Random Movie Review 3

Today's Common Denominator: Goosebumps Guaranteed

*Movies available to stream on Netflix have a star next to them*

The Lobster (2015)

🏢🏢🏢🏢 

Absurd and astounding, the Lobster paints a world where single people are hunted down and obliged to find a partner within 45 days - otherwise, they are transformed into the animal of their choice. We follow the story of David, a man who, cheated on by his wife, must engage in the 45 day process. When he fails to find a match, David decides to escape the dystopia and join a group of solitary rebels, only to realize their codes regarding love are just as absurd and ruthless as the ones of the world he left. The Lobster is a breathtaking movie that makes its own rules and follows them to perfection. It will teach audiences everywhere the true cost of love, within and without this man-made dystopia.

Boys (2014)*

🏢🏢🏢 

This Dutch drama tells the story of Sieger, a reserved 15-year old athlete, and Marc, his teammate. As they prepare for a National relay event, Sieger and Marc navigate into something more than friendship. Sieger struggles with both identity and environment in this visually gorgeous film, unveiling what it really means to love and trust someone. I deeply recommend this movie: it's one of those little gems that you occasionally find on Netflix, and it's worth every minute.

Hush (2016)*

🏢🏢🏢

A contender for the best indie horror film on Netflix, Hush is brings a chilling premise to the table: the protagonist, an imaginative writer, is deaf-mute. This shapes an intense game of cat and mouse where the writer is forced to use all her resources... but will that be enough? Hush is skillfully arranged, alternating between traditional horror tropes and excitingly original scenarios... I only wish the premise had led to an ever deeper exploration of the horror genre than it already does.

Tangerine (2015)*

🏢🏢🏢🏢

Tangerine is a sensational film. A tale of vengeance sparkles alive when Sin-dee, a transgender prostitute learns upon completing a prison sentence that her boyfriend may have been unfaithful. With the help (or not) of her friend Alexandra, also a trans sex worker, Sin-dee plans to track down and beat up the woman her man's been fooling with... All you really need to know is that the plot climaxes in an L.A. donut shop. I really recommend this movie, not only because it's hilarious, but because it's filled with bittersweet moments. Tangerine made me feel nice at home in a world I knew nothing about. It was dazzling, thought-provoking, and funny. Did I mention it was shot entirely on an iPhone?

Pelé: Birth of a Legend (2016)

🏢🏢🏢

Okay well, I have a soft spot for inspirational sport movies (hello Secretariat, 2010, also a great film)... so what? And although movies where actors are cast to speak English with a foreign accent (hello The Book Thief, 2013) make me cringe a lot, Pelé: Birth of a Legend left me in cheers & tears. For every morose moment, there's that "feel good" certainty that the film is going to end on a positive note, even for those of us who aren't soccer fans. Plus, the incorporation of Brazilian Ginga into soccer is visually breathtaking. I definitely would watch this film just for the  sake of the visuals. Character evolution can wait (and it does, alas).

"The clouds pass, the storm lingers," Poetry, 2015

the clouds pass, the storm lingers

Haruka looked around attentively. The cafeteria was almost empty. Solitary figures were hunched over their dinners, slurping soba at the booth. She looked at her notebook, then back up at the neon lights hanging overhead. Haruka was waiting for the poem to gasp to life, and weave itself under her touch.

And one day we will sail home

for better days to bathe our limbs

for better days and longer days

we will sail home to warmer arms

The verse was tentative. The rhythm, awkward. Haruka flipped her pencil to erase what she had written, but just then, she realized her hands were awkward too, bony and pallid and colorfully veined. She flipped her pencil again and pursued her work.

There will be unaccounted sighs

for every wave we fail to break

and indeed there will be cries

for every gust that blows our way

along the misty lace of waves

Outside, the sound of sirens approached, climaxed, and dissipated into the night. The man behind the counter made a show of checking his watch every thirty seconds; the cafeteria was supposed to close at nine, in five minutes.

But one day we will kiss the land

with parched lips and ancient smiles

worn by the lacy mist of waves

and indeed there will be time

for brighter voids and jocund cries

“We’re closing,” muttered the man behind the counter. Tired, faceless men filed out of the cafeteria, one at a time. Haruka hastened her hand; the poem wasn’t finished. If Haruka didn’t finish now, she never would.

