Monday, September 30, 2013

Ever After: A Cinderella Story (1998)

Seen: On dvd on my tv, from my personal collection.

I have this weird thing where I start watching this movie all the time, either on tv or on dvd, but it's always longer than I think it is and I never get around to finishing it. Of course I've seen the whole movie straight through on multiple occasions, but not in the past few years. Ever After takes a pretty passive and sappy fairy tale and adapts it into a realistic but still somewhat magical tale of one woman's liberation through love. After the sudden death of her beloved father, Danielle (Drew Barrymore) is forced into servitude by her cold-hearted new stepmother, the Baroness Rodmilla (Anjelica Huston). Over the course of several years the baroness's hedonistic spending sends their estate into ruin, and she devotes all of her efforts to securing the hand of Prince Henry (Dougray Scott) for her snobby daughter Marguerite (Megan Dodds). However, after disguising herself as a courtier to rescue a sold servant, Danielle finds herself unwittingly catching the prince's eye and the two engage in a battle of wits that eventually leads to love. The Baroness will stop at nothing to angle for Marguerite's place as future queen and conspires to expose Danielle for the lowly servant (and liar) she really is.

Yes, it's basically a sentimental period romance but goddammit I love this movie! Maybe it's Drew Barrymore, and the fact that she spends most of the film spewing eloquent insults in an ambiguously European (well mostly British I guess) accent. Maybe it's Anjelica Huston, and the fact that she is so deliciously evil I just want to eat her up with a spoon and absorb her villainous powers. Maybe it's the more ridiculous aspects of this "real" story, including a deus ex machina in the form of Leonardo da Vinci, a motley crew of (stereotypical) Romani thieves, and a wide array of funny hats (and snoods!). Likely, it's a combination of them all, plus my stupid soppy heart that totally falls for their stupid beautiful love story.

My favorite thing really is Danielle, though, because she is a badass. She beats up her male best friend on a regular basis, she's got a surpringly accurate throwing arm, she can swordfight, she looks pissed off all the time, and she reads like a nerd. What a babe. The plot is not wholly a romance, but more an investigation of this subjugated young woman and how her intelligence and resourcefulness pull her out of her situation. And love happens to be in there too, along with a bit of class satire. It's nothing groundbreaking but its various components all come together so well, combining a good script with lavish visuals and compelling performance, that I'd easily list it among my top fictional period pieces. It's kinda funny, too.


Pair This Movie With: One of my absolute favorite books growing up was Ella Enchanted, another re-imagining of the Cinderella tale. I have not seen the film adaptation nor would I recommend it since I know a lot was changed and it just looked awful, but I heartily recommend the book for any age. Truth be told, it's still one of my very favorites.


Friday, September 27, 2013

L.A. Confidential (1997)

Seen: On our projector set-up, streamed from Miles' harddrive.

We've had this on our to-watch list for a while but every time it came up we either weren't in the mood or didn't have the time for it. But now the time has come, and I've seen L.A. Confidential. Yep. Based on James Ellroy's novel, the film follows three very different police officers hanging around 1950's Los Angeles. The murder of a corrupt detective and a sex worker during a diner robbery launches a multifaceted investigation that eventually uncovers a number of seedy underbellies- drugs, homicide, prostitution, blackmail, etc. Three officers- the naive but opportunistic Ed Exley (Guy Pearce), the brutish but sentimental Bud White (Russell Crowe), and the smarmy but mildly ethical Jack Vincennes (Kevin Spacey)- open their own separate cases that unexpectedly come together in violent, tragic ways.

Sooooo. This movie is kind of a big deal, I was aware of that, and while I didn't know many details about it I guess I had high expectations just because it's so famous and respected and awarded. I did like it, but I didn't love it, and I guess I'll have to explain myself here. The thing about L.A. Confidential, for me, is that it feels too familiar, too derivative. It's pulling from these film noir classics and positioning itself as a stylish period piece updating the genre for a 90's audience, and there's value in that, but the path is well-trod and the movie didn't bring anything especially novel to the proceedings. I thought the cast was great, the costumes were gorgeous, the script was good, and the setting was compelling, but the story itself is jumbled and the mystery isn't very compelling. Certain aspects of the film were fascinating to me- the ultra-secret sex club with women made to look like famous stars, the Latina woman who lies to the cops so that her rapists will be punished, the obsession with image and celebrity prevalent in the police department- but as a whole it didn't quite do it for me.

