usually I am not a fan of criminal procedurals, however if done right, they can be range from absolutely brilliant and mind-blowing like Hannibal(which admittedly became less procedural) to good and interesting like Elementary and the late, under-rated Prime Suspect. But the key to the aforementioned shows is the fascinating and riveting chemistry the main cast has. So can Laura do the same? The case-of-the-week itself was rather silly and does not really involve the audience, so is that a hint for the future? Where the case itself is secondary to the drama of Messing's messy life? She definitely has the screen charisma to carry it off and Josh Lucas as her soon-to-be-or-maybe-not ex husband and her have good chemistry together (he as eye candy does help too). As for side…

Magic in the Moonlight

Woody Allen's newest movie is definitely not one of his finest work, or perhaps we judged him too harshly now after his recent run of spectacular films starting from Midnight in Parisand the last one: Blue Jasmine. And unfortunately, the bulk of the blame lay squarely on both Allen and his two leads: Collin Firth and Emma Stone.

Firth and Stone are undoubtedly one of the best actors of their time (him) and their generation (her), but here, as leads in a romantic comedy - even one written and directed by Allen - they lack chemistry. And that is essentially the death knell of any rom-coms. Singularly, they are fine actors. Firth has the whole English snobbish, eccentric, rational wit going on, and Stone is fine on her own as the seemingly naïvete but romantically passionate American. However, between them, not even ice would melt.

Furthermore, another sorely lack piece of puzzle in this movie is the lack of an outstanding supporting cast. Jacki Weaver and Eileen Atkins were the exc…

Planet Earth in Concert

Documentaries like these always fill me with a profound sense of wanderlust, and when backed up with a live orchestra like the SSO, this wanderlust just gets amplified.
Regardless whether you have watched this series before or not, it is impossible not to be awed by awesomeness and mysteries of Mother Nature and Planet Earth. But undoubtedly, some of that awe is blunted with prior exposure. Although seeing half a million snow geese take flight and the money-shot of the orca leaping out of the water on a big screen is beyond words.  
One of the downside to this presentation is that David Attenborough was sorely missed! kJoshua Tan performs better with his back to the audience, and his narration lacked the grandeur and wisdom so inherent in Attenborough's narration. 
Nonetheless, kudos to the film-making team at BBC Earth - although this was so clearly an unabashed money grab. Looking forward to Frozen Planet in Concert!

Mies Julie [Miss Julie]

A brilliant play that was wonderfully adapted to the South African context, using the apartheid to broach themes of social equality, power, self-identity, and even love.

Fearless performance by the two leads who deftly handled the emotional range and depth that was required of them, and the constant evolution of power between the characters. However, ultimately, this play still bore the mark of chauvinism and that was starkly unaddressed in a play that juggled bigotry and inequality.

Nonetheless, the play itself was written and directed beautifully with rich imageries, clever juxtaposition, and subtle yet inevitable foreshadowing.

Wonder how the movie will be like...

Colourless Tsukuru Tazaki And His Years of Pilgramage

Decidedly different from Murakami's past works in that this was grounded more in reality and lacked the magical realism he was known for. However, Murakami replaced that with a stronger emotional core throughout the novel. 

This was  essentially a story about self, love and happiness. A dark story - possibly one of his darkest - that only had occasional glimmer of hope and light. But those glimmer are enough to sustain optimism...or are they? That oscillating hope illustrates Murakami's skill as a storyteller (not so much a wordsmith per se since this is a translated work). 

This is Murakami's most emotionally resonant work since Norwegian Wood and also perhaps one of the most easily accessible to new readers.

Under The Skin [SQ Inflight Entertainment]

Director Jonathan Glazer and co-writer Walter Campbell have crafted what is definitely one of the strangest, most WTF, yet strangely alluring art house alien/sci-fi movie ever based on a novel by Michael Faber. 

However, beneath all that strangeness, there lies an oddly sad story and commentary about human nature which was brought to life in all in muteness by the magnetic screen presence of Scarlett Johansson. 
In a role that is a total opposite of that in Her, Johansson barely spoke here, but yet she and Glazer had managed to make her character highly intriguing and the story oddly engaging. 
As an audience we are constantly asking ourselves "What is happening?" and "What is going to happen next?" - and that in itself is excellent storytelling that is so rare in Hollywood these days. 
Cinematography by Daniel Landin was raw and naturalistic with some amazing shots, and music by Mica Levi was hauntingly effective and memorable especially in such a dialogue-free movie.…

Yves Saint Laurent [SQ Inflight Entertainment]

The biopic of the tulmultuous life of troubled fashion savant and enfant terriblé Yves Saint Laurent started of with a lot of promise but midway, like Saint Laurent himself, director Jalil Lespert got lost in the debauched excess, losing focus on the main subject and his relationship with both Fashion and Pierre Bergé. 

Pierre Niney as Saint Laurent got his shy demeanour in the beginning down pat, however as the story progressed, Niney slowly failed to capture that lost, desperation and maniac dependency that plagued Saint Laurent. 
Guillaume Galliene as Bergé, however, was a constant rock throughout much like how his character was portrayed. Though biasness would be inevitable since the story is told from his point of view. 
The sweeping piano and violin score by Ibrahim Maalouf was a highlight. And of course also the gorgeous costumes by Madeline Fontaine throughout. 
No surprise this film was not screened in Singapore. 
Les Modes Passant, Le Style est Éternel.

Teenage Mutant Ninja Turtles

The heroes in a half-shell are back in a brand new, reboot origins story. Jonathan Liebesman does a competent job in giving us a relatively fun romp re-introducing the turtles to a new generation. At least he understood that the storyline cannot support too long a show time, and during the snappy 101 minutes focused mainly on Megan Fox and action - unlike producer Michael Bay. The turtles are slightly different from their cartoon counterparts but broadly retained their basic characteristics. Surprisingly, Raphael got the lead here.