And on that day we kiss the land

let us pray to senile gods

and on that day we quit the sea

let us fall in warmer arms

The man had left the counter, and was now approaching her, annoyed. Haruka hastily got up, collected her poem and her backpack, and darted out of the cafeteria without saying a word.

Outside, the weather was damp and cold, like a moldy laundromat. Haruka wrapped her scarf more firmly around her neck. She walked down the crawling, narrow street and thought about her writing. That same day, her sister had told Haruka to break out of anonymity. She said it was disgraceful to be faceless. Then again, Haruka’s sister rarely ever came to this part of town. She wouldn’t understand.

Haruka wandered to the place of faceless disgrace. She fell upon the camp where the refugees were piled up. Countless men, women and children scuttled in and out of tents, dressed in their sole possessions.

Donate to Fukushima victims, a sign said, pointing towards a tall black urn. Haruka halted in front of the sign, suddenly seized with emotion. She looked away, at first. But all Haruka saw was human misery and faces she wouldn’t remember.

Haruka slipped her poem out of her bag, folded it with her awkward hands, and pushed it into the black urn.

*This piece won a Silver Key in the 2015 Scholastic Art & Writing Competition*

*This piece was published in the 2015 Edition of the Fridge, the Lycée Français de New York's literary magazine*

Random Movie Reviews 2

Today's Common Denominator: Underrated Tarantinoesque Films

*Movies available to stream on Netflix have a star next to them*

*Movies available to borrow for free from the NYPL have a tilde next to them. Click on the tilde or go to http://browse.nypl.org to place your hold*

Death Proof (2007)~

🏢🏢🏢🏢 Meet Mike, a burly stuntman and fulltime stalker. Meet Mike's car, an epic, "death proof" stunt car that Mike uses to kill off his female victims. But what happens when Mike faces off with the baddest stuntwomen Texas? Totally sinful car duels. I especially appreciated the following things in this underrated Tarantino flick: more mythical dancing (think Salma Hayek in From Dusk Till Dawn),  stunning use of black and white/color (think black and white close-ups in Kill Bill), and girl-power violence (remnant of Uma Thurman's carnage as the Bride). It's a funny, sinful and bloody movie, an apt reflection of Tarantino's ingenious insanity.

Jackie Brown (1997)

🏢🏢🏢🏢 What? More female empowerment? More incredible music? Welcome to the world of Jackie Brown, a proud, classy air hostess who smuggles drugs and money from Mexico. One day, her superior Ordell, played by Samuel L. Jackson, questions Jackie's ability to not snitch to the police, who has begun to look into her illegal activity. Jackie outplays Ordell's plans to kill her, and instead promises him the ultimate smuggling operation, right under the police's nose. Tarantino once again blends humor with drama, idiosyncratic exchanges with masterful construction. Samuel L. Jackson and Pam Grier, who plays Jackie Brown, both set the screen afire (and I'm not talking Inglorious Basterds style, do not fret) and give a one-in-a-lifetime performance. I'm partly glad this film is underrated enough that I can recommend it confidently to anyone, Tarantino-lover or not. However, I'm also heartbroken that it hasn't received the same deserved notoriety as Pulp Fiction, or even Djando Unchained.

From Dusk till Dawn (1996)*

🏢🏢🏢Don't give me that look. Everyone knows it's Robert Rodriguez, one of Tarantino's best friends, who directed this epic B movie. However, Tarantino wrote the script for From Dusk till Dawn, and stars in it as part in a twisted criminal duo - his partner in crime being none other than George Clooney. The movie starts off in one direction and ends in a sketchy nightclub near the Mexican border. Look out for Tarantino's creepy performance, Salma Hayek's famous dancing, and, of course, vampire strippers & bloodshed. If you're the type of person to take films very seriously, perhaps this isn't the movie for you; From Dusk till Dawn is barbarous to the point of comedy, and should be enjoyed as such.

올드보이 - Oldboy - (2003)*

🏢🏢🏢🏢 This Korean film is your perfect revenge mystery drama, a jaw-opening, eccentric, masterful work of art. Dae-su is an average man, leading a monotonous life, until the night he is knocked out and imprisoned inside a hotel room... for fifteen years. When Dae-su finally breaks free, he is filled with rage and motivation: who held him captive? Who murdered his wife and framed Dae-su as the killer? Who obliterated fifteen years of his life? But more importantly, what is the cost of the truth? With a plot that will knock you backwards and a style beyond fantasy, Oldboy is both human and superhuman, a quality redolent of Kill Bill and Inglorious Basterds.