It's still a pretty cool movie, mostly for the great cast. Kevin Spacey is the easy standout, all greasy self-obsession and twisted moral compass and pal'ing around with an even slimier Danny DeVito, but he's also the one with the least amount of screen time. Guy Pearce is looking SHARP in his spectacles even if everyone keeps making him take them off (which is SO dumb, how the hell is he supposed to do detective work and, like, SHOOT?) and I liked how his character starts off all high-and-mighty but finds himself betraying his own conscience to uncover some darkness within himself. Of the three leads, Russell Crowe is the weakest, but that's partially because his character is so boring and cookie-cutter. Like a dumb guy with a savior complex because his mom was abused, and that's his entire personality. Ok. We spent the whole movie imagining he was a literal bear and it made him much more interesting. And funny. James Cromwell is good but he could not keep his accent down, like it oscillated between super-Irish to nonspecific American in different scenes and it was way distracting. Kim Basinger, so dominant on almost all the poster art, is a secondary character, but since she's basically the only woman with more than one line of dialogue I guess they wanted to promote that anyone in the movie was female. She's good though, shifting between hard-edged sex worker and kind-hearted romantic, and really pulling off the Veronica Lake look.

Anyway, this movie is ok but I'm not going to pretend like I found it special or even particularly memorable. It's very well-made and oozes confidence, but it's too reminiscent of other films for me to be wowed by it.


Pair This Movie With: Obviously Chinatown. I mean, this movie definitely wanted to be the next Chinatown, right?


Wednesday, September 25, 2013

Museum Hours (2013)

Seen: At the Brattle Theatre in Cambridge, accompanied by Katie!

When Anne (Mary Margaret O'Hara) finds herself stranded in snowy Vienna for an unknowable amount of time while visiting a comatose cousin, she drifts toward one of the city's art museums, the Kunsthistorisches Museum. She befriends an aging guard, Johann (Bobby Sommer), who helps translate the hospital's calls for her, and they quickly become friends out of mutual loneliness. He shows her around Vienna, and they share intimate stories about their experiences and relationships. They spend a lot of time at the museum, and Johann narrates his observations as a guard.

Several years ago I decided to devote my studies, my passions, and a good portion of my time to the subject of art history. I may babble on about movies here and elsewhere online, but I hope to make art my life's work. It is always exciting when a film somehow incorporates so-called "fine" art, when I can see my two loves collide and combine, but it is a rare thing for a film to focus entirely on the love of art. Not a famous artist. Not a contemporary art world satire. Not female leads in romantic comedies who work in museums or art galleries because it's sophisticated but also vague enough (it's a thing, trust me). Just... art. Looking at art. Responding to art. And in that one moment, either for an instant or for your entire life, being somehow affected, even transformed. That is what Museum Hours really is. And it is goddamn transcendent. I think all art historians should see this film, but probably so should everyone else.

Visually the film is half art history porn, half dingy urban spaces, and often comparisons are made between the two. Art history as a study actually began in Vienna, so it is an incredibly appropriate setting for this story. Much time is dedicated to slowly, carefully looking at the works in the museum, especially Brueghel and other Northern masters like Rembrandt. Attention is also give to the visitors, to their acts of looking, which is something I find fascinating about public spaces like museums- we can look at people as they themselves are looking. Johann shares stories about different visitors and their reactions, joking about the "pornographic" nature of some artworks and their effect on students, and at one point there is even a clever surprise involving nudes in real life versus in painting. So much of the film's conversations and observations relate to my own reading and class discussions that I found myself nodding my head like a dope at the dialogue. Of course, they talk about other subjects too, and I enjoyed the low-key interactions between Johann and Anne, who are wonderfully forthright with each other in both humorous and serious ways.

