J. Edgar (2011)

Hoovers aren’t always clean.

Clint Eastwood’s political biopic about J. Edgar Hoover - the man responsible for the American intelligence system.



Shown in a relentless barrage of memories, flashbacks, concocted accounts of his own life, and present day, we see J. Edgar’s life as a Federal Officer who becomes the man who revolutionized the FBI in order to fight communism and other threats to his country. Played by the incandescent Leonardo Di Caprio (who can do no wrong it seems), J. Edgar is portrayed as a terrifyingly complex man with issues ranging from his protective mother (Judy Dench) to his homoerotic sidekick Clyde Tolson (Armie Hammer).

Starting with an eager pace, J. Edgar takes a while to find its stride - attempting to show the man in many stages of his life in order to give the audience the idea behind the film. This eager pace gives little time for any real depth to develop, which only comes later once the scenes are left to ponder a little longer, and we see the cracks beginning to show.

Aside from Di Caprio’s brilliant performance, we are also given some brilliance onscreen by Hammer, depicting a difficult character with poise and integrity. Dench, although shamefully underused in the movie, plays her part well, giving an understanding to J. Edgar’s home life.

Important themes are raised by the film, such as the notion of intelligence - how far should it be allowed to operate outside of law and scrutiny? As well as the changing landscape of police enforcement.

Political biopics, particularly American ones, do come better than this (see Nixon), but Eastwood’s attempt should be lauded for its determination and bravery, and fans of good acting will be in for a treat.

Carlito's Way (1993)

The road to redemption

Inseparable from the gangster genre, Al Pacino always delivers a great mobster. His performances in classic films such as the Godfathers, Scarface, and Righteous Kill prove his worth, as well as his predilection for characters with a criminal story.

In Carlito’s Way, Pacino plays the lead role of Carlito “Charlie” Brigante, an ex-convict recently released from prison, after escaping the remaining twenty-five years on his sentence due to a technicality. With the help of his ruthless lawyer Kleinfeld (Sean Penn), Carlito is back on the streets looking to turn in his guns and gangs for sun and sand.

However, “the life” keeps pulling him back in (reference intended), with friends from his former days as a gangster asking favours of him and generally getting him into trouble. Determined though, Carlito looks to be on the path to righteousness, setting his sights firmly on his former love Gail (Penelope Ann Miller), hoping to run off into the sunset with her. His main obstacle is Kleinfeld, whose drug addiction and growing sense of importance put Carlito is a dangerous situation.

It soon becomes clear that Carlito must choose between the streets that made him who he is, and the woman who makes him the man he wants to be.

A powerful and enjoyable film, Carlito’s Way avoids being thrown into the same category as your typical gangster flick. The central character is far more diverse than a petty criminal, broadening his appeal into genres such as romance and comedy, which make the film more universally applicable. This does detract from the power of the movie altogether, but makes it far more accessible.

Pacino’s performance is dynamite waiting to explode, we see the man tested and pushed to the limits, only loosing his cool in extreme circumstances. His screen time with Sean Penn is awesome, and the pair make a great criminal duo. Sideline gangsters are little more than stereotypical hoodlums, offering little in the way of depth.

The storyline is engaging, the violence is just on the right side of brutal in order to make the film stand up, and the plethora of great directorial choices by Brian De Palma put the movie onto a grand scale.

We Bought A Zoo (2012)

…but don’t have a clue!

Matt Damon plays Benjamin Mee, a man trying to escape the ghostly presence of his deceased wife, by uprooting his two children and moving them to a dilapidated zoo.

Based on a real story, We Bought A Zoo is a family drama with plenty of character and pathos. Mee struggles with his emotional baggage, as well as attempting to reconnect with his children - one of which is a moody teenage boy (Colin Ford) who draws demonic cartoons and ignores everyone. His efforts go mostly unrewarded, at first, but the journey of this adventure teaches the man plenty of life and love, whilst he finds the perfect distraction from his heartache.

The zoo comes with its own set of problems, not least the severe debts it causes for any owner, as well as the surly set of staff who seem certain that Mee will move on pretty sharpish. Head of staff Kelly (Scarlett Johansson) shows Mee the ropes, but even her unrelenting commitment to the zoo and animals won’t save them from the evils of the upcoming inspection.

Aside from the frailties of human interaction, there is also, obviously, plenty of animal fun to be had from this film. The different species at this zoo are an important part of the movie’s effect, and it would not be the same without them. This additional depth to the cast creates a wonderful family film, one for all ages.

Moving and affecting in places, We Bought A Zoo has just the right amount of tenderness and intimacy without getting all gushy, and the ensemble works well to add equal amounts of comedy and drama.

Midnight Cowboy (1969)

A small time male prostitute (Jon Voight) leaves his home and moves to New York with naïve plans of making it rich, only to find the city rinses him dry.

Voight plays Joe Buck, the aforementioned Gigolo, whose simple-minded attempts to sell himself for money yield him little results in the Big Apple, where everyone is a hustler - even middle-aged women who invite Joe back for sex, only to ask to borrow a couple of bucks from him!

Joe soon crosses paths with another hustler, named Ratso (Dustin Hoffman), who initially scams Joe, pretending to set him up with a certified pimp - who turns out to be a mad preacher. After making their peace with each other, Joe and Ratso come to rely on each other within NYC - Joe learning the ropes from his experienced buddy, whilst Ratso’s declining health makes him reliant on Joe’s help. The two attempt to survive the city’s sinister apathy towards them, whilst making bigger plans to escape to Florida.

A touching, vibrant and enduring film, Midnight Cowboy is one of the few “classic” movies, that deserves its acclaim. The filming still seems modern, the script is tight and clean shaven, and the pure humanity that shines through the two main characters (even though its sleazy and gormless) is thoroughly engaging.

If you are a fan of sixties/seventies noir dramas, or even just a good drama, Midnight Cowboy is a cinematic masterpiece.

Jeff Who Lives At Home (2012)

How I Saved My Brother

Quirky comedy starring Jason Segel as a bong-smoking idler who attempts to find his destiny in life during one chaotic afternoon.

Jeff (Segel) is a layabout freeloader, who spends his days loafing around his mother’s house smoking drugs and wasting time. After he is asked by his mum (Susan Sarandon) to go out and buy some wood glue from the store, Jeff, reluctantly, finds himself caught up in a bizarre string of events that he sees as fate.

Jeff stumbles across his estranged brother Pat (Ed Helms), an annoying Yuppie-type whose crumbling relationship with his wife Linda (Judy Greer) becomes the central storyline - and also, possibly, Jeff’s destiny.

Funny and wacky in places, the film suffers from a severe lack of depth. With only a few central characters, the storyline contains little in the way of exploration, and instead rattles through a quick, short plot making a few jokes along the way. Jeff’s struggle to find a purpose is engaging, as is the rising tension between Pat and Linda, but Sarandon’s later-life escapades seem pointless and underdeveloped.

Regardless of the film’s themes, it is a poor attempt at comedy. The pace is monotonous, the script is too reliant on zany personal affectations, and the final scene (the best of the movie) needed to be properly founded by the former 60 minutes.

A ponderous movie that does little in the way of good comedy.

The 6th Day (2000)

Double the Arnie?

It seems I have gone on a bit of a Schwarzenegger bender in recent weeks - watching numerous films starring the Austrian muscle man from his heyday, such as Total Recall, The Running Man and End of Days. But, with the path firmly set for the Governor to return to making movies, it’s all relevant and I feel little remorse…although The Running Man really did test my patience.

The 6th Day is another science-fiction narrative that begs a what-would-happen-if question, this time exploring the abundant issues surrounding human cloning.

Schwarzenegger plays a likable business-cum-family man called Adam Gibson, who owns a successful helicopter business. Conflict strikes him though, with the death of his pet dog, which he knows will upset his fragile daughter. In order to avoid the inevitable tears, Arnie plans to have the dog cloned - because, as with many Arnie movies, this is the future and you can do that now! However, he decides against it, nervous about the moral and ethical complications, and plans to return home…only to find himself the victim of cloning - with an identical Arnie standing in his living room.

Thus ensues a mind-bending action-adventure whereby Adam must find out who is behind this dastardly plot, and why they have chosen him, whilst coming to terms with his own clone.

Full of the usual antics of a simple sci-fi caper, The 6th Day never really attains the status of other Arnie classics, certainly not that of the aforementioned Total Recall. Here the plot is far less engaging, and the characters not nearly as interesting. The action is good, but predictable, as are the thicker-than-mud cheese ball lines.

A must-see only if, like me, you need to complete an Arnold Schwarzenegger compilation marathon, otherwise you should probably watch Terminator 2...AGAIN!

Going The Distance (2010)

Dry humping and ass handprints.

From the outset, GTD pitches its tent amongst the modern Rom-Com - a smart-mouthed emotional journey of two likable lovers, with a few outrageous moments.

Drew Barrymore plays near-graduate Erin, a woman looking for a job in the writing world (aren’t we all?), whilst completing a summer internship at a New York newspaper. Whilst in the Big Apple, she meets cool, hipster Garrett (Justin Long) who works for a record company signing bands - a job he finds unrewarding due to the immensely awful acts he has to work with simply because they will sell.

So, when Erin and Garrett experience the throes of an extended-holiday romance, the inevitable question arises when it is time for Erin to go back home - all the way west in California - will they…ahem…go the distance?

The inevitable conflict ensues: the pair make a genuine attempt to maintain their relationship through the use of tried and tested techniques such as phone sex and unrelenting texting, whilst looking for a way to be together permanently.

This is the kind of movie a large percentage of people can probably relate to (at one point in their life), and one that finds the pathos in the situation, in particular in the character of Garrett - who experiences some…shall we say…aching in the groin.

Not to be outdone, Barrymore is on top form with her outspoken way, offering some of the film’s best comedic moments. The supporting cast are not your usual bunch of forgettable buddies either - Christina Applegate is the protective older sister, whilst Charlie Day steals many-a-scene as the crude, inappropriate flatmate, who seems determined to provide the soundtrack to Erin and Garrett’s lovemaking.

Not the most original of films, but a funny one all the same. The cast really make this a watchable movie, and the use of The Boxer Rebellion made it memorable.

The Rum Diary (2012)

“Your tongue is like a accusatory giblet!”

Hunter S. Thompson, illustrious American author, is the mind behind this wacky adventure, set in 1960s Puerto Rico, where a boozy journalist called Paul Kemp (Johnny Depp) hopes to find inspiration and success at a failing local newspaper.

Known for his bamboozling stories, Thompson also wrote Fear and Loathing in Las Vegas (also starring Depp), which was a wild and zany flick. The Rum Diary has less of the “tripping” that FALILV had, and a little more mainstream appeal. First of all, the sunny beach locations are a visual delight, offering some amazing backdrops to this funny tale. Also, Depp’s character is more understandable and relatable.

The plot fights it way through drunken stupors and manages to find some sense of cohesion, whilst the outrageous antics of the local inhabitants provide for more than a few laughs. A particular favourite is when Kemp blows alcohol through a flame in order to scare off aggressors, only to ignite the hat of a local cop!

Whilst the comedy is superb in places, and the performances are decent, the film lacks a degree of depth. Rather than offering poignant comments about modern society, the film seems happy to make redundant ones about a past life. Kemp’s redemption by the end of the film seems insincere (even though it is based on Thompson), and life in Puerto Rico seems tragically unchanged by his arrival.

This being said, The Rum Diary is a fun film, one with visual splendour and brilliant comedic set pieces, and some wonderfully witty lines - its just not as appealing as Fear and Loathing.

5 Broken Cameras (2012)

The power of film

Filmmaking has long been a formidable tool when it comes to portraying the horrors of war. Battlefields, both physical and political, receive an extraordinary transformation when captured through a lens, magnifying their horror and unleashing their emotion. Emad Bumat and Guy Davidi, the makers of 5 Broken Cameras, have created an unrelentingly powerful piece about a particular struggle in the West Bank, where the conflict between Palestine and Israel rages on.

Bumat is the man responsible for capturing the story, having been an inhabitant of a small village called Bil’in, in the West Bank, all his life, he was given a video camera on the day of his fourth son’s (Gibreel‘s) birthday, and chose to continue to record the development of the conflict in his village. This conflict involved the Palestinians becoming angered by Israeli settlement on their lands, and the erection of a wall on Palestinian land which would separate the two sides.

Throughout the film, we see Emad and other members of his village protesting the settlement, in the hope of regaining their lands, which they use mostly to farm. The Israeli army who defend the wall, become increasingly hostile to the protestors, and there are constant scuffles between the two sides, and the Palestinians are regularly shot at with tear gas and live ammunition.

Davidi provides a narration to the film, offering a sense of rising tension, and looming tragedy. His background as an Israeli also lends the film a deepened sense of discourse, making the message far more complex. The makers argue that people should watch the movie without any preconceptions, and allow the film to move you without demanding loyalties either way.

The difference between this political film and others like it, is the boy Gibreel. We see him born into the world, and his tumultuous childhood to aged four, as he learns about the world around him, in particular the battles going on between his village and the settlers. Seeing the conflict rage on around him encapsulates the terrifying destruction at work, and the absurdity of war.

5 Broken Cameras attests directly to the power of film. The title comes from Emad’s use of another camera when one breaks, mostly when they are shot by Israeli soldiers, and the five broken cameras are able to separate his story into digestible chapters. Furthermore, the cameras save Emad’s life - literally. Not only do they make soldiers think twice before acting aggressively towards him, but on several occasions the camera was struck with a bullet that would have definitely hit Emad had it not been in the way.

This is an immensely powerful and evocative documentary, one that offers no hesitation when it comes to representing the violence and atrocities occurring. 5 Broken Cameras also counteracts the horror with an extremely uplifting representation of humanity and love when it shows the children, or the community of Bil’in rallying together. A scene where a child gives an Israeli soldier an olive branch is extremely poignant.

Truly exceptional.

Elena (2011)

The kids aren’t alright.

Winner of the Cannes’ Special Jury Prize, Elena was directed by Andrey Zvyagintsev, and is a smart, Russian noir with an artistic elegance.

Elena (Nadezhda Markina) is an aging, stay-at-home wife, who lives with her wealthy husband Vladimir (Andrey Smirnov), in an expensive apartment in Moscow. Having been Vladimir’s nurse several years ago, when they first met, the pair have been married for two years now, and both have children from their former lives.

Vladimir’s daughter is a reckless party girl, whose aimless life is the source of countless arguments between Vladimir and Elena. Whilst Elena’s son is just as hopeless, constantly taking handouts from his mother whilst begging for more from Vladimir.

After a medical emergency causes Vladimir to contemplate his death (and consequently, who shall inherit his fortune), Elena’s future becomes uncertain, and she is forced to take drastic action.

Lavishly modern, and eerily sparse, Zvyagintsev’s film is an emotionally-charged story with heavy themes of family and blood. The bonds between parent and child are explored, revealing the depths of character which few know they have, and even less engage. Whilst the ideas of inheritance and gold digging are staples of storytelling, Elena portrays them in such a contemporary and engaging way, that viewers will find themselves engulfed in the drama.

The performances are key to this film’s success, and special mention must be given to the leading lady, Nadezhda Markina, whose nuanced portrayal of the complex Elena is the foundation of the movie. The supporting cast are also worthy actors, such as Smirnov, as well as Elena Lyadova who plays Vladimir’s daughter Katerina, who delivers possibly my favourite movie quote this year.

When replying to Elena’s enquires about why she has not had a baby, Katerina makes an ironic and pointed comment about the human race’s preoccupation with procreation, as well as our tendency to follow the crowd:

“A million flies can’t be wrong. This s**t must be tasty”.

Zvyagintsev uses natural light throughout most of the film, adding to the modern feel, and making the aesthetic look authentic. He also uses music from composer Philip Glass, which adds a great deal of depth and emotion to the story.

The film is slow in places, lingering on the end of scenes rather than cutting to the next, which, whilst allowing for some contemplation, makes the plot seem sluggish. Also, the ending seems rushed, after such a great build up, but this is a minor criticism.

Overall, Elena is a powerful and evocative drama, with plenty of contemporary gusto and solid performances.

21 Jump Street (2012)

Police Academy meets Superbad!

“They are too old for this shift”. This was the tagline for 2012’s resurrection of 21 Jump Street, and pretty much sums up the plot. Jonah Hill and Channing Tatum play two lacklustre police officers, Schmidt and Jenko, who are sent back to high school, in order to infiltrate, and expose, a growing drug problem. Sceptical?

Firstly, let me point out that this is a surprisingly funny film that makes a lot of good decisions. Primarily, the casting of Hill and Tatum (a seemingly odd couple), whose characters experienced high school the first time round very differently. Schmidt, a chunky wannabe-rapper with shiny mouth-metal, suffered greatly at the hands of bullies like Jenko, who is mostly a moronic failure. The two become BFFs in the police academy though, helping the other with their shortcomings (one the brains one the brawn), and are partners in crime-stopping.

When the two are sent back to school, they find the place completely alien to them - the cool kids are not the wedgie-popping jocks of yesteryear, but, instead, eco-friendly cyber punks who spend more time talking about mother nature than other people’s mums. This alternate reality is reflected in the hierarchy where Schmidt and Jenko find themselves, their roles reversed, Schmidt is now cool and Jenko is a geek.

It is hard to write this synopsis without thinking: how in the hell did this movie get made? And why is it so good? Because, this plot aside, the movie amounts to a very funny, and superbly timed comedy that borders the right amount of slapstick/gross-out/pop-culture references. Hill is his usual tons-of-fun, snapping off plenty of witty lines whilst making us sympathetic towards him, and Tatum is a revelation - taking part in some of the funniest set-pieces in the movie (in particular where, in order to assert his dominance, he punches a kid in the face).

At times the movie beats the viewer over the head with its “you-tube generation” warnings, constantly reminding us all how out-of-touch adults seem to be with the modern youth. But, in essence this gives the film a charm - as much as the film is a throwback, so is the sentiment.

Watch this movie if you like foul-mouthed comedies, entertaining shenanigans, or Jonah Hill dressed as Eminem!

Looper (2012)

Avoid The Loopholes

Time Travel. The age-old question, and sworn enemy of continuity. A science-fiction convention so steeped in unanswerable questions that many who attempt its dissection, find themselves mumbling incoherently in a padded room. Such is the reputation of time travel, but still filmmakers endeavour not only to use the sticky subject, they wholeheartedly base their films around it.

Rian Johnson (director of Brick, The Brothers Bloom) is one of these daring storytellers, whose film Looper has already earned him critical and popular acclaim.

Joseph Gordon-Levitt plays Joe, a young and talented hired killer in the year 2042. His job (known as Looping) involves murdering targets who have been sent back from the future by powerful criminal organisations, who need to dispose of their victims. Time travel, not yet invented in 2042, is available to the richest and most powerful people 30 years later, but only to criminals as it has been outlawed.

Joe, well paid for his services, enjoys a full-throttle lifestyle of eye-drop drugs and loose women, but always aware that his time may come. Because, crime lords of the future are keen on keeping their discretions secrets, which means that Loopers of the past must be killed in the future. This is where it gets a bit mind-bending, as Joe, at some point in his career, will have a future version of himself in front of him, who he must murder, thus keeping the cycle nice and clean. However, future Joe (in the form of Bruce Willis) is well-prepared, and manages to escape from his younger self, therefore creating a man-hunt which involves past and future Joes, as well as a bevy of baddies.

Reluctant to expand on much more of the story (mostly due to fear of a migraine), I will say this: Looper is a very, very worthwhile film. It holds together far better than most which attempt the tricky time travel plot, and benefits from a spectacular cast.

Gordon-Levitt, already enjoying the spoils of a brilliant career this year, is his usual, understated-but-likable self (although the special effects to make him look like a young Bruce Willis is quite distracting at first). He maintains the character’s balance between action-hero and anti-hero well.

Willis is the perfect maturation figure for Joe, offering a tired and wise killer who is very dangerous, but also relatable, as we are given the story of Joe’s past (or future, depending on which one you are referring to) which shows why he has disturbed the time-space continuum in order to wreak havoc in the past.

Emily Blunt turns up as a red-neck farmer called Sara, living with her telekinetic son in a dilapidated home amongst the corn fields. Her son, tangled up with future Joe’s reasons for returning, becomes a focal point for the story, as does Sara’s relationship with present Joe.

Deserving of its acclaim, Looper is an intelligent, engaging movie that deals with a complicated story in a very entertaining way. The violence is just heavy enough to bolster it into adult territory, as is the swearing - in particular from Blunt, whose dirty American accent and cursing is a welcome change from her usual British stereotype.

Time travel movies tend to rear up many questions about alternate realities, butterfly effects and the like, but Looper manages to include those subjects, without making the movie feel nerdy. You don’t need a degree in physics to keep up with the story here, and you can enjoy the story without going into all the sci-fi stuff. If you do start to pull apart the themes and issues at work here though, you may find yourself in that padded room.

Contraband (2012)

Elaborate scheme? Send in Mark Wahlberg

Remember Gone In 60 Seconds? You know, the one where Nicolas Cage plays a car thief dragged back into the life in order to save his brother from said life and all its violent repercussions? Well, Contraband is very, VERY similar.

Wahlberg plays Chris Farraday, a family man who owns an alarm system business (how ironic), who used to run as a smuggler of all things illegal. Retired from the game with only his legendary status, Chris is happy he avoided the inevitable pitfalls of the life, as represented by his imprisoned father.

However, his barely pubescent brother-in-law Andy has followed a similar lifestyle, and, after failing to bring in a shipment of cocaine, attracts the attention of a violent gangster called Briggs (Giovanni Ribisi). The only thing keeping Andy from the morgue is the potential profit there is to be made by roping Chris back into the life of smuggling.

For all its lack of originality, Contraband is a very effective action/thriller that gets most of its strength from authenticity. The film benefits from a very adult script – enough swearing to rival a Scorsese flick – and the darker colours make for a more appealing cinematography.

Performances are limited at best, although Ribisi does prove to be a worthy, tattoo-strewn villain, whose wild, unpredictable character delivers most of the better scenes.

Better than you would probably expect, and definitely worth watching if you like films such as Gone In 60 Seconds and Fast and the Furious (although don’t expect any nice cars).

Some Like It Hot (1959)

Tony Curtis and Jack Lemmon in drag – what’s not to like?

Considered as one of the best farcical comedies of all time, Some Like It Hot is a beloved classic movie starring Tony Curtis, Jack Lemmon and Marilyn Monroe.

Curtis and Lemmon play two musicians who play the underground music scene in Chicago during the prohibition era. Their performances in the speakeasies soon get them into trouble though, after they witness a horrific gang execution (loosely based on the infamous Valentine’s Day Massacre). As the only two witnesses to the crime, the pair must escape the clutches of a notorious gangster called Spats (George Raft), and do so by pretending to be women musicians in an all-girl band on their way to sunny Florida.

In full drag costume, Lemmon and Curtis soon immerse themselves with the other ladies, and attempt the blend in (whilst keeping their obvious excitement at being around a gaggle of beautiful women to a minimum). They soon fall victim to the natural, and mythological, beauty of Miss Monroe who plays Sugar – a ukulele player whose past relationships have driven her to life on the road (and drinking).

What ensues is a raucous comedy film with plenty of witty script moments, comedic set pieces and slapstick humour.

A little on the long side, this movie could be shaved by about thirty minutes, but apart from that it is still a very funny and touching movie. In particular, Lemmon who becomes the film’s fall guy most of the time, offering some of the best comedy rants I have ever seen, and providing the sidekick to Curtis’ superior mind (a little bit like Pinky and The Brain).

Brilliantly timed and enduring in its approach, Some Like It Hot is a mainstay in American comedy.

The Game (1997)

It will make you play.

A nineties gem, The Game is director David Fincher’s thrilling drama starring Michael Douglas as a successful, but isolated, businessman called Nicholas, who is given a peculiar birthday present by his brother (Sean Penn).

Customer Recreation Services (CRS) are behind the “game”, who tailor each of their services according to the specific needs of the recipient. Sceptical at first, Nicholas gives into his curiosity and signs up for the game, going through a rigorous administration test. Once the game begins though, Nicholas soon suspects that a sinister plot is afoot, affecting aspects of both his personal and professional life, and begins to feel extremely paranoid.

As the game escalates, the stakes are raised and the players become increasingly dangerous, as Nicholas attempts to stay one step ahead.

Spectacularly engaging, Fincher’s penchant for suspenseful drama is no better exemplified than in The Game. A sinister, menacing atmosphere engulfs the movie throughout, with twists and turns keeping the viewer glued to the screen, whilst the central performance from Douglas is superb.

The story’s themes of wealth, class, and family are staples of cinema, and Fincher displays them in an enigmatic way that makes them seen brilliantly modern – even though this film is fifteen years old!

Worth watching if you are a fan of Fincher films (see Seven, Fight Club), or if you just like a good suspenseful mystery. Any critics of Michael Douglas will be offered a supreme performance, laden with depth and intrigue, which will impress the vast majority.