Liebesman gave us a fairly straightforward origin story but other than a very good action set towards the end of the Second Act, the rest of the movie was fairly simple with no real big twists or unexpected results. Although the origin story itself was a departure from the story that we grew up knowing.

Cinematography was also rather flat throughout which did not help to make the movie more visually appearing. Likewise, frequent comic/super-hero music coll…

Anna Karenina [Blu-Ray]

Joe Wright's adaptation of Leo Tolstoy beloved classic is extremely stylised, uniquely presented and a gorgeously sumptuous feast for the eyes and ears. However, the directing, although unique, was inconsistent, occasionally bordering on simplicity, with style over substance; the storytelling deceptively simple with all of Anna's complexities and Tolstoy's social/political commentary lost. Wright again brought out the best of Keira Knightley, and similarly Jude Law also stood out, but young Aaron Johnson (now Taylor-Johnson) was badly miscast.

Wright chose a very unique way to present this story, and although it took a few minutes to get use to it, it was nonetheless arresting and visually spectacular. However, Wright noticeably got lazy and this technique became inconsistent, and when it did not serve the narrative was abandoned without forewarning.

Luckily for us, he had Seamus McGreary as his cinematographer. When the scenes were set indoors, McGreary shots ranged were…

Guardians of the Galaxy [IMAX/3D]

Marvel and James Gunn have on their hands a new space-movie franchise. This was a fun, enjoyable ride that would definitely appeal to the majority of the public as evident by my audience's response. The two best elements were the awesome 70/80s mixtape playlist peppered throughout and the incredible creature (and floral) design and directing of Groot. However, it does not really stand out amongst past Marvel movies and Gunn's voice can be best described as the poor man's Joss Whedon.

Gunn gave us an incredible introduction that quickly set the tone for the rest of the movie. However, other than the aforementioned playlist choices and Groot, nothing else really stood out in the remaining 100-odd minutes. What was lacking throughout was a strong emotional core to anchor the movie with the audience. Things just happen and get resolved. Our heroes do not really suffer any significant, damaging, personal, soul-crushing, emotionally tense setbacks. There were definitely enough …

Jersey Boys

The closest Clint Eastwood got to capturing the energy and joie de vivre of the original Broadway/West End hit musical was the closing ensemble dance. And sadly, as talented as John Lloyd Young is as a musical star, he is not a big-screen actor and is unable to carry the weight of the movie on his shoulders. Ultimately, other than fans of the musical/Franki Valli and The Four Seasons/50-60s music most will actually find this movie rather bland and uninteresting.

Eastwood may seem like an interesting choice to direct the movie-adaptation of a hit musical, but theoretically he did live through that period when Franki and gang were tearing up the charts, so perhaps he could recreate that energy and buzz when the world discovered them. Unfortunately, other than his wonderful eye for capturing that period, and some beautiful camera-work, there was still a strong disconnect between us and the characters.

Even a climactic moment in the musical fell slightly flatter on the large screen. Like…

The Strain

Disclaimer: I have read the novels that this series is based on. The novels were engaging and the mythology interesting, but as a whole, the pacing was rather slow and the dialogue uninspiring. The strong points were definitely the mythology and the depiction of the monsters, as well as the action sequence. However, towards the end, the pseudo-religious symbolism and christian parallels got just a bit too heavy handed.

Pilot: FX's newest horror series sure have a lot of pedigree. Based on a best-selling novel trilogy and with cult horror maestro Guillermo del Toro has the author/creator/EP and Carlton Cuse (for better or worse) on board too, expectations are running high. The cold opening definitely set the tone, with del Toro behind the camera and Ramin Djawadi (Pacific Rim and Games of Thrones) scoring the music. the tension, mood and scares were all on point. However, when the main cast start coming out, that's when things start getting flat and - to be honest - rather tedio…

Dawn Of The Planet Of The Apes

A worthy sequel to 2011's summer box-office surprise Rise of the Planet of the Apes, but like the first instalment, the star of the show is Andy Serkis and the animation. The human actors - as awesome as Keri Russell always is (seriously, any movie with her in it instantly gets bumped up half a notch at least) - and the storyline are secondary considerations. Actually, in this case, I might actually put them as tertiary, with Michael Giacchino's outstanding score, Matt Reeves' confident directing and Michael Seresin's striking lensing as the next most outstanding aspect of this movie.

Back in 2011, I mentioned that the sequel may be Outbreak-ish in nature, but thankfully the writers (Mark Bomback, Rick Jaffa and Amanda Silver) and Reeves decided to skip all that and go straight to the aftermath, and we really see how "The Planet of the Apes" took its first steps into becoming a reality. A sad, but surprisingly, heartfelt and painfully truthful moment in the …

Burnt Ends

Finally managed to find the time and get a table booking for Burnt Ends. Only one timing for reservations at 6 to 6.30pm, thereafter is try-your-luck-at-the-door.

Burnt once at Teppei, so am approaching this highly hyped restaurant with a hint of trepidation and slightly blunted expectations.

Open kitchen concept with bar-style sittings - except for one long table at the end. Loud music, poor acoustics, so definitely not the place for an intimate night out.

Service was polite and acceptable, but nothing to rave about. Good explanation of the menu and their house specials but rather didactic. More rote memory regurgitation than personal taste and expression. The bartender was too busy with the caucasian ladies at his end to be effective.

The open kitchen is a good concept if the team is strong. And here, they evidently are. It can be clearly seen that they work well together, but sadly, even mistakes are easily witnessed by the guests (if they are paying attention). However, that is o…