Art can mean so many different things to different people. Those who consider themselves art lovers may be interested in history, in beauty, in technical skill, in spiritual connection, in emotional resonance, or perhaps simply in a nice experience. There is no fixed definition of what art can be, which is one of the things I love about it. In a film like Museum Hours, centuries-old painting serves as both a link between new friends, and a therapeutic release for a woman who is struggling. For the film's audience, it can be much more or much less, but it is a constant and revered presence here, and that alone provoked a strong response from me. Writer/director Jem Cohen wants to tell a human story, unstructured as it is, but he also wants to teach, and perhaps inspire. I believe that despite the field's pretentious connotations, viewers don't have to "know about art" in order to appreciate it, but often their experience can be enhanced by contextual or aesthetic information. At times, Cohen's camera lovingly reveals masterpieces of painting without commentary, allowing his audience to simply absorb their qualities of technique, color, and form. At others, he includes historical or personal dialogue to add to our understanding of the works.

I can't quite articulate how special this film is, or how truly strong my reaction to it was. I'm not even particularly interested in the period of art history that is given focus, but I am wholly dedicated to promoting the universal transformative power of all artistic practice and the importance of artistic centers. Museum Hours communicates similar views while also providing an understated and compelling character study, and I absolutely loved every minute of it.


Pair This Movie With: The quiet atmosphere and frequent museum trips reminded me of The Limits of Control, which is one of my favorite Jarmusch films.


Sunday, September 22, 2013

The First Wives Club (1996)

Seen: On my laptop, streamed from netflix instant.

You all know I love movies about sassy ladies hanging out, and if a movie can offer three dynamite leads and a heaping spoonful of misandry in addition, all the better! I'd seen The First Wives Club here and there on tv, but didn't remember it very well, so this kind of felt like a first-time viewing. The story begins with four fun-loving ladies who were best friends in college but lost touch as they got older. When one of them (Stockard Channing) unexpectedly kills herself and sends a note to the other three, they come together again in grief and solidarity. All are experiencing relationship troubles- Elise (Goldie Hawn), an aging sexpot actress, is divorcing her opportunistic producer husband, Annie (Diane Keaton), once a successful businesswoman, is separating from her manipulative husband but in denial about their issues, and Brenda (Bette Midler), a struggling assistant interior decorator, is trying to gain more financial support for her son from her wealthy, combative ex-husband. After re-affirming their strong bond of friendship, the ladies realize they're stronger together and decide to collectively take action against their asshole exes, ultimately fighting for women everywhere who have been screwed over by their partners.

I remembered this movie as being kind of frivolous and cheesy- and it certainly does have some over the top moments- but it's also a surprisingly touching comedy. The specters of age, regret, and loss hang over the whole proceedings, no matter how silly things get, as these women attempt to avoid a fate like their friend Cynthia, whose suicide was linked to her own unhappy marriage and missed opportunities. While it's not an especially realistic story, the issues are relatable and important to explore in such a mainstream film. Yes, most of the women in this film are affected strongly by the men in their lives (usually for the worse) but ultimately the focus shifts to more solidarity/sisterhood-type themes, and the characters lift themselves up without much assistance from men (except some monetary benefits). So it's a good message, and also has friendship! No people of color though, like literally zero. Not even extras, really. Were there only white people in New York City in 1996? Have I suppressed this information?

Anyway, mostly The First Wives Club is just downright enjoyable. The three leads are SO good and I could just watch them sit around and hang out all day. They're hilarious and goofy but also they all felt like real people, like maybe this will kind of be me and my friends when we get older? Minus the plastic surgery though, I expect. The supporting cast is great as well, with a bunch of dopey dudes as the exes and a wonderfully exaggerated turn from Sarah Jessica Parker as a cluelessly unsophisticated "younger woman" type. Also: DAME Maggie Smith! And she's hilarious! The script is punchy, and balances the comedy and drama fairly well, though I think it had too much of a prelude- I wanted the revenge to start sooner! Also I've come to really appreciate how this movie is so anti-men. There's even a sarcastic lesbian character (Annie's daughter) who helps take revenge against her pig of a dad, because fuck men! Yeah!