バトル・ロワイアル - Battle Royale - (2000)*

Battle Royale was originally a book - which I also recommend - written by Koushun Takami, and it's safe to say it inspired many of the dystopian death-game plots that pollute the YA film and writing industry today. Battle Royale is the original Hunger Games, except the violence and characters are rawer, and the whole narrative is less self-assuming. Watch as a class of high-schoolers kill each other off in a story filled with bloodshed and poetry, baroqueness and voice. This B movie made me cry, because there was something infinitely touching about the realness of the characters and the genuine optimism behind the hyperbolic gore. I recommend this movie to all Tarantino lovers; I know you'll recognize the poetic aura in Battle Royal as you might've in Django Unchained.

Tarantino and Ultraviolence

        I've never felt so invigorated as the first time I saw Kill Bill when I was thirteen. Kill Bill Volume 2 followed, then Pulp Fiction, then Jackie Brown, then Inglorious Bastards, then Reservoir Dogs. I can't exactly remember the order, but it definitely wasn't chronological. But Quentin Tarantino isn't like Iñárritu, who adopts a different aesthetic with every new film; no, Tarantino has been building his own genre and perfecting his own signature for the past twenty years. And so I invite you to dive into Tarantino's twisted, bloody creation: a world filled with jubilant violence, masterful tension, and empowering revenge.

Certain people are rather skeptical of Tarantino's work, and will tell you something along the lines of: "Movies that strictly comprise of blood and violence don't elevate the public and are therefore detrimental." However those who have seen the entirety of Tarantino's art will know the opposite is true. Take the movie Jackie Brown, for example.

   Jackie Brown tells the story of a flight attendant charged with moving drugs from South America to the United States. When she is caught red-handed with drugs, Jackie's associate decides to kill her in case she decides to rat out on him. But Jackie Brown isn't going to comply with this turn of events. Instead, she concocts a way out, radiating class and empowerment during the entire film.

        Sure, Jackie Brown features Tarantino's usual dose of violence (if not a little less), but violence isn't the goal of the film. Jackie Brown portrays the glorious process of overcoming adversity through the eyes of a black flight attendant. Saying that Jackie Brown, or any of Tarantino's films, are solely about violence, is both disparaging and erroneous. But since we're talking about violence, let's talk about it how Tarantino employs it in his works.

        You may have seen or heard of a Clockwork Orange (1971), Stanley Kubrick's sensational film. When this movie was released, it struck the public as extremely controversial: not only did it include vulgar humor and British delinquents, it also seemed to glorify raw, gratuitous violence. From the original novel a Clockwork Orange, written by Anthony Burgess, was born the term "ultraviolence," which, as you may have already guessed, refers to horrible and extreme violence.

        But then what is the point of ultraviolence depicted in cinema? In my opinion, it comes from a desire to merely reflect, or rather rephrase, the violence of our current society. Some people saw in Django Unchained (2012) a critique of modern-day discrimination faced by black communities. Perhaps Tarantino isn't trying to glorify violence; maybe he's only trying to express how he sees in the world around him.

        And even if violence was the main goal of Tarantino's movies, why not view it as art? Why not appreciate the creativity and the intricacy of each murder, amputation and branding scene? Why not relish in symbolism and aesthetic prowess?

        In sum, I think there's something worth appreciating in the way Tarantino depicts violence. The best thing you can take away from Tarantino's films, in my opinion, is empowerment: his characters emanate creative and emotional empowerment in the face of adversity.

        Here is a list of Tarantino movies I've seen, in order of release:

                    Reservoir Dogs (1992)        🏢🏢🏢🏢

                    Pulp Fiction (1994)              🏢🏢🏢🏢🏢

                    Jackie Brown (1997)           🏢🏢🏢🏢

                    Kill Bill: Volume 1 (2003)  🏢🏢🏢🏢

                    Kill Bill: Volume 2 (2004)  🏢🏢🏢🏢

                    Death Proof (2007)             🏢🏢🏢🏢

                    Inglorious Besterds (2009) 🏢🏢🏢🏢🏢

                    Django Unchained (2012)  🏢🏢🏢🏢

                    The Hateful Eight (2015)   🏢🏢🏢🏢🏢

Random Movie Reviews 1

Today's Common Denominator: Internal Struggle

*Movies available to stream on Netflix have a star next to them*

*Movies available to borrow for free from the NYPL have a tilde next to them. Click on the tilde or go to http://browse.nypl.org to place your hold*

Mommy (2014)~

Antoine-Olivier Pilon makes
 a raw and convincing debut

🏢🏢🏢🏢Mommy is an unsettling, captivating film about teen angst and motherhood, a caring neighbor, and a healthy amount of French Canadian slang. Created by Xavier Dolan, a young but gifted director, Mommy will make you cry and laugh. The movie is aesthetically stunning, and the image is, for the most part, a square (instead of a traditional rectangle). Keep an eye out for changes in format (as they substantiate Dolan's technical mastery).


Red (1994)~

🏢🏢🏢Part of the Three Color Trilogy and directed by Krzysztof Kieslowski, Red is a gorgeous film about illusion and friendship, about reincarnation and second chances. Explore the beauty and complexity of each shot, character and plot point. Irène Jacobs, who plays the protagonist, is fascinating and delivers one of the best performances of her career. This is a movie for the contemplative and poetic watcher.

Memento (2000)

🏢🏢🏢🏢You'll perhaps know Christopher Nolan better for his newer works: the Dark Knight movies (2008 and 2012), Inception (2010), and Interstellar (2014) (my personal favorite). Memento should be remembered for its impeccable screenplay and storyline, its use of visuals and suspense. Enter the head of a vengeful amnesiac (played by Guy Pearce) as he puzzles out the murder of his wife while dealing with suspense-filled memory lapses.


We Need to Talk about Kevin (2011)*

🏢🏢🏢🏢We need to talk about We Need to Talk about Kevin. It's a study of evil, and the root of evil (is it necessarily evil? Tilda Swinton lets you decide). Ezra Miller plays her cruel and sociopathic teenager with brio and cleverness, as one of the three child actors who play Kevin's character as he grows from an infant into a teenager. This movie not only raises tantalizing questions, it does so with gripping shots, intricate symbolism, and foreboding sound effects. Foreshadowing is a huge part of this film, so keep an eye out for it.


Dope (2015)*

🏢🏢 Directed by Rick Famuyiwa, Dope tells the story of a trio of nerds in the crime-infested neighborhood of Inglewood, California. When Malcolm, played by Shameik Moore, gets tangled up in a drug sale, he learns to face his fears... with a little help from his friends. Rigged with 90's references, Dope is both an homage to black culture and a teenager's perspective on black struggle. I was extremely excited about watching this movie. When I saw it was on Netflix, I was enchanted. Once I finished it though, I was pretty disappointed. The plot was pretty basic, and the ambitious/contemporary visuals made it hard to understand the story.

"When a Train Passes by," Translated Poetry, 2015

Quand un Train Passe, 2015  

Un beau soir d’été

deux amants s’aimaient

d’une flamme forte.

Merci, chers aveux,

vous n’êtes pas Dieu:

je suis déjà morte.

Ils sont partis loin,

jusqu’au pont, un matin,

au-dessus d’un bassin,

s’y sont jetés, leurs mains

entrelacées, enfin

on retrouva leurs corps

dans un sanglant bain

quand l’aurore vint.

Un monsieur vit les corps;

dites “adieu,” car, monsieur,

Vous n’êtes pas Dieu,

et ils resteront morts.

Sous un ciel pluvieux

un bel adieu

se présente à ma porte.

Merci, mais monsieur,

vous n’êtes pas Dieu:
je suis déjà morte.

When a Train Passes by, 2015

One clear Summer night,

two lovers' love burned

like dazzling fire.

Bless those confessions,

though they aren't God’s.

I am already dead.

The lovers strayed far

Beneath a rainy sky,

to a bridge, one morning,

above the shallowest pool;

they threw themselves in,

their hands intertwined; at last

their bodies were found

as in a bloody bath

when dawn touched the sky.

A lone man saw the bodies;

say "adieu," please, monsieur,

for you are not quite God

and the two will stay dead.

Beneath a rainy sky,
a beautiful farewell

knocks at my door.

I'll answer. "Thank you, but monsieur,

you are not quite God:

I am already dead."

"Where to Invade Next?" Michael Moore's Buoyant New Film

Where to Invade Next is the newest movie by Michael Moore, known for satyrical and politically engaged films such as Fahrenheit 9/11 and Bowling for Columbine.

It's time to take over the world, and Michael Moore isn't looking back. Armed with an American flag, our human stereotype travels across Europe in search of great ideas. His first stop is Italy. There, Moore is blown away by the amount of paid vacation the average Italian benefits from each year. After investigating the subject, interviewing employees and managers, and uncovering the long-term benefits of paid vacations, Michael Moore plants the American flag in Italy, sending a clear message back home: we could use this! this is a fantastic idea!

And so Michael Moore visits France, Finland, Germany, Tunisia and more, hailing each country's success in a specific aspect of their social system. In France, it's the lunch quality in public schools. In Germany, it's the power vested in labor unions. In Finland, it's the radical and extremely successful approach to schooling. In Tunisia, it's women's right to get abortions and contraception, since 1973.

Michael Moore admits himself that he idealizes each success in each country. In effect, it's pretty clear to any European that yes, what Moore is saying is true, but it needs to be put in its in context: indeed, France affords its youth a very strong culinary identity, but the country is nevertheless in political and social turmoil; indeed, Italy is a great place when you're well-off or have a stable job, but over a third of its youth is currently unemployed.

It's important to contextualize Moore's information, but I am convinced by his idealism. He really only picks the best aspects of each country, and explains why principles such as: cheap and high quality education, equality between sexes, and workers' rights spawn tangible benefits in the futur. More importantly, Michael Moore argues that these improvements aren't unattainable in a country like the U.S. Sometimes, it starts with the little things, like providing all teenagers with accurate sexual education and contraception like they do in most European countries.

The part of the film that touched me the most was Moore's visit in Germany. After praising its empowering labor unions, Michael Moore visits a German school. There, German students are discussing and commemorating the Holocaust. Students are taught by teachers that the WWII genocide is a collective burden, regardless of age. Moore then makes you think critically about History classes in the U.S. : how much do we really tell our students about the Native American genocide, carried out by colonialists? Do we acknowledge enough the fact that the U.S. was built on the back of black slaves? Moore raises critical questions about race, incarceration, and political institutions in America. This contrast between idealizing Europe and criticizing America is truly stunning and worth watching, even if only to acquire another side of the story.

Michael Moore's film is not only a call for change, but an argument on why the U.S. should emulate successful aspects of European institutions that have themselves been inspired by the U.S.

I support Michael Moore with all my heart, and his film has convinced me that socialism, equality and respect are the path to a healthier America. 

10 Favorite Thrillers/Horror Movies

I had a phase when I was ten or so when I adored horror flicks. In retrospect, I think what I actually enjoyed was the concept of horror films: knowing the plot, the characters and the jump-scares. I admired horrific creativity, messed-up plot twists, and absurd situations. So no, I didn't like watching horror films. But I sure enjoyed hearing about them.

*Movies available to stream on Netflix have a star next to them*

*Movies available to borrow for free from the NYPL have a tilde next to them. Go to http://browse.nypl.org and place your hold*

 10. The Good Son (1993)

A young Frodo meets that kid from Home Alone. The director, Joseph Ruben, knows how to paint the picture of evil. Young Frodo has just lost his mom. He moves in with Home Alone's family, only to discover that Home Alone is evil and manipulative. What I like about this movie is the implicit possession; to me, films like the Exorcist lack subtlety and relatable situations. The Good Son will make you scared, but maybe not for the reasons you think it will. A modern rendition of this movie would be We Need to Talk about Kevin (2011), which is equally good (but I plan on writing about it later).

9. The DaVinci Code (2006)*

I haven't watched this movie very recently, so it's a bit blurry in my mind. But I do remember intense mystery, Audrey Tautou, and self-flagellation. In any case, it's artfully adapted from a classic thriller novel, and does justice to its use suspense and horror. It's a bit of a tough movie, and it's the kind where you feel less innocent once you're done watching it.

8. Inception (2010) ~

Yes, it's a completely ridiculous, implausible movie. But apart from being esthetically stunning, Inception is also a real emotional rollercoaster (once you actually understand the plot - Inception might require more than one viewing). Christopher Nolan will take your breath away with fast-pace scenes and expert storytelling skills. The last shot of this film (which involves a top) is the very definition of an unresolved cliff hanger. Basically the entire meaning of the film hinges on this final scene. And that's a thriller that I might enjoy.

7. Se7en (1995) ~

Ah yes. Ever wondered what would happen if a high-caliber murderer punished you for a sin you committed? And not only that: what if that psychopath accomplished this by simply turning your own vices against you? Take, for example, a gluttonous man, who is forced to eat until his bowels literally implode. This is the plot of Se7en, a thriller/horror flick featuring Brad Pitt and Morgan Freeman. David Fincher, the director, appears for a second time on this list. This movie gets an A+ for ingenuity, classical references, and absolute disgust.

6. Dead Calm (1989)

I will never, ever, ever go on a sailing trip for my honeymoon. First, because I don't like boats. Second, because I watched Dead Calm when I was young. Directed by Philip Noyce, this movie is everything you hate about horror flicks: dumb characters, dubious plots, and no sense of stranger danger. And yet this movie is both entertaining and horrific to watch. Dead Calm talks about Nicole Kidman and Sam Neill, a lovely couple on a sailing honeymoon *shudder.* All of a sudden, a boat appears at the horizon, and things go downhill from there. (Disclaimer: no pirates involved. Just a lonely psychopath.)

Little Entracte:

***DURING INTENSE OR STRESSFUL SCENES, I COMPULSIVELY START EATING POPCORN AT A FASTER PACE***

5. Gone Girl (2014) ~

Two words to describe this movie? Plot twist. The director of this film, David Fincher, beautifully adapted Gillian Flynn's novel (which I hear is "better than the movie," as per usual) to the big screen. The movie is horrifying, fast-paced, and makes you realize that a thriller is that much better when the characters appear human. For instance, as the film progresses, the audience realizes that the main character isn't as virtuous and blameless as he seemed to be in the beginning of the movie. This movie stands out thanks to its attention to characters and super-convincing plot twists.

4. The Silence of the Lambs (1991) ~

Have you ever been so desperate to catch a psychopath that you've resorted to consult a legendary psychopath about it? Silence of the Lambs does it. Better. This movie is horrifically 90's. You'll want to reach into the screen and stop what's happening at any given moment. Silence of the Lambs features mind-blowing use of cinematic red herrings, POV shots, and mythical acting. The director, Jonathan Demme, is a master at suspense and storytelling. Must-watch film for all those Hannibal Lector fans.

3. Circle (2015)*

This recent film, directed by Aaron Hann and Mario Miscione, is one that I stumbled upon while browsing through Netflix. The movie tells the story of a group of strangers forced into a game where only one person can survive - each ten minutes, everyone has to vote for another person to get killed off. I was absolutely blown away by this thriller/horror movie for multiple reasons. First of all, it's an effective low-budget film - whereas movies like Inception rely partly on intense visuals, Circle proves that it doesn't take much to create shock and suspense. Second of all, Circle isn't only a thriller: it's also a striking social commentary, a case against humanity, a case for humanity, and a test of logic and deduction.

2. Rope (1948) ~

Forget Psycho. Rope is one of Alfred Hitchcock's most underrated films. Starring a psychopath, his skeptical lackey, a bunch of (initially) unsuspecting guests and a corpse, Rope is not only a thrilling watch: it's also a cinematographic feat, since it comprises of just one, uncut shot. Through this film I explored not only Hitchcock's penchant for visual perfection: I also got a look into the work of a man they call "the master of suspense." Yes, you can watch Psycho, and analyze that one shower scene into oblivion. But you should leave room for Rope, and bite your nails over this prideful murder.

1. The Shining (1980)*

Stanley Kubrick's thrilling masterpiece, or the movie that made you afraid of empty hotels and tall mazes. Whatever you call it, The Shining features masterful suspense and unending horror. Kubrick's Shining made me realize that it doesn't take extravagant means to instill fear in your audience. My favorite passage in the film is when the little boy, Danny, cruises around the deserted hotel on his little tricycle. The camera is at his level, close to the ground, giving the successive halls a grand, ghastly look. This prolonged shot builds incredible suspense, making you sense the approach of a jump-scare. Shining is the king of psychological thrillers, and I consider it a priority to anyone who hasn't seen it yet.