P

A girl's story after the Spanish civil war

The advertisements and trailers for the film tend to heavily emphasize the fantasy element of this movie. In actuality, this is a war movie that is colored by fantasy elements which make up probably less than 25% of the film. This in no way suggests that the non-fantasy elements do not equal the fantasy ones in the level of quality filmmaking. Just as in del Toro's "Devil's Backbone", this is brilliant movie material from start to finish. Not a moment of the film is wasted on meaningless dialogue or cinematic fluff. Each scene and event directly forwards the plot meaningfully. The movie is also very harsh, depicting some scenes of significant violence that aren't gory like a horror film, but will make you squirm a bit nonetheless. Del Toro also returns to the theme of emotional and physical brutality towards children, a rather tough concept to deal with although it effectively defines the heroes from the antagonists as our heroine not so much escapes, but chooses the alternative of the often equally unpleasant fantasy world. I do wish that more time was devoted to exploring the fantasy elements - as is, they're too brief and superficial, acting as a prelude to a payoff that doesn't really arrive. There are also a few questionable plot holes that were probably necessary to forward the plot. These are minor issues that don't detract much from the end result. Worth seeing if you enjoy Guillermo del Toro's work and can handle the hardcore story - it put a tear in my eye.

**** out of *****

Grade school collects paper clips for Holocaust victims

In the late 90's, a grade school in rural Tennessee started a project to collect six million paper clips, one for every Jewish victim of the Holocaust. The significance of this undertaking was that the community was nearly all white, Protestant, had never met a Jewish person, and in most cases knew nothing of the Holocaust. It was an attempt to teach diversity and tolerance which exceeded their wildest expectations. The film focuses on the project itself rather than the victims' stories or the individual experiences of each person or student involved. As such, it seems a bit superficial and doesn't present the high drama of a big-budget documentary. In fact, it has all the production value of an educational video. It spends a lot of time discussing the minutae of how the project involved the small town and the steps through the work itself. While this can be dull at times, there are plenty of emotional moments of sorrow, gratitude, and success, as well as a general feel-good vibe. If you're looking for a gentle, G-rated uplifting and meaningful story of small-town achievement, this is a nice outing, but don't expect the weight, quality, or level of examination that a major documentary would present.

***1/2 out of *****

Palestinian suicide bombers

Last month, we watched the excellent and deeply disturbing film "The War Within", about a suicide bomber in the US. "Paradise Now" is the exact same film with a different setting and a few tweaks. The differences are that there are now two main characters, they choose to become suicide bombers because of perceived wrongdoing by Israel, and it takes place in Gaza. The first half of the film has a lighter, almost comedic tone, which puts the viewer out of step for the bleak second half. In fact, it's so off-putting that it made the film less effective than it should've been considering the subject matter. The characters seem to have more of a soul than the other film, and it reflects in their interaction - one wants to go through with the deed while the other has second thoughts. It's definitely a well-made, affecting, and political film. If you want to address this depressing Middle Eastern issue without giving yourself nightmares, this is the film to do it with.

**** out of *****

Homosexual persecution in Nazi Germany

When you hear the terms 'Nazi Germany', 'holocaust', and 'concentration camps', you may tend to immediately think of the persecution of Jews during World War 2. There were, however, many other targeted minorities. This documentary examines the history of homosexual persecution during that time through interviews with the fewer than ten known survivors of that group. All of them are very old and communicate very slowly, so the documentary runs at a snail's pace to keep up with them. Their stories are, of course, deeply moving and it's not a very happy reflection. But it is a very educational and informative detailing of how other groups were treated. The pace may put you off a bit, but it's worth it for the learning experience.

***1/2 out of *****

Past self attempts to save hero from his future.

If you read the reviews on this film, the big items that keep coming up are the plot holes. They're not so much plot holes as gaping abysses of logic, inexplicable events and behaviors that are brazenly used solely to move things along with no respect to the conherence of the story. It requires a heavy dose of forgiveness and suspension of disbelief that is pretty insurmountable. However, if you can move past it, on the other side is still a rather fun action/adventure. It's a big chase movie the likes of which hasn't been onscreen in many months, long overdue. Lots of fight scenes, plenty of explosions, sci-fi mayhem, and otherwise entertaining throughout. It personifies the ideal of "popcorn movie." If your suspension can handle the potholes, it's worth a watch for the fun fluff quotient.

*** out of *****

Wendy's daughter, whatshername, visits NeverLand.

It's a fruitless hope to think that even the first Disney direct-to-video sequel to hit the big screen is worthy of its predecessor. Or even similar. Nope, what we have here is overacting, cheap animation, sub-par CG, and bad looney tunes madcap comedy. Wendy's daughter, Jane, is nearly unlikeable. Peter Pan needs Prozac. But at least Tinkerbell is thoroughly charming and Captain Hook, although not the same Hook we knew, is wildly zany enough to induce laughter. His nemesis, and the reflections of time and aging, are almost completely lost through the film, then abruptly crammed in at the last five minutes. Nevertheless (or is that NeverNevertheless?), I find myself reminiscing about the carefree swashbuckling antics from the first film, which has to be worth at least one extra star.

**1/2 out of *****

HIV+ discrimination in the early 90's.

This film was groundbreaking during its time, but it's starting to look a little dated. The courtroom drama genre has become more diluted, the stereotypical discrimination scenes have become more historic than current and the script/plot more cliche than poignant. Still, the film manages to twist the knife aptly to this day by portraying Tom Hank's character's personal life alongside the courtroom scenery. You don't just witness the legal battle, but also his personal battle for life. It's often tough to watch and can still be a surefire tearjerker. Bring tissue.

**** out of *****

Speed in a phone booth.

A pretty tense drama that's a little too serious for its own good. The film is very short at less than 90 minutes. Often, we found ourselves giggling with the anxiety of the scenes. The acting is pretty mediocre and the payoff is kinda anti-climactic. The film makes excellent use of audio, tho. The voices on the other end of the phone sound like they're coming from their actual environment rather than just a split-screen, and the antagonist's voice as the narrator is a creepy touch. It's a fun film for fluff, but that's about it.

**1/2 out of *****

Autobiographical story of a Warsaw survivor in WW2.

Similar to Schindler's List, this recounts the experiences of Wladyslaw Szpilman, talented pianist, in Warsaw, Poland during the occupation in WW2. It feels much angrier than the aforementioned film, though, making a concerted effort to wave some of the more pointed atrocities in your face. The result is that the first 50 minutes of the film are very difficult to watch. Afterwards, however, numbness sets in and it becomes a tale of survival and hiding, albeit a little too drawn out. It's definitely an educational experience, seeing the whole ordeal from another person's point of view. If nothing else, it definitely reminds you to hate Nazis.

**** out of *****

Thanksgiving dinner and impending doom

A short film at only about 80 minutes and seemingly filmed mostly with a handicam, this watches much like a dramatized reality show without much of a plot, switching between the expatriated daughter preparing Thanksgiving dinner for her incoming and reluctant family while suffering all of life's indignities as well as a hearty dose of Murphy's Law. The main character is very likeable and it's hard not to identify her struggles with some part of your own life. It has the potential to turn out catastrophically preachy, but avoids expectations and is instead very sweet and enjoyable.

**** out of *****

What more can be said about Pinky & the Brain? If you know of them, you've probably already seen the show and like it. Need I really exposit that it's about two lab mice, one a genius and the other insane, who try to take over the world every episode? If not, it's because this point is reinforced on every outing, often word for word, via just that. In between the trademark dialogue that must appear unfailingly in each show, the various episodes consist of some harebrained scheme perpetrated from some variation of ACME Labs in some time period. The comedy is a mix of cartoon physical and absurd silliness. There are a few sparks of continuity (wish there were more), but otherwise each episode is pretty much standalone. The repetition does wear on the viewer after a full volume, tho, and I recommend spacing out each set if you're going to watch more than one. The Animaniacs episodes are regretably only on the Animaniacs DVD sets, so this is strictly their own series. If you're a fan, you already want it. Poit.

***1/2 out of *****

Old-fashioned swashbuckling pirate cliche.

First the good: The film was wonderfully produced, featuring beautiful sets and settings as well as period costumes, both subtle and flamboyant. The acting in general was acceptable and the initial swordfight scene is very skillfull. It has some nice, light comedic moments and the FX are nothing short of genius. However (and here's the bad), the film is totally unmemorable. Sound and fury, signifying nothing. It's completely nonthreatening. Sure, it's nice, but at the end neither I nor xydexx could remember the names of the hero or heroine. The much-lauded performance by Johnny Depp really was undeserving since it was mostly just drunken and repetetive. In the end, it's a pretty but non-groundbreaking film leaving you with a been there, done that cliche'd out feeling.

*** out of *****

Dogs on the run

Where Starchaser was light, fluffy fun for sci-fi/fantasy fans, Plague Dogs is a dark, moody and mature-themed animated story of two dogs escaped from an experimental research lab and hunted down for fear of carrying bubonic plague. It's like if Homeward Bound were a horror movie. Gritty scenes of violence and cruelty to animals are depicted, as well as harsh scenes of nature in the form of animals slaughtered for food. It plays out mainly as a survival film, depressing throughout, with difficult moral lessons. The animation is surprisingly good for a 1982 independent film. Also, if you like foxes, one of the primary characters is one. Listen carefully for the voice of Patrick Stewart in an early role.

***1/2 out of *****

Regretting Vietnam

I felt I needed to see the two landmark Vietnam films of the 80s since I'd never had the opportunity. Platoon is the better of the two, portraying a never-ending spiral of corruption, failure, and despair amongst the ranks as the soldiers march from one confrontation to the next, only revealing their own failings and faults to a nearly unwatchable degree. Some scenes were particularly hard to swallow. What's more difficult to believe is that this is autobiographical as Olive Stone claims. If any of this is true, some people in this film should be in jail.

**** out of *****

Film within a film and cameos

The name of the game for this movie is cameos. That's really the most visually prevalent feature of the movie. Without them, it makes me wonder if it would actually be quite as good. Maybe it would be better? In any case, every five minutes there's another guest appearance by a recognizeable actor somewhere in the film. The second great thing about the film is that it's almost, but not quite, self-aware. Ironic props are blatantly placed in strategic locations, and then focused in on as if the film is saying, "Look! We're clever!" It gets to be silly to point them all out, in a good way. While the script is quite good, the ending may not be for everybody. A few drawbacks include that crowded scenes are treated just like that, crowds - with people talking over each other, muffled, etc. Also, many of the cameos are unscripted, resulting in sometimes sloppy dialogue that clashes with the scripted bits. It's still quite fun and giggly, probably requires multiple viewings to catch all the in-jokes.

**** out of *****

Previously available on DVD for only a short time in the Criterion Collection, Jacques Tati's Play Time has finally been re-released again for everyone to enjoy. Feeling like a tribute to silent-era comedies, the very light underlying story is the course of a businessman's trip to Paris. There isn't a climax and no conflict per se, but various gently comedic acts performed with happy absurdity. It's a two-hour clown show, but with regular people. There's very little dialogue, and what's spoken isn't even necessary to understand what's going on - in fact, a lot of what's said is in other languages and not subtitled. It's also somewhat like a visual puzzle, where you have to spot everything that's going on and catch the subtle jokes as they happen, such as recurring characters and objects, and punchlines that occur long after the joke has been started. The humor has a "Brazil"-like quality, but less threatening. The imagery is mostly of wide shots, panoramas of bustling activity, so there's plenty to look at. If you have patience, it's extremely rewarding and has plenty of giggles. If not, you're unlikely to withstand the two hour length - especially if you don't get the humor. I was surprised how much I enjoyed it.

**** out of *****

Christmas in the Uncanny Valley

This film did very few things right. The main one was that the inanimate objects were excellent. Whenever a non-living object was portrayed, it was immensely believeable, including the vast panoramas and scenery. But the accolades end there. Nearly everything else about this movie was either awful or creepy. The physics were often outright missing. The faces were either overly expressed or expressionless, not to mention often appeared plastic and unfinished. The characters are not only unlikeably syrupy, they're often scary in both behavior and appearance. Believeable human movement is not achieved as hands don't appear to actually grip anything and all motion is some form of smooth gravity-free arc, no twitches, jerks, or fidgets. Voices often do not match the characters, particularly Tom Hanks' repeated roles and the awful token geeky character. The plot is trivial, characters and events are either unexplained, unresolved, unnecessary, or predictable (at one point, I joked that a ticket that flew out the window would be set upon by wolves and then eaten by a bird - and then it was!). The film resorts to scenes designed to be made into amusement park rides no less than three times. This was a story poisoned by Hollywood and lay dying on my tv screen. Never ever make an animated movie about human beings that can be done live-action with CG only as added FX.

*1/2 out of *****

DEATH COMES UNEXPECTEDLY!

A saccharine sweet, utopian view of life as an angelic little orphan girl arrives in a cranky village to live with her aunt. She teaches everyone to be glad and rebel against her aunt who owns the town. It features a rather entertainingly quotable fire & brimstone sermon after which you really can't take the movie seriously at all. This film *screams* for a good MST3K treatment. Predictable, cliche, sappy, and dull. I was unable to keep from busting out laughing at the ridiculousness of the finale which doesn't even resolve the story. Maybe this was big stuff in 1960, but a story like this just doesn't wash in modern day.

** out of *****

Untalented familial redemption

Ok, I get John Waters' intention to put visually-unappealing people in his films. But, for crying out loud, couldn't he find any that could act? The painfully inept dialogue and performances almost make the movie unwatchable - it's akin to a freshman high school play. Aside from that, the film is simply generally unpleasant. If you were going to a theater and could choose to watch a movie that would emotionally suck you in or a movie that would insincerely force itself on you, the former would be my choice. It doesn't help at all that the actor playing the husband is the spitting image of John Ashcroft. My gorge rose when he took his clothes off. The only redeeming value of the film is the silly opening sequence instructing the audience on the film's "Odorama" technique.

* out of *****

Ah, nothing like a good big-budget disaster/survival movie to get the ol' juices flowing. Who needs logic, continuity, or even sense? Gimme scenes of carnage, explosions, and large objects flying around and that's some good eye candy. Giant wave inexplicably comes out of nowhere on a calm, clear night and rolls a cruise liner, leaving it upside down. Our heroes and heroines need to get out of the bottom of the boat before it sinks. Pretty cut n' dry. It's not the plot holes that hold the film back (and there are a lot of them) so much as the characters themselves. Richard Dreyfuss is a token unnecessarily gay character, there's a boyish fiancee who gets trapped under tons of scaffolding and then miraculously heals moments later, a completely unfunny comic relief character who exists only for pointless exposition before being brushed off, and the requisite child who acts as little more than an anchor for the survivors. Otherwise it's very cookie cutter, with the father & daughter, adventurous loner, secret stowaway, etc. There's a lot of fun in the FX and adventure, but don't expect an Oscar-level breakthrough.

**1/2 out of *****

A movie-length version of Cartoon Network's Powerpuff Girls animation.

If you don't like the Powerpuff Girls, you aren't going to enjoy the movie. Good, now that that's out of the way, if you're either a preschooler, a parent therof, or terribly gay, you'll thoroughly enjoy the film. The production quality for the movie far surpasses the television cartoon, as well as the use of sound and directing. Why can't the tv cartoons be this good? It's nothing terribly epic, however, since it's hard to top the exorbitant adventures they already endure every evening, but they try with long-lasting battle-scenes and such. Points are lost to the DVD for not being offered in widescreen as well as cutting out some scenes from the theaters (after scenes were *already* cut before the film made it to theaters).

***1/2 out of *****

Overly complicated time travel

I was very excited about seeing this movie. The tagline and the premise sounded like another 'Pi'-stylized realistic sci-fi puzzler. Unfortunately, that turned out to be too much the case. The movie tries for so much realism that the first 15 minutes are filled with incomprehensible technobabble, enough to put the average viewer to sleep. The sci-fi is amenable, I like a good time-travel story as much as anyone, but it's buried in a script so convoluted and deliberately full of holes that it's impossible to sort out on the first viewing. By the end of the film, we had only a minimal concept of what we had watched. With some research, we found that the movie is deliberately designed to be incomprehensible on the first viewing (here's the film's timeline: http://neuwanstein.freeweb.hu/primer_timeline.html [spoilers]). It's a mix of Pi and Donnie Darko, with both being more enjoyable. It was a good effort for a budget of only $7K, but disappointing that I'm not inclined to make the effort to view the film repeatedly to fully understand it.

** out of *****

Second film in John Carpenter's "Apocalypse" trilogy

A much slower film than expected, it must be designed to instill dread rather than actual horror or fright. For much of the movie, it's a slow burn, with long shots at the supposedly liquid Satan in the church's basement with creepy music, but not much happening. There's far too many characters to keep track of or care much about. The scary parts of the film are kind of defused by the fact that the manner of transferrence of evil is a squirting jet of water and some act-gagging. It's almost comical at times and not the least bit frightening. Towards the end it picks up a little, but still moves slow, never really building to a climax. Instead, you get more of a sudden ending. Yeah, there was a universal threat, but it sure didn't feel much like it. It's fun and interesting to watch, just don't expect much of a budget or plot progression.

**1/2 out of *****

Expat samurai leaves gang.

On occasion, I've been known to rent asian cinema on recommendation. Sometimes it's great (Spirited Away) and sometimes it's awful (Rashomon). Princess Blade is adequate, but not particularly great. The story is cliche and unoriginal. It's supposedly set in the future, but you can hardly tell. The opening sequence appears to blow their entire FX budget because it's never repeated later in the film. The middle of the film also slows down interminably and the final climax is terribly predictable. Yes, there's good action when it's going on and heavy duty drama, but otherwise, it's mostly a been there done that samurai flick.

** out of *****

Run Lola Run Lite

I selected this one because NetFlix kept waving it in my face and jumping up and down, "You'd like this!" So I broke down and stuck it in my queue and it turned out to be a unique prize. First, it's got the same lead and several actors from Run Lola Run, as well as the same director/writer. So right off the bat, you have familiar people and the same stylized storytelling. The big difference is the speed and style. This is a very vivid and deliberately paced drama, with heavy symbolism, subtlety and set pieces. It takes great effort to make you care for the characters and some pretty hardcore visuals (like a close-up, impromptu tracheotomy - be ready) to drive it home. Don't watch this film when you're sleepy because it can end up a snoozer if you're not awake enough to appreciate the structured scenes and, I can't emphasize it enough, pacing. Great art again.

**** out of *****

Crime doesn't pay - on stage

Forget what you know about the Broadway musical or the recent re-make movie. The original Producers featured Zero Mostel and Gene Wilder, and it wasn't a musical (much). The first half of the film is very silly, full of comedic ranting, screaming, and running around. Silly, but very noisy. The latter half of the film tends to drag, unfortunately. The joke is Springtime For Hitler, we get it, but so much time is wasted minutely examining the gag that the character interaction is lost. The film is also heavily dated, extremely so when they introduce the shapely swedish secretary, who breaks into an Austin Powers groove on command - but a real one, not a parody. It's charming and funny, but it's not the best showcase of either actor's comedy. Apparently the revamp is better.

*** out of *****

Angel hunts for dark soul to win heaven war

Who wouldn't want to see a movie starring Christopher Walken as a genocidal angel, running around and being snarky, creepy, and wielding superpowers? Ooh, me! Me! The rather schlocky outing this results in is both entertaining and disappointing. The former because it's very comic-bookish, has action-film level violence, and is speckled with generous dark humor. The letdown is that the quality, production, and directing are little better than a direct-to-video feature. The FX are kinda lame and it appears to have been made on the cheap. It's not exactly scary insomuch as it's more of a suspense thriller. Walken is Walken. It also stars Elias Koteas who is on my list as only slightly above Nicholas Cage in banality. The gift of this film, tho, is Viggo Mortensen as very giddy, freaky Lucifer. Alas, he's only in the film briefly. This film deserves popcorn.

*** out of *****

Angel tries to prevent nephelim from being born

The second outing for Walken as genocidal angel is very much like the first, although this one never made it to theaters. Luckily, direct-to-video did little to harm the franchise since the original wasn't particularly a big-budget masterpiece to begin with. It watches very much like an episode of X-Files. The FX are Halloween-shop gimmicks and the acting is somewhat wooden. Walken spends most of the time chewing up the scenery. The black comedy is amped up just a little bit in this one and there are a few clever twists. But without the touch of Viggo Mortenson or the originality of the first film, the result is a slightly more mediocre popcorn muncher. It's basically more of the same with a few different characters. Steve Hytner, who plays a snarky, cynical pathologist in the first film, is a recurrent bright spot that makes for some good in-joke continuity.

**1/2 out of *****

Angel tries to genocide all humans

More of the same from the first two outings and another direct-to-video "masterpiece". What manages to elevate this film a bit more is threefold. First, Steve Hytner, our favorite recurring pathologist, is given a significantly larger role, tho not a starring one. He's our comic relief, so more is better! Secondly, this sequel goes back to the well and not only revisits locales from the original, making it a festival of continuity for followers of the series, but they also bring back some of the actors from the first two films and even reference some of their scenes, often with humorous results. Continuity rocks. Lastly, the dark comedy is upped another notch by remaking Walken's character into a new mold, one that allows him to take on an even more eccentric angle. Of course, the film suffers from its nature, being a second sequel and a video-only release. The FX are weak, the climax is hokey, and there are plot holes everywhere. But if the popcorn is good, you won't mind much. There are two other Prophecy movies following this one, but neither star Walken, so you need to be a real die-hard for the series to keep going.

*** out of *****

Imagine an ultraviolent noir crossed with an old-fashioned authentic western (albeit in the historic Australian outback) and you'd get The Proposition. While it's not a continual slaughterfest from beginning to end, its not-infrequent scenes of harm unto others are depicted in a shockingly over-the-top manner, to the point where it occasionally disgusts. This makes the film's already raw and unhappy story about a lawman who sends one criminal out to kill off the leader of a gang, who happens to be his brother, a difficult one to watch. The story and performances are excellent, and there's even the rare moment of humor here and there, but half the time those scenes aren't far away from some grisly imagery. I can understand the desire in a filmmaker to express that life sucks and that there are no happy endings, but the brutality with which this is conveyed ultimately buries any messages there might have been. If you can handle the sadism, there's a pretty riveting story underneath it all, supported by very believeable acting.

***1/2 out of *****

Anti-semitism in America after 9/11

Unlike the documents that the film is named after, this begins by debunking the Protocols, an anti-semitic tract dating back to the 1800s, and then turns towards the inflated anti-semitic fervor in the US that developed following the attacks on 9/11. Apparently, there are theories running about that Jews not only caused 9/11 to incite the US to attack their enemies, but also that no Jews died on that day. Both are not only false, but proven so in the course of the documentary. It then moves on to depict director Mark Levin and his grandfather interviewing, often confrontationally, various Jewish people and anti-semites in the US. Rather than tell the viewer what to think, it presents the viewpoints of those interviewed, and the results tend to speak for themselves. Particularly both amusing and frightening is the chat with the nappily-dressed skinhead, whose head explodes when it's suggested that Hitler was Jewish. The film rambles and gets away from its topic frequently and the aggressive interviews risk hostility rather than viewpoints. It's decent as a perspective film.

***1/2 out of *****

Loneliness leaves stains

As awkward as this film was to watch, I understand that the butchered US remake is significantly worse. The story revolves around an epidemic of people disappearing...because they're lonely. As hard as that concept is to swallow, it's conveyed in a certifiably creepy manner as the victims turn black and vanish, leaving a body-shaped stain where they'd just been on a wall or floor. The creep factor is heightened by a subplot about ghosts coming through to our world, often portrayed to dead silence or freaky sound effects. The movie tends to fall apart when the ghostly plot is abandoned halfway into the film and it turns into "The Stand". Their initial appearance, making slow-mo and unnatural movements, is scary at first, but loses its fear factor after the fourth or fifth time they use the trick. By far, the worst part is the dialogue, which is unintentionally funny. We couldn't help laughing at serious scenes because the conversation was just that bad. Really only for asian thriller purists.

** out of *****

Adam Sandler NOT being a moron.

It's funny how, if you look at a performance in a different light, it can suddenly become appealing where it was once distasteful. After a surreal opening, the movie staggers on, depicting a much quieter and sympathetic Sandler. The non-sequitur-seeming behavior through the film is cute, especially when the film becomes a love story. It's very much like a date movie, but somewhat insane. I was grinning and giggling through the whole thing. It's wonderfully sweet.

**** out of *****

Movie adaptation of the Marvel comic

Of course, forget the comic book. The only resemblance is a butchered-into-unrecognizeable origin story and the t-shirt. Otherwise, this is your basic cop-bent-on-revenge story. It's wildly predictable and not much better than your standard Steven Segal films (Hey, I know people who like those). It gets a notch above the standard fare with the embedded humor, like the wacky Russian fight sequence and the goofy neighbors, as inappropriate as they are. There's also a great squirm-sequence involving piercings which is a good reason I don't want any. Action fluff, not particularly good, but not bad enough to avoid.

**1/2 out of *****