Pair This Movie With: I think any movie with ladies- especially older ladies- hanging out would be appropriate. Like, the kind of movies my mom watches. I haven't seen it yet but I know Steel Magnolias was written by the same screenwriter so I bet that's a good fit. Nine to Five would be a great pairing with its revenge theme, and I feel like a Nicole Holofcener movie might be good too for the lady relationships.


Tuesday, September 17, 2013

Valerie a týden divu (Valerie and Her Week of Wonders) (1971)

Seen: On dvd on my laptop, rented from netflix.

My experience with Czech films has so far been limited to the animated brilliance of Jan Svankmajer and the perfection of Daisies, but I've been meaning to prod deeper into the Czech New Wave and such. Valerie Her Week of Wonders had been on my radar for a while after reading about it at 366 Weird Movies, and boy am I glad it finally made it to the top of my netflix queue. The loosely-structured plot concerns the titular Valerie (Jaroslava Schallerová), a quiet, curious girl who finds herself surrounded by strange characters and bizarre events after getting her first period. She uncovers secrets about her absent parents, fends off sexual advances from lascivious religious figures, engages in some sexy activity with more gentle partners, plays host to a local vampire infestation, and is ultimately branded a witch. But she's pretty resourceful and she's got magic earrings, so don't worry, she'll figure it out.

Shot like a feature-length dream sequence and dispensing ample amounts of weirdness, Valerie and Her Week of Wonders is a coming-of-age fantasy that's bolstered equally by its exploitative horror elements and its emotionally resonant central performance. I wasn't sure what was going on a lot of the time, but I know I loved all of it. The visuals are wonderfully bizarre, with grotesque make-up effects and off-putting quick cuts, along with soft-glow environmental scenes and sets that are to die for. The vampiric subplot (which kinda becomes the main plot) lends a gothic atmosphere and familial melodrama almost as moody as Dark Shadows, but stranger. Themes of maturity, female sexuality, love and relationships, religious hypocrisy, and self-discovery weave their way throughout the film, filtered through a somewhat obtuse narrative and intriguing sense of disconnect. And a very obvious disdain for the Catholic church. Hell yes.

Despite all the weirdness and sexy vampire shenanigans and whatnot, Valerie is also a tender, beautiful coming-of-age story with a 13-year-old girl at its center. She's kind of shy and fragile, but also stubborn, smart, and compassionate, and Schallerová is mesmerizing in the role. This could easily have been some kind of "loss of innocence" or sexploitation-y story, but it's mostly a look at one girl's gradual sexual awakening, played out on her own terms as she interacts with older men and women around her. Visual and symbolic metaphors abound as her journey is played out both magically and literally. Her discoveries are scary, confusing, and at times lovely. By the end, Valerie seems to have decided that she's learned a lot from all these odd people in her life but she's not ready to join them yet in full adulthood, and she'll keep doing her own thing for now. The final scene is surprisingly uplifting considering how much vampire activity and attempts at murder had been going down. Sublimely wonderful.


Pair This Movie With: I know it's kind of a dick move to recommend a movie that's totally unavailable, but I think Pipilotti Rist's Pepperminta would make a great double feature! It has similar themes- female maturity, metaphors about menstruation, super-weirdness- but it's much more fun and colorful so it'd be a nice counterpoint to the horror elements in Valerie. For something more accessible, I guess just pick your favorite lady coming-of-age-type movie.


Friday, September 13, 2013

The Chronicles of Riddick (2004)

Seen: On our projector set-up, streamed from Miles' hard drive.

I saw and dug Pitch Black for the first time a while ago, and just kept forgetting to catch up with The Chronicles of Riddick. The pending release of the third film in the series prompted me to finally watch it, to the extent that I actually missed a preview screening of Riddick so I could finish this movie. A notoriously very different type of film, Chronicles is set five years after the events of the first film, with bright-eyed killer Riddick (Vin Diesel) still a highly-sought-after criminal. After nearly being captured, he finds his way to the planet Helium Prime, which is on the verge of being conquered by an all-powerful race of aliens who destroy or brainwash and enslave all the people they battle. Or something. So Riddick has to save this whole planet, but first he has to go to a deadly prison planet to help out Jack aka Kyra (Alexa Davalos), one of his two surviving buddies from the first film. He also has to discover the secret to his own origins and whatnot. THEN he can save this planet. All the while, pimply Karl Urban is following him around trying to capture him.

OK ok okok so I KNOW that this movie is kind of hated, and that overall it is a MESS but what you need to know right off the bat is that I kind of... LOVE. IT. It's ridiculous and overblown and nonsensical and bizarre but it's also, like, so great. Seriously, just think about it. You've got Vin Diesel perfecting his gravel-voiced antihero thing, kicking ass every few scenes. You've got Alexa Davalos also kicking tons of ass and never getting sucked into a romantic subplot (yay!). You've got Thandie Newton slinking about seducing and manipulating an adorably mohawked Karl Urban. You've got really impressive sets and ambitious visual design. You've got a crazy-complex set-up that pulls out new histories for familiar characters while introducing a host of new people and places and concepts. And you've got Dame. Judi. Dench. !. So tell me again why people don't like this movie? I'd really like to know!

Obviously The Chronicles of Riddick is not without problems. It really is all over the place, and most of the time I had no idea what was going on or how most characters related to each other. Plus there are way too many characters, it's just bloated compared to the stripped-down thriller of the first film. But then, it looks to me like the filmmakers had no interest in repeating the formula of the first film, and instead are using their increased budget and cult interest to expand the characters and their universe. Works for me. I do understand why people wouldn't like this movie, but for whatever reason I was totally into it. Diesel's ultracool posturing and the line of badass ladies supporting him probably played a major role, along with my extremely high threshold for very silly science fiction.


Pair This Movie With: Well Pitch Black of course makes sense, and perhaps Riddick but I haven't seen it yet and keep hearing about how it's mad sexist. I got some Stargate vibes with the visuals and over-complicated-ness, which I had recommended as a pairing to Pitch Black as well, for different reasons.


Tuesday, September 10, 2013

An American Werewolf in London (1981)

Seen: On my laptop, streamed from netflix instant.

More 80s horror? Bring it on! The other night I noticed An American Werewolf in London was going off instant so I jumped on finally watching it, and boy was that a good decision. John Landis's off-kilter follow-up to Animal House and The Blues Brothers, the film opens on young twentysomethings David (David Naughton) and Jack (Griffin Dunne), close friends who are backpacking around northern England. One night they get lost along the foggy moors after a run-in with some creepy locals, and a mysterious animal attacks them. Jack is mauled to death, and David wakes up in a London hospital with claw marks and an incomplete memory of the night's events. Plagued by vivid nightmares and visions of Jack's talkative but deteriorating corpse, David suspects he is going insane and takes comfort in the arms of Alex (Jenny Agutter), a sympathetic nurse. The full moon draws ever nearer and David wonders if he could truly turn into a monster, as the ghostly Jack has continually warned him.

I've never been especially into werewolf stories. Aside from Remus Lupin, I can't really think of a werewolf I've been invested in. BUT I do love tortured heroes, and werewolves often are just that, so the trope can do it for me. Written by Landis when he was a teenager, An American Werewolf in London really holds up incredibly well today. This is largely due to the absolutely stunning special effects, as well as the unexpected blending of comedy, horror, and weird weird imagery. Seriously, I'm a little obsessed with the dream sequences and totally obsessed with all of Griffin Dunne's zombie corpse appearances. Everything in this movie looks so good, Rick Baker even got the first make-up Oscar for it. Like, they created the category for him! The transformation sequence was the one thing I knew about from this movie, and it's famous for a reason. It HURTS in the best way and even though I was little distracted wondering where his penis got to, mostly I was just floored by how awesome it was. The more pre-CGI horror movies I watch the more I want to see, I just really love the effects I'm seeing in films from the 70s and 80s. It's not that it looks more real necessarily, but it looks way GROSSER and I dig that.

Ok I know I sound ebullient in my praise but actually I didn't love everything about American Werewolf. Mostly I felt star David Naughton was a bit weak in the role, he just came off flat and unbelievable in his line readings. Sure he was cute, in a Dustin Hoffman/Robert Downey, Jr hybrid kind of way, and he gets naked a lot (A+), but he sort of flounders for most of the film until the very end when he seems more sure of himself in the role, more driven. Maybe part of it is the script- the character isn't the most fleshed out- and maybe part of it is Landis's direction, but for whatever reason he just stood out as this weaker link within the film as a whole. I also thought the climax was sped up, I mean he bit off the head of a cop and it was awesome, but then after like 5 minutes of chase around Piccadilly Circus he just gets shot? I wanted more.

But mostly this movie is raddddddddd. I might make a poster for it in the distant future when I have time to make art again. Sigh.


Pair This Movie With: More horror obviously! For another fun 80's horror with good make-up there's The Lost Boys. For freaky ass shit that just escalates there's Altered States. For a slightly more subtle story about fear of monstrous transformation, there's Cat People. Woo!


Friday, September 6, 2013

Attack of the Killer Tomatoes! (1978)

Seen: On dvd on my tv, rented from Hollywood Express.

I believe it was Lyzette and Andreas who were talking about this movie on twitter a little while ago, and it just sounded so right for me. It took a while but I finally tracked down a copy and treated myself to some goofiness, totally expected from a film called Attack of the Killer Tomatoes! The zany plot tracks the events surrounding an unexplained uprising of mutant tomatoes who take to murdering American civilians. The government puts together a sloppy team to handle the problem, and various shenanigans ensue. As the tomatoes grow ever-larger and more homicidal, the military is called in. Also there's a sneaky reporter lady. And musical numbers. Just a few.

Well well well. When a movie includes things as silly as sentient (and mobile) tomatoes and musical numbers about advertising, it's bound to incite warm feelings within me. I love silly movies, it's true! And the abundance of weird sight gags- from a man unconvincingly disguising himself as a tomato to infiltrate their ranks, to a conference room slightly too small to fit a group of gruff military officers- makes Attack of the Killer Tomatoes! stand out for more than just its memorable title. It's a zany concept executed in an appropriately zany manner, incorporating stop motion animation, weird sound effects, and terrible acting to really hammer in that low budget b-movie vibe.

The thing is, though, sometimes it's TOO b-movie, you know? Like, the ideas are funny and interesting but there isn't enough to actually make a whole narrative, so there are all these non sequiturs and loosely strung together subplots that don't quite work. It's pretty hit and miss overall, with a lot of the sight gags and silly characters winning me over but a lot of filler scenes totally losing my interest. Overall it's mostly good parts adding up to a less-than-satisfying whole. I guess I also had pretty high expectations because the concept of the movie was so great, so that's on me.


Pair This Movie With: Oh I guess the most obvious and also the most awesome suggestion is Little Shop of Horrors (Director's Cut OBVIOUSLY) for more murderous vegetation and musical numbers.


Tuesday, September 3, 2013

The World's End (2013)

Seen: At the Somerville Theatre in Davis Square.

Once a cool and unmotivated teen who just wanted to have fun all the time, Gary King (Simon Pegg) is now a lonely addict who just wants to reclaim his glory days. He collects together his four best friends from high school- Peter (Eddie Marsan), Oliver (Martin Freeman), Stephen (Paddy Considine), and Andy (Nick Frost)-, who are now all serious and hard-working regular people, for one night of drinking and debauchery in their hometown. Gary's goal is to take them all through the "Golden Mile", a 12-location pub crawl that they'd tried and failed as teens to complete. Reluctantly the old friends follow their former leader, and as the night drags on two things become apparent: Gary's obsessive nostalgia might be indicative of greater emotional stress, and that everyone in the town is acting very strange.

I am not yet at the age where I'm lusting after my youth, although like any good twentysomething I do have 90's pop culture nostalgia. The themes of The World's End may not be something I can personally relate to, but the script and performances are strong enough to make for a surprisingly touching action/sci-fi/comedy tale. It starts off as a funny, slightly uncomfortable comedy about a desperate man doing desperate things to hