REVIEW: DEATH NOTICE - IKIGAMI (R2 DVD)

Film: Death Notice: Ikigami **
Release date: 7th March 2011
Certificate: 15
Running time: 128 mins
Director: Tomoyuki Takimoto
Starring: Shota Matsuda, Koji Tsukamoto, Riko Narumi, Takayuki Yamada, Akira Emoto
Genre: Drama/Fantasy
Studio: MVM
Format: DVD
Country: Japan
Reviewer: Adam Wing

If you had 24 hours left to live, how would you spend it? That’s the thought provoking question raised in Takimoto Tomoyuki’s bleak futuristic drama Death Notice - Ikigami.

To encourage productivity among citizens, the Japanese government has introduced its own process of unnatural selection - all people between the ages of 18 and 24 are eligible for a death lottery. The twist being that you don't have to buy a ticket, an injection at the age of six puts pay to that. Those chosen to die are served an "ikigami", or death notice, 24 hours before their reckoning. Fujimoto Kengo's job is to deliver that ikigami - give me a desk job any day. Matsuda Shota (Hana Yori Dango: Final) plays the modern messenger of death, brought to life from the pages of Mase Motoro's popular manga.

Set in a dystopian Japan where Big Brother is always watching, the film attempts to explore the value of life under the cloud of death through Fujimoto's various encounters on the job. Death Notice traces the last 24 hours of three very different ‘volunteers’, each providing a unique perspective on the unerring ruling: a wannabe pop star (Yuta Kanai) grasping at his last shot of stardom, a suicidal man (Kazuma Sano) disorientated by life, and a loving brother desperate to restore his sister’s sight.

Death Note - Ikigami features an all-star cast that includes the likes of Tsukamato Takashi (Song to the Sun), Narumi Riko (How to Become Myself), and Yamada Takayuki (Train Man). The concept is nothing short of ambitious, and Takimoto Tomoyuki’s movie touches on radical themes throughout. Not only are the nations young randomly selected for death, but the Japanese government also sees fit to punish anyone guilty of ‘thought crimes’, a re-education program that keeps the public inline. The cameras littered around the city offer an ominous view of control and entrapment, used sparingly by Yomoyuki; this Big Brother style perspective results in a threatening depiction of regulation and order.

It’s not all doom and gloom though, upon receiving the ikigami, the condemned are allowed 24 hours to do pretty much what they want, just so long as they don’t commit a crime. A Government compensation plan is put into place for the families of the victims, but that right is taken away should the condemned choose to go on a bloody rampage. A neat twist it has to be said, unless of course the person sentenced to death has an unhealthy distaste for the remains of their family tree. Like I said before, Death Notice touches on some interesting themes, but Takimoto Tomoyuki is guilty of undercooking the fresh meat of his dish. Like many Japanese dramas these days, Ikigami resorts to daytime TV sentimentality, taking the taste away from a very potent mix.

The first story gets the lion’s share of the running time, and makes for an engaging journey for the most part. It’s not until the end of the trip that Tomoyuki turns on the tears, overreaching with emotional baggage and weighing down some fine performances in the process. Kengo acts as bystander for the most part, looking on as the clock ticks down. He’s undeniably shaken by the situation but continues to follow the rules to the letter, it’s not until the final journey begins that we get to see his loyalty truly tested. Interfering with the condemned is not permitted, but human nature takes precedence over right and wrong and the final act benefits from sympathetic characters and bearable emotion.

Takimoto Tomoyuki has taken an alluring idea and turned it into an occasionally affecting drama, what he hasn’t done is made the most of an arresting concept and themes. The fascinating topics are neglected in favour of melodrama, merely hinted at rather than fully explored. It’s a shame because there’s a world of ideas threatening to break free here, but they fail to make a splash trapped inside a soap opera bubble unwilling to burst. Further instalments could expand upon the central conceit, helping to answer the many questions hinted at in this humble beginning. As things stand, Death Notice intrigues but never truly captivates.

Lofty ideas, ingenious concepts and thought provoking themes are put to one side in favour of melodrama, sentiment and overreaching emotion. There is a lot of good here, but Tomoyuki spends far too much of his two hour running time repeating the same worn out line. Death Notice - Ikigami satisfies in small doses, but time will tell if a second instalment can make good on its groundwork.

REVIEW: WE ARE WHAT WE ARE (R2 DVD)

Film: We Are What We Are ***

Release date: 21st March 2011

Certificate: 15

Running time: 90 mins

Director: Jorge Michel Grau

Starring: Francisco Barreiro, Alan Chávez, Paulina Gaitán, Carmen Beato, Jorge Zárate

Genre: Drama/Horror

Studio: Artificial Eye

Format: DVD

Country: Mexico

We Are What We Are is Jorge Michel Grau's independently produced, genre-bending shocker, acclaimed as the Mexican Let The Right One In (2008). With big shoes to fill, has this grisly satire got the stomach to compete with one of the greatest horror films of recent times?

Dying in the middle of a shopping mall, a middle-aged man leaves his widow, two sons and daughter destitute. Not only will the devastated family have to cope with their terrible loss, but without a breadwinner in the house, they also face a massive challenge.

Not that bread will satisfy this family of cannibals, driven to eat human flesh in the Latin American urban jungle rife with poverty and corruption. Justifying their bizarre diet with ritual blood ceremonies is one thing, but now they must decide who will provide the victims now that father has gone.

The task falls to the eldest son Alfredo, yet he's far from ready to accept the challenge, carrying a secret that will rip a hole through his family, thus finally supplying the desperate police force with a recipe for success…

You know that you’re on to something good when you’re rooting for a bunch of flesh-eating cannibals. Either that or the other characters are so unpleasant you have little choice in the matter. Director Jorge Michel Grau has created such a bleak world filled with poverty and decay you are forgiven if at any point you hope this dysfunctional family finally manages to find some food for the table.

The youngest are certainly the victims here. Whereas the prostitutes and bent cops had, at some point, a choice in which direction to take, the three children had no such luck, raised into a family that already relied on human flesh as their only means of protein. Why the mother, played with such menace by Carmen Beato, decided to pursue her husband’s odd dietary requirements, especially as she despised whores, isn’t really explained, and it leaves a sour taste because for the most part she revels in being by far the strongest character.

This isn’t a unique family either, because throughout, cannibalism, although revered, is seemingly treated as a common occurrence, almost on a par with shoplifting. This is hardly surprising when you witness Grau’s Mexico City, rife with official incompetence and corruption. In a world where nobody trusts anyone, the cannibals are just another band of scum that need to be wiped out. It’s certainly an interesting angle, summed up superbly when the daughter tries to persuade her siblings to take a lady of the night, insisting they should, “Hunt down a whore. It’s not cheating - we’ll dress her in my clothes.”

It’s this battle that holds the most interest. Beato juggles her dual roles of monster and mother quite superbly, but it’s the loathing of her husband’s acquired taste that leads to the film’s standout scenes: her dispatching of a hooker, the special delivery that succeeds it, and her final comeuppance are easily the better of a sub-plot involving the seedy policeman and his quest for approval from his comrades. Having said that, Grau still manages to deliver a scene even camper than Alfredo’s out of place sexual meanderings when the streetwalkers chase his brother Julian down the street.

For the gore-hounds, there is surprisingly little on offer here. This isn’t necessarily a bad thing, although at times it wouldn’t hurt for a few more slashes of violence. Too much happens off screen, and although in certain cases it’s best to leave some horrors to the viewer’s imagination, here it would arguably add a little bit more clarity. Having said that, a brief scene that shows the teenage boys sexually toying with their victim, as any teenage cannibal would, comes as such an explicit surprise, you’ll be disappointed to find it cut short by their mother who halts proceedings the only way she knows how.

Suggesting rather than showing, We Are What We Are changes direction in the final act, and somehow comes to life as the ailing police force raid the family home. How they came upon the property so swiftly is a bit of a headache, but the ensuing shoot-out will wake most viewers from their quiet slumber of satisfaction, surprising some, upsetting others, with a finale that will divide opinion. It may be a lazy way to end proceedings, or it may be the inevitable outcome, but it’s certainly entertaining.

And here lies the problem. Whereas their father’s death, staggering through a shopping mall in the city, clutching his stomach before collapsing in front of semi-clad mannequins in a shop window is poetic, the police autopsy soon after introduces a character so pointlessly over the top it’s embarrassing. A sub-plot that revolves around their mother’s hatred for prostitutes is ruined by another about a dirty cop who wants to go out with a final bang, pulling the trigger to a finale that doesn’t quite sit right. A film that at times tastes of chalk rather than cheese, inhibited further by the lack of brutality on show, or in fact, a lack of anything that doesn’t even warrant debate, means that the final serving will probably leave the audience hungry.

If Grau had stuck to his guns, and concentrated on the far more interesting family relationships and the conflict generated, heightened by such a distressing series of events, We Are What We Are could’ve sat proudly beside Let The Right One In as one of the most beautiful horrors of the last decade. Instead, it’s memorable, but not a classic.

GOOD NIGHT IN: BURIED (DVD) ***

"Buried alive with only a cellphone and a lighter (and a torch, and some of them glow stick things, and a pencil, and his medication, and some booze), Paul Conroy is not ready to die. With no idea of who put him there or why, life for the truck driver and family man instantly becomes a hellish struggle for survival, and so begins Buried, directed by Rodrigo Cortes, starring the excellent Ryan Reynolds, a snake, and that's about it.

Poor reception, a rapidly draining battery, and a dwindling oxygen supply don't sound like the most gripping plot developments to grace our screens, and the film won't please all, yet given a chance, Buried is a tense, claustrophobic struggle that starts well, sags in the middle, then somehow manages to explode into a superb final act with some fantastically gripping moments that will leave you, not Paul, gasping for air. As did that sentance. An interfering snake and the breathtaking finale are two perfectly good reasons why you should unearth this unique movie."

REVIEW: DAMNED BY DAWN (R2 DVD)

Film: Damned By Dawn **
Release date: 7th March 2011
Certificate: 15
Running time: 81 mins
Director: Brett Anstey
Starring: Renee Willner, Bridget Neval, Dawn Klingberg, Danny Alder, Taryn Eva
Genre: Comedy/Horror
Studio: Momentum
Format: DVD
Country: Australia

Damned by Dawn was a huge crowd-pleaser at the Film4 FrightFest in 2010, managing to delight horror movie fans with a yearning for the type of inventive and entertaining horror-comedy shenanigans not seen since Sam Raimi’s Drag Me To Hell (2009). Written and directed by Brett Anstey, his debut feature, it follows on from his short-film Atomic Spitballs, oddly way back in 2004. With five years between gigs, his latest offering must be more polished than a Salvation Army Brass Band…

Claire (Renee Willner) drags her reluctant new boyfriend, Paul (Danny Alder) off to a remote house in the countryside to meet her family after receiving a mysterious package from her terminally ill grandmother (Dawn Klingberg).

Curious to learn more about the strange gift, an urn, Claire is instead left bemused by her gran, medicated up to her eyeballs, whose ramblings about the arrival of a female spirit to escort her feeble body into the afterlife annoy rather than explain.

As a violent thunderstorm rocks the house, everyone other than the grandmother are awoken by a succession of piercing, otherworldly shrieks; the cries of a banshee, summoning the dead to rise again, thus beginning a terrifying ordeal for Claire and her family as the army of undead unleash their fury upon the living…

To paraphrase the quote at that start of this film: Oh, how we mournfully wail, in the midst of the silent, lonely, lonely night; lamenting, we sing the song of death, unless we hit the eject button and watch something more entertaining instead. This is, perhaps, doing Brett Anstey an injustice, as Damned by Dawn actually opens fairly well, providing a couple of neat chills and a soundtrack that will, at the very least, result in neighbours dialing for the emergency services.

Ignoring the quite ridiculous make-up worn by Dawn Klingberg, Grandma’s spooky yackety-yak sets up the noteworthy arrival of a screaming banshee (turn the volume up really loud) that suggests this could be one hell of a ride. Sadly, other than a scene following shortly after, a delicious yet quite random act of violence from Claire, nothing can halt the viewer’s slide from edge of the seat to lying comatose on the lounge floor.

Things quickly devolve into a tiresome retread of the Evil Dead trilogy, without the fun. Flattened by mediocre editing from the outset (the kitchen scene involving Claire’s out-of-synch father asking for help is amateurish to say the least) and some poor dialogue (“I saw it, it was here… this face, this evil face…”), Damned by Dawn is left dead and buried way before the introduction of a computer generated skeleton so pedestrian it makes Ray Harryhausen’s creations look state of the art.

It wouldn’t be so bad if Anstey went for Raimi’s comedy jugular, but a script lacking in distasteful bloodshed contradicts the feel of the film, never quite deciding whether it wants to be taken seriously or not. The sound and visuals are decent enough, even if the repetitive wailing of the banshee, one of the film’s few highlights, eventually begins to grate. It may look bleak, but corridors that offer no fear thanks to shots that linger in the wrong place for far too long, effects wasted in scenes that offer little progress, and a screenplay that has more holes than the belt you may wish to tie around your neck halfway through, creates a movie that surely can’t be resurrected.

Thank the lord for Renee Willner, then. Yes, she may be worried that her terminally ill grandmother has been kidnapped (a premise even more ridiculous than an angry banshee raising the dead), and there’s a lazy nightmare sequence that questions her ability to sleep through such trauma, but she does make an irresistible piece of eye candy, for the boys at least. The remaining cast, mere fodder, are so frustratingly bland you’ll be thankful when the slaughtering finally starts. Our lead may have more personality in her left foot, but it wouldn’t hurt for the director to care about the others a little bit more.

You would also expect him to have watched and taken a few notes from successful scare-fests, but on this evidence, as another shadow glides across the screen, whether it be in the background or right in the viewer’s face, the fear of the unknown is left floundering in a sea of cheap scares, while its calls for help are continuously drowned out by the increasingly head-splitting soundtrack.

When the action switches from stalk-and-scare to a rubbish first person computer game perspective with our hero fending off the skeleton intent on doing him harm, you know that Damned by Dawn is more doomed than Doom. Claire’s lame attempts to fight off her by now very dead boyfriend is laughable (she’s no action hero), and you can’t help but wonder how it’s so hard to hide from a banshee with a larger set of lungs than Susan Boyle.

There’s still time for a daft voiceover encouraging our protagonist to return to the farmhouse and finish what she started (including a genuinely impressive car journey through flying ghouls), and at least Anstey has mastered the art of paying off a set-up involving a fox trap, but he doesn’t explain how the best way to defeat the dead is to knock them unconscious. By the time Claire tries to rectify her mistake by granting her grandmother her dying wish, you’ll be bored of the wailing, craving some intentional humour, and longing for some uncivilized bloodshed.

Polished brass will pass upon more people than rough gold, but Damned By Dawn doesn’t scrub up well despite boasting a number of efficient chills and a wonderfully atmospheric world. Dropping the ball in the monster department, with woeful dialogue and characters with no common sense, this is a film that will leave the audience wailing louder than the banshee.

REVIEW: TAJOMARU (R2 DVD)

Film: Tajomaru: Avenging Blade **
Release date: 31st January 2011
Certificate: 12
Running time: 90 mins
Director: Hiroyuki Nakano
Starring: Shun Oguri, Yuki Shibamoto, Kenichi Hagiwara, Kei Tanaka, Kyôsuke Yabe
Genre: Action/Adventure/Crime/Drama
Studio: Manga
Format: DVD
Country: Japan
Reviewer: Adam Wing

With a glimmering blade in hand, we head back to the forest for more swordplay shenanigans and epic romance. Loosely based on Ryunosuke Akutagawa’s short stories ‘Rashomon’ and ‘In A Grove’ (most famously adapted for the screen by Akira Kurosawa in 1950), Tajomaru stars Shun Oguri (Sukiyaki Western Django), Kyosuke Yabe (Samurai Zombie) and Hiroyuki Ikeuchi (Ip Man), available now on R2 DVD courtesy of Manga Entertainment.

Two brothers, Naomitsu and Nobutsuna Hatakeyama, are born into a wealthy and powerful family and both destined for greatness. However, when the father of their lifelong friend dies, a decree is made that has a profound effect on all their lives. The conditions of the decree force Nobutsuna to betray his brother by taking Ako as his own in order to inherit her late father’s wealth and position. However, driven by his love for Ako, Naomitsu gives up his life of privilege and instead flees with her into the remote forested mountain region where he believes they will be safe. It sounds simple on paper but to say Hiroyuki Nakano’s delivery is confused is like suggesting that Donnie Yen knows how to do romance.

During the journey, they are ambushed and attacked by a bandit calling himself Tajomaru who intends to kidnap Ako, and this is where things start to get really messy. Fortunately, she escapes and runs away before Nobutsuna manages to kill the bandit, whose identity he assumes. Now calling himself Tajomaru, Nobutsuna sets out on a dangerous and adventurous quest in search of Ako.

Meanwhile, back at the Hatakeyama home, an unlikely protagonist has decided the time is right to make a treacherous move that will place him within striking distance of the country’s most powerful positions of leadership. The plot has more twists and turns than an episode of your favourite soap opera, which is actually rather fitting because there’s a chance you’ll get that feeling throughout.

The first thing you’ll notice about Tajomaru is that it looks and feels like a TV movie. The set design, the budget and the style in which the film is shot give Tajomaru a made-for-TV vibe that it rarely escapes from. The action sequences add a touch of style to proceedings, filmed with passion and flair, but they make their presence felt infrequently.

If you’re looking for a fresh spin on the action swordplay genre then you’ve come to the wrong place, Tajomaru is a cliché-ridden exercise in fantasy filmmaking, a tiresome and unnecessary retread of all that has gone before. Director Hiroyuki Nakano gives his production a fresh spin with a questionable choice of soundtrack, but you don’t need me to tell you that swordplay, costume drama and rap music don’t belong in a movie together.

The actors perform adequately, but the characters actions and motives are muddled and the plot can be confusing at times. Not that there is much of a plot to speak of, but Nakano attempts to cover up the lack of substance with poorly executed multiple viewpoints and perplexing storytelling. There’s very little here to recommend beyond action spectacle, but don’t think for one second that you’ll get your fix there either. Tajomaru is a chore from start to finish, it’s just that the occasional glimpse of glimmering blade entertains effectively in fits and starts. Tajomaru was made for Sunday afternoon viewing, low expectations and a DVD collector out of ideas.

If you’re a die-hard swordplay drama completist then it might be worth a look, but there are so many better movies out there, it’s like putting Rich Tea biscuits in the same barrel as a Chocolate Hobnob - admirable but ultimately pointless.

TWISTEDWING LIKES THIS: THE SOCIAL NETWORK (DVD) ***

"Facebook - never use it myself (well not every hour because that's just scary), but David Fincher's The Social Network, the tale of a geeky genius (another brilliant performance by Jesse Eisenberg) who sparked a revolution and changed the face of human interaction for a generation was always going to be a fascinating journey. Despite suffering from a plot that can never stray too far from the truth, it manages to pack some emotional drama and lashings of humour, somehow allowing the viewer to sympathise with the main protagonist.

Chronicling the formation of Facebook and the battles over ownership that followed upon the website's unfathomable success was always going to captivate an audience who no doubt logged on immediately after viewing this compelling movie. Sadly, thanks to a screenplay adapted from real events, the ending is never going to be completely satisfying (even if everyone did get rich). Complex but interesting from start to finish, Mark Zuckerberg is probably the only person that doesn't wish to see a follow up. And maybe his ex-girlfriend."

GREAT NIGHT IN: SCOTT PILGRIM VS THE WORLD (DVD) ****

"Thanks to ridiculous prices at the cinema, rip-off rental chain Blockbusters not allowing Lovefilm members a chance to add it to their list (I'm sure we'll all come flooding back now, muppets), and other tight-arse lame excuses, I've finally got round to watching one of the movies I was dying to see in 2010 - and no, I don't mean Robin Hood.

Anyway, Edgar Wright decides to leave best mates Pegg and Frost at home and takes the reins on this epic (length-wise for sure) adaptation of the cult comic book about loveable loser Scott Pilgrim (Michael Cera as adorable as ever) who must prove his love for  Ramona Flowers (a sassy Mary Elizabeth Winstead) by battling her seven evil ex-boyfriends.

Fast-paced and frenetic fun for the videogame generation, this pop-culture spectacular really is the Bob-omb (yes, I did say that, and probably wasn't the first), with a great cast, endearing characters, cracking visuals and a thumping soundtrack that demands to be loud. It may bang on a little bit too long, but if you fancy something a little bit different, this Pilgrimage is definately a long journey worth taking - one of the most entertaining films of 2010 (better late than never)."  

MUST READ: TEENAGE WASTELAND - J.A. KERSWELL

"Teenage Wasteland details the surprising beginnings of the slasher movie and lifts the lid on the glory days of the subgenre - when for six bloody years, cinema screens and video stores were stalked by bogeymen and homicidal maniacs with murder and mayhem on their minds.

Packed with reviews of the best and worst slashers, essays on the history of the subgenre and heart-pounding colour movie artwork from around the world, this is a must-read for anyone who thought they had seen it all."

GREAT TRACK: THE NATIONAL 'VANDERLYLE CRYBABY GEEKS'

GREAT NIGHT OUT: BLACK SWAN ****

"How Nina (Natalie Portman in her best role since Leon) lives such a sheltered life with her over-protective ex-ballerina mother instead of telling her to go do one is one of the few mysteries surrounding this wickedly dark tale. 


When Nina replaces Beth, a talented yet unpredictable dancer (Ryder) for a new production of Swan Lake, her director, Thomas (Cassel), urges her to explore a dark side she never knew existed in order to become both the Swan Queen and the Black Swan. But the pressure of such a role, and the rising ambitions of new arrival Lily (Kunis), pushes Nina towards breaking point, quite literally...

Comparisons have already been made to director Darren Aronofsky's last movie The Wrestler, and the man himself proudly admits that this is a companion piece to the 2008 classic. Yet, forgetting the locations, professions, close-ups and other similarities, Black Swan wins out, just, thanks to a fascinating final third injected with astonishing surrealism and body-horror, lest we forget some mesmerizing dance scenes creating such tension you can't help but think you've just watched a psychological shuddering rather than a drama about warring ballet dancers. 


Brutal, with more chills and look-away moments than the entire Saw franchise (and believable to boot), Black Swan deserves all the plaudits, even if some balletomanes may eventually find it a little too much to swallow - or grand écart, perhaps."

NEW TRACK: DESTROY REBUILD UNTIL GOD SHOWS 'THE ONLY THING YOU TALK ABOUT'

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REVIEW: CLASH (DVD)

Film: Clash **
Release date: 21st February 2011
Certificate: 15
Running time: 94 mins
Director: Le Thanh Son
Starring: Johnny Nguyen, Veronica Ngo
Genre: Action/Martial Arts
Studio: Revolver
Format: DVD
Country: Vietnam
Reviewer: Adam Wing

Vietnamese action movies are hard to come by, but you’ll recognise the work of leading man Johnny Nguyen even if the name isn’t familiar to you. His filmography consists of stunt work on the likes of Spiderman, Serenity, Jarhead and the upcoming X-Men: First Class. He knows how to handle himself then, but you would expect that of somebody with over 18 years of experience in Kung Fu, Tai Chi and Japanese Aikido. He also takes a writers credit for his work on Clash, but lets try to remain positive for the time being.

Trinh (Thanh Van Ng), a beautiful and deadly mercenary, must complete a series of organized crime jobs for her boss in order to win the release of her kidnapped daughter. She hires several mercenaries to help, including Quan (Johnny Nguyen), who she also becomes attracted to. Trinh and Quan's relationship becomes complicated as it becomes evident that their motivations are not the same. That’s ok though, because explanations are hard to come by from anyone in this latest action extravaganza. Nobody goes to a Johnny Nguyen movie expecting award winning writing though, what we really want to see is some kick ass action choreography and a dazzling array of stunt work. It’s a shame then that fledgling director Le Thanh Son makes us work so damn hard for it.

The plot is perhaps confused, but then again, perhaps not. It’s hard to tell. The characters converse in such a roundabout fashion that it’s hard to tell if anybody knows what’s really going on. The plot revolves around a suitcase that could do a lot of damage if it falls into the wrong hands; confusion reigns when we attempt to work out just whose hands are unfit. It can’t be the team of mercenaries, even though they’re clearly not the good hands either, but we don’t have a lot to go on here so we’ll just have to make things up as we go along.

Besides, Trinh is only in it for her daughter so I guess we’ll side with her, at least she doesn’t talk in an assuming fashion. We should also take into consideration the fact that she's pretty much the only actress in the entire movie, so it’s a good job she’s incredibly hot. That’s not me being shallow – red hot femme fatales are a staple of the action genre.

It’s probably best if you don’t think about the plot too much, and thankfully the opening exchange between Trinh and her boss will make that very easy for you. They talk about the game of chess for a while, it’s all very pretentious and boring, and as you might expect by now, bares no relevance to the actual plot. In fact, the entire movie is littered with scenes that act as filler. Of course Trinh and Quan are going to fall in love, of course they’re going to bump uglies – none of which I mind if its delivered in an entertaining fashion. It’s not – Clash is ultimately a film that succeeds or fails on the quality of its action.

We’ve already established that Thanh Van Ng is hot; thankfully she’s one hell of a martial artist as well. Thanh Van Ng and Johnny Nguyen light up the screen with screen presence and visual intensity, delivering a handful of close-contact set pieces that are truly convincing.

The action sequences are tightly choreographed, brutal and believable, but there’s nothing here that we haven’t seen before. Car chases and shoot-outs are few and far between, and momentary surges of adrenaline fail to satisfy in an action movie so mundane. If you’re going to call your movie Clash, don’t drown the production in pedestrian storytelling and meaningless dialogue. Cut to the chase, break some heads and make a lot of noise.

Thanh Van Ng and Johnny Nguyen will go on to do better things I’m sure, but Clash fails to deliver on every conceivable level. Confusing, listless and devoid of action spectacle, it’s a martial arts movie that rarely finds its footing. All the more disturbing when you consider the wasted potential of its rising stars.

SUCKER PUNCH TRAILER 2

MUSIC: HANNAH PEEL - ALMOND TREE

MUSIC: FUNERAL PARTY - FINALE

GOOD NIGHT IN: WINTER'S BONE (DVD) ****

"Ree Dolly (Jennifer Lawrence) needs to track her meth-cooking father down, otherwise along with her younger siblings and their disabled mother, she will soon be rendered homeless. She is forced to break the local code of conduct by confronting her kin about their conspiracy of silence, revealing a much darker reason why her father skipped bail and disappeared.

Winter's Bone, based on Daniel Woodrell's novel, grips from the very beginning, with director Debra Granik displaying a sure hand for both setting and character, using the bleak but beautiful Ozark landscapes to striking effect. Lawrence is unforgettable here, but virtually every performance is memorable for all the right reasons, and you have to hand it to Granik for cranking up the tension with an assured and chilling climax."

REVIEW: THE ILLUSIONIST (DVD)

Film: The Illusionist ***
Release Date: 14th February 2011
Certificate: PG
Running time: 90 mins
Director: Sylvain Chomet
Starring: Edith Rankin, Jean-Claude Donda, Jil Aigrot, Didier Gustin
Genre: Animation
Studio: Pathe!
Format: DVD
Country: France/UK

Nominated for a Golden Globe in the Best Animated Film category, written by Oscar winner Jacques Tati, and directed by Oscar nominated and BAFTA Award winning Sylvain Chomet (Belleville Rendez-Vous), The Illusionist has all the ingredients to cast a spell over those seeking something other than intimidating ogres, rodents rustling up omelettes and pandas good in a punch-up.

It’s the fifties, and struggling to maintain a foothold in an entertainments business dominated by rock stars, an elderly Illusionist is forced to take on whatever jobs he can find, including lame assignments at garden parties and gigs in remote bars.

It’s at one of the latter where Tatischeff meets waitress Alice, a sweet girl hoodwinked by his peculiar charm and mysterious talent. Feeling appreciated again, the illusionist tries his best to keep the girl by his side, showering her with gifts, as if by the magic that transfixes her.

But as Alice grows older, she becomes less dependent on him, less reliant on the gifts, and when she finally finds another kind of happiness in the shape of a younger man, Tatischeff is forced to find one more trick up his sleeve to help him face his own reality…

With barely a word spoken, The Illusionist isn’t going to go down well with children, or some adults for that matter. It may be animated, but whereas Belleville Rendez-Vous was more child-friendly, here we have suicidal clowns, drunks and a bunny that feels there’s more to life than sitting in a hat and waiting for the drum roll. It’s also painstakingly hand-drawn, creating scenes of beauty Pixar could only dream of.

In fact, those that do decide to give this a chance will be mesmerized by the gorgeous visuals so much so they’ll probably book an escape to the country not long after the credits roll. Washed in hypnotizing watercolours that create some of the most stunning scenery seen on screen, The Illusionist is one of those films made for lazy Sunday afternoons.

Writer Tati was renowned for his silent comedies, writing this story decades ago – apparently shelving it because he thought the story was far too personal. His genius is obvious. This is one of those rare films you have to watch more than once. Not because of its riveting plot, of which there isn’t much, but because of its subtle humour easily missed if you’re not paying attention.

There’s so much going on at times it’s understandable if you miss something funny. Luckily, the opening hour is filled with many wonderfully-placed gags, and that’s discounting a depressed clown, screaming girls and the changing of the guard. There’s touching moments here too: Tatischeff doing the decent thing and finally allowing his companion to discover a new way of life is so beautifully tragic you’ll be forgiven if you produce a white handkerchief merely to wipe the tear from your cheek.

Despite this, a confusing relationship between our main protagonists and a lack of twists or turning points means that for the final act your hand could be reaching for the fast-forward button on the remote control. Whilst at the beginning there is so much to admire, in the latter stages there is so little going on. The Illusionist could be one of those films that is instantly enjoyable because it’s different, but this will be tested, and is tested, if the script plods along slower than Paul Daniels on tour.

Tatischeff casts such a dreary presence throughout its hard to conjure up any kind of empathy towards him (a buffoon if ever there was one), whereas Alice could be seen as a greedy little minx using her looks and charm to seduce a vulnerable old man in order to get something more from life, even if such things are materialistic and ultimately pointless - the outcome would certainly add weight to this theory. Maybe the story should’ve focused on the clown and the bunny after all, because it seems that they got it right, and the only loser here is our leading man – where’s the magic in that?

The Illusionist is one of the most beautiful animations of all time, tricking the audience with subtle humour and endearing warmth. Sadly, all this jiggery-pokery doesn’t last forever, the final third lacking in substance and failing to generate any emotion or interest whatsoever, let alone a rabbit.

TWO YEARS AGO TODAY I THOUGHT I KILLED SOMEONE WITH FIVE HUSKIES AND ONE SLED...

Suddenly the white becomes a perceptible image; bursting through the curtain of snow is a great big tree and it’s heading straight for me. Or rather, I’m heading straight for it. I’d lost control of my sled and as it roared on, leaving snow swirling in the bitter draft, a thought hit me harder than the piece of magical terrain I was supposed to be travelling across… why am I doing this?

I was crying out for some excitement to help me overcome a disappointing 2008. Flicking through ‘Wag!’ magazine, the publication for supporters of Dogs Trust, I stumbled upon the challenge of a lifetime - learning to mush with a team of huskies across the Arctic tundra. It was just what I needed, and the difficult task of raising £3000 in little over five months didn’t bother me at all. Part of this money would go some way in helping Dogs Trust continue to ensure a safe and happy future for our four-legged friends. The other half would pay for the trip, and that was the stumbling block.

Convincing my friends and family to support this challenge was arguably the hardest task of all. A select few didn’t hesitate whilst others promised to sponsor me when pay day arrived. That day came and went, as did the next one and the one after that. I didn’t want to appear pushy but eventually I admired the honesty of those that refused to pay for my ‘holiday’ more than those that kept making excuses. Was it too much to ask people to give up a bottle of wine or a packet of cigarettes for such a vital cause and something I believed in?

Autumn came and went, and reminding those few that they had promised to support me was pointless, especially as Christmas approached; I could hear the excuses long before the sleigh bells. The majority of local companies weren’t much help either, failing to respond to any of my letters, despite coverage of my trip in the local press. The plan was to hold a tombola stall at the late-night shopping event in town weeks before Christmas and I banked on a bit of support from a town that prided itself on keeping things local. In the end the larger chains out of town came to my rescue, sending me a vast array of goodies ranging from vouchers to hooded tops to free admission tickets for attractions such as Twycross Zoo and a tour around Leicester City Football Club.

I held other events, sold things on Ebay, saved all my loose change and set up pages on the social networking sites Facebook and Myspace. I made some new friends but very few offered help in way of much-needed cash. Thankfully, come February, I had managed to raise enough for Dogs Trust. In hindsight I guess I could have done more, pushed myself a little harder, but I was relieved that I could finally distance myself from those people that had continued to frustrate me as we entered 2009.

We flew to Oslo from Heathrow without any problems (many flights had been cancelled days earlier due to the heavy snow in England) and from there we caught another flight to Alta in the far North where the extreme-cold temperatures we were warned about finally said hello. We were also greeted by Ryan Hatcher, a man less than six feet in height but with the chest and limbs of Action Man, and the life experience to go with it. An extraordinary guy, especially as he was years younger than me. He’d seen and done most things in a very short space of time, making me feel like my first thirty-one years had been spent living with the Fritzl family in Austria.

Along with six wannabe mushers I was taken to a lodge where we ate, drank, and wondered what the next seven days would have in store for us. We also met Arne Karlstrom for the first time; a local legend and regular competitor in the Finmarkslopet, the world’s northernmost sled dog race. Over the last 28 years the race has grown from strength to strength and one day may even rival the most famous race of all, the Iditarod in Alaska. He will be competing again this year and we were fortunate enough to help train his dogs for the big race. No pressure then…

That night, climbing into our beds, we heard for the first time a sound that will always stay with me. A husky howling is mysterious, eerie and romantic. Along with that of a wolf there is nothing quite like it. It makes me shudder, drawing me closer to the duvet keeping me warm, wondering whether they are howling purely for the joy of it or because something more dark and dangerous is lurking nearby. Throw in another 49 huskies and the noise is undeniably majestic. If I wasn’t so exhausted from the flights and bloated from the wonderful food I could’ve listened to it all night long.

The next day we finally got to meet these magical animals, including the five dogs that would make up my team. We were instructed how to handle and feed them and how to negotiate a sled through some of the most exceptional terrain in the world. One of the first things you really learn about sled dogs is that they don’t half crap a lot. This, I guess, is a good thing, as it teaches you quickly how to deal with defecation. Back in Blighty your dog will normally dispose in an area where you can’t leave it behind. Here, unless you want to stop every five minutes and carry two hundred pooh bags with you, you ignore it and pray it doesn’t ricochet off the front of your sled and hit you in the face. I’m not sure what the laws are for this kind of behaviour in Norway but it seems that you are free to abandon the evil item with a clear conscience. But there’s nothing more frustrating than when one of your dogs looks at you adoringly with his head tipped to one side as you struggle up a steep incline whilst he takes a dump.

I lost control of my sled for the first time as we covered the mountain range of Beskades to Suolovuobme. I wasn’t dodging excrement. I was trying to play catch-up, frustrated by my dogs’ inability to keep pace, foolishly refusing to use my brakes. The dogs kept running, relieved to have lost the heavy burden on their sprightly shoulders, enjoying the freedom and fantastic scenery without me. Action Man leapt into, well, action. Or rather, I leapt onto the back of his sled, hanging on for dear life as his six powerful dogs chased my five.

I had been catapulted into my very own western; five outlaws making a bid for freedom as we charged across the snow behind them, weaving left and right, accelerating further, a shift in gears taking us ever closer to the fugitives. I struggled to find my footing on the sled, unable to see little in front of me beyond Ryan’s burly frame. We overtook the surprised runaways with some verve. I remember aiming a cocky smile towards my team but it was soon wiped clean off my face when Ryan calmly informed me that I had to let go of his sled and catch mine as it passed. You’ve got to be kidding, I thought, with a few stronger words thrown in for good measure. Why couldn’t I just stay on his? What kind of a holiday was this?

To my surprise I caught the sled and continued on my travels, falling off just once more that day. It wasn’t until day two when we headed for Masi that I hit the tree head on. It clearly knocked some sense into me because that would be the last time I came a cropper. I had many near misses though, including a spectacular rescue on day three through reindeer country, and it was only down to a little bit of skill and a lot of luck that I didn’t have to make another painful and embarrassing journey to retrieve my sled. The dogs have this look as you walk shamefully past them; an unmistakable grin as yet another sucker is seemingly picked off.

On day three we traveled from Masi to Nedre Mollišjok covering about 35 km. According to the manual extra care had to be taken to prevent the dogs chasing after reindeer. Sadly for us, we didn’t even see one of these amazing, hardy creatures. It didn’t bother me. I had enough trouble trying to get my dogs to chase after the other teams let alone reindeer, and the thought of seeing these animals after devouring them the night before in a stew was a little hard to stomach. The stew was delicious, and reindeer is a wonderful meat, but try telling that to your four-year-old niece on Christmas Eve. A word of caution before I continue – if you get to visit the fantastic souvenir shop in Alta and see a plush polar bear you know your niece or nephew will love, just make sure you check it thoroughly before buying. It wasn’t until I was taking it to the lady behind the counter that I realised my cute little soft toy had a dead seal covered in blood hanging from its mouth.

Day three was the hardest. Temperatures hit minus forty as a brutal wind attacked us from the right. With one hand on the sled and the other trying desperately to stop the blast from doing serious damage we struggled to Nedre Mollišjok. My dogs were once again failing to keep up with the other teams but the thought of jumping off my sled and helping them was too much. Instead of helping, which in turn would have kept me warm, I froze, quite literally, my head drawn slightly back and chin tucked in, concentrating instead on trying to keep my face from protruding into the cold, or touching my balaclava and neck guard that had long since frozen solid. I had been bitten but fortunately Ryan had spotted it. He wrapped me up like my mother once would, making sure the cold would be kept at bay, and although my sight was limited the dogs I had been cursing for the last hour guided me to our sanctuary and I would never show frustration with these resilient animals again.

The next two days were the most wonderful days I have ever experienced. From Nedre Mollišjok to Jotka and onwards to Detsika we witnessed some of the starkest and most stunning landscapes we will ever see. Descending through the magical forests on the final day of sledding was simply outstanding but we also had the sunshine to complement our surroundings. Don’t get me wrong, we were still well into minus figures (alarmingly, Norwegians never say minus) but after the vicious winds on day three I was actually tempted to whip out my Speedos and raise my middle digit to the elements. Just for the record, I don’t own a pair of Speedos.

One of my favourite moments of the whole trip happened on day five when I finally recaptured an ounce of pride. The week had taken its toll and the group was struggling to climb the many hills we were confronted with. This gave me and my team a great opportunity to catch up, but with other sleds floundering we were left to wait impatiently at the bottom of each climb. It was here that Ryan told me to disembark my sled and race my dogs to the top of the snowy mound. I will never forget their disapproving faces as I galloped past them; revenge for all the defecation I had the pleasure to witness. After that my cockiness knew no bounds. Sledding with no hands? Piece of cake... I was getting as cocky as Luke Skywalker after he took down his first X-wing.

We ended our final day with mutual respect. The dogs had been awesome but I had also worked my self into the ground. Hence the DVT scan when I reached England… Not only was this the hardest and most demanding ‘holiday’ I will possibly ever encounter it was also the greatest and most fun. What better way to reward ourselves then to have a drink at the legendary Ice Hotel in Alta.

Work on the Ice hotel generally starts around New Year and takes about five weeks to complete. A balloon is pressurized, covered with snow and watered to make the igloo common rooms. Now with 30 bedrooms, a sitting-room, a bar, a bridal suite and a chapel for weddings they are celebrating their tenth year. It takes your breath away. Not because of the cold but because of its beauty. Ice sculptures are everywhere, lit by fibreoptics and candles. The temperature stays at minus 4 and minus 7, nothing to us hardy travelers, until every spring, when the hotel melts and runs into the Alta River. It’s hard to capture its exquisiteness with your camera; this is something you have to see for yourself.

I wish I could say the same for the Northern Lights. Sadly, despite the week before having two clear sightings of this phenomenon we were only treated to a slither of green here or there. And yet, not witnessing this spectacle in its full glory has given me the perfect reason to one day return. As if I need an excuse…

We enjoyed more wonderful hospitality and beautiful food on day four and five, not to mention a much-needed sauna and hot-tub. Until that evening I’ve never understood all the fuss about saunas. Supping on your own sweat hardly seems like a bundle of fun, yet when you combine it with snow everything becomes clear. Whilst others were making snow angels I decided to borrow a swing from a neighboring house. To go from one extreme temperature to another is exhilarating; feeling the bitter cold breeze on my hot, almost naked body as I swung back and forth was something I will probably never get to experience again. It’s not like our local leisure centre will be able to cater for my needs any more. Running out of a sauna and rolling about in a car park when it’s hammering down with rain is hardly the same thing.

The hot-tub was also something I could seriously get used to. The alcohol may have been far too expensive but staring up at the stars with a beer and great company whilst the tub waved its magic wand was a wonderful feeling. That night we all stayed up as late as we could psychically manage. It was our final night in Norway and nobody wanted to go home. I had hardly brushed my teeth or had a wash all week, my poor excuse for a beard was starting to irritate me and I ached all over. I had lost half a stone in just a week, my clothes were starting to dress themselves and all I could smell was dog. Heaven…

I want to thank Arne, Ryan and the others that made this trip so memorable. Norway has made me appreciate the simple things that make life so wonderful. It’s a completely different way of life out there and I’m insanely jealous. Our mobiles refused to work, we had no access to the internet and the sound of a television set on our penultimate night freaked me out! I feel guilty for posting my photos on Facebook! We have a lot to learn. I also want to wish Arne good luck in this years’ Finnmarkslopet. I’ll be watching your progress online and I wish you well. I hope I get to witness you accomplish one of your greatest triumphs. The internet is good for something at least…

REVIEW: MEMORIES OF MATSUKO

Film: Memories Of Matsuko *****
Release date: 14th February 2011
Certificate: 15
Running time: 130 mins
Director: Tetsuya Nakashima
Starring: Miki Nakatani, Eita, Yusuke Iseya, Teruyuki Kagawa, YosiYosi Arakawa
Genre: Comedy/Drama/Fantasy/Musical/Mystery
Studio: Third Window
Format: Blu-ray
Country: Japan
Reviewer: Adam Wing

Quirky is a word often over used in modern cinema. Usually it has to be said, by the likes of me. I suppose I could always reach for the thesaurus and amaze you with other note-worthy definitions like peculiar, far-out, off beat and unconventional - but I wont. Partly because I like the word quirky and partly because I already did just that.

Rather predictably then, the word quirky brings me to Memories Of Matsuko, a film directed by Tetsuya Nakashima (Kamikaze Girls) that falls neatly into the abyss known as quirk-some. Memories of Matsuko is available for the first time on Blu-Ray, courtesy of Third Window Films, and if there’s one director whose back catalogue belongs on shiny blu - it’s Tatsuya Nakashima.

Norio is tired of his son wasting his life away and encourages the young upstart to face his future by cleaning out his aunt's apartment. Shou was unaware that he had a long lost aunt, and the news that she’s been murdered comes as something of a surprise. The apartment has been empty since her death, but for the thousand memories decorating the hard wood floor, and Shou soon discovers that his aunt's life was far from the mundane existence he had been living since he left home.

We are first introduced to Matsuko (a career defining performance from Miki Nakatani) as an overweight bag-lady dead on the riverbank, the clues in her apartment lead us on an off beat, far-out, unconventional and dare I say it - quirky journey through the life and times of a very eventful character. Along the way she becomes a teacher, prostitute, murderer, bad sister and all-encompasing magnet for abusive boyfriends the town over. But hey, don’t worry about the doom and gloom, Memories of Matsuko is told with relentless charm and musical interludes a plenty – in fact it’s so playful, you’ll never look at misery in the same way again.

The message is perhaps confusing, setting out to give lost spirit Shou a sense of direction. A direction that comprises of pulling comical faces, meeting the wrong people, throwing away a good career, selling yourself to make ends meet, rejecting everybody that tries to help and dying alone on the riverbank knowing that you did your best... to fuck things up. Oh, and don't forget to sing and dance because in this candy coloured world everybody goes out the same way. Like I said, not remotely gloomy at all. In fact, I think I hear a song coming on. The fact that Matsuko still finds her way home and succeeds in making her father smile, while Shou still learns that valuable life lesson, is testament to the creative prowess of Tetsuya Nakashima.

Tetsuya paints a tantalising picture, drowning the screen in vibrant colours and surreal images, think Amelie and you wont go far wrong. The performances are strong throughout, not just from our leading lady, but from the vast array of supporting players that keep the film moving at breakneck speed. It's been a while since I witnessed such an irresistible collection of madcap creations, well, unless you compare the film to Nakashima’s other work of course.

Memories Of Matsuko is a beautiful tale - bewitching, intoxicating and persistently tragic. In Nakashima’s world however, tragedy has never felt so uplifting. Animation and CGI combine to dizzying effect, bringing the characters and dance numbers to life with sparkle and vigour. It’s difficult to explain just how good it looks on Blu-Ray, though the words ‘positively stunning’ come to mind. Clear, crisp, colourful and vibrant - Memories of Matsuko was made for high definition TV screens.

The Blu-Ray disk comes complete with an insightful 30 minute making of documentary, storyboard to film comparison, interview with soundtrack composer Gabriele Roberto and a selection of Third Window Film trailers. I can’t emphasis enough just how much you need this film in your Blu-Ray collection.

Not only is it a heart warming, humorous and touching celebration of life, but it’s also one of the best examples of why we all need high definition in our lives. Memories of Matsuko is a treat for the eyes and mind, a visual feast that engages on so many levels. I really do feel a song coming on…

REVIEW: ALIEN VS NINJA

Film: Alien Vs Ninja **

Release date: 7th February 2011

Certificate: 15

Running time: 81 mins

Director: Seiji Chiba

Starring: Mika Hijii, Ben Hiura, Shûji Kashiwabara, Masanori Mimoto, Yûki Ogoe

Genre: Action/Comedy/Fantasy/Martial Arts/Sci-Fi

Studio: Revolver

Format: DVD & Blu-ray

Country: Japan
Reviewer: Adam Wing

Some storylines are complicated affairs, but when it comes to the work of Sushi Typhoon you’re pretty safe in thinking not so much. When a strange fireball crashes near their village, a mighty ninja clan goes to investigate and winds up in serious danger. Flanked by lightning-quick alien creatures, the ninjas struggle to find their enemies' weakness before they're all killed in gruesome fashion. That’s pretty much the entire plot of Seiji Chiba’s quirky Japanese offering; Alien vs. Predator gets a bloodthirsty makeover then – Japanese style.

You already know if this is your kind of movie, it is called Alien vs. Ninja after all. The Sushi Typhoon isn’t exactly known for its big budget affairs, but you’re safe to expect an inventive, bloodthirsty, camp and comical night in. The film opens with a well-choreographed fight sequence between two ninja clans, which was a pleasant surprise it has to be said. Then we meet the small cast of characters, and it’s fair to say that events take a turn for the worse.

The three leads are entertaining enough; it’s the token comic relief stooge that nauseates from start to finish. Actually, that’s a little bit harsh. His over familiar fat ninja routine does kind of grow on you as the movie progresses, and it’s not really a spoiler to point out that his death scene is the films stand out moment. Annoying comic relief rarely makes it through to the end credits anyway, so a fat comic relief guy doesn’t stand a chance.

Just when you think it couldn’t get any worse, another fat comic relief guy turns up, and he’s even more annoying than the first. The twist being this time that he might in fact be gay. A fat gay comedy ninja – what will they think of next? Thankfully he doesn’t stick around for long, and all of a sudden director Seiji Chiba remembers why he called his movie Alien vs. Ninja, rather than Fat Comic Relief Guy vs. Camp Comic Relief Guy.

Then the thin plotline enters stage left – a huge fireball crashes near the ninja village and they set out to discover who or what could’ve caused it. From here on in Alien vs. Ninja turns into the kind of movie you were expecting all along, a cheap and cheerful night in for each and every film fan blessed with low expectations. That would include me then.

Some of the effects are perfectly adequate, and that’s the highest praise I can muster, but what about the alien itself I hear you cry? Well, I really don’t know what you were expecting, but I was definitely anticipating a man in a cheap rubber costume. No prizes for guessing that Alien vs. Ninja serves up the most inexpensive alien offspring ever to grace a TV screen, in fact he looks like he just swooped down from the set of an early Doctor Who episode. Having said that, his CGI enhancements were a pleasant surprise and the alien jelly babies (I don’t know what else to call them) offer a fresh spin on an all too familiar alien host. Is it wrong to suggest that they’re actually rather cute? That might be taking things a little too far.

Once the stage is set Alien vs. Ninja becomes an enjoyable ride, complete with maximum bloody carnage and the occasional sprinkling of humour. The sixty minutes that follow are littered with insane set pieces and bloody battles, as any suggestion of plot development is dropped in favour of fisticuffs and exploding heads. It’s clearly not art, but there’s a certain amount of fun to be had from a film as clearly signposted as this. It doesn’t compare favourably to the likes of The Machine Girl, few splatter-fests do, but it’s a lot less disappointing than the film on which it's based. I say based - I say it very loosely.

There’s enough mutilation and mayhem to keep you from reaching for the remote control, and even though it lacks the invention of some of its siblings, Alien vs. Ninja still makes it through with its dignity intact. Having said that, quite how much dignity a man in a cheap green rubber costume actually has remains to be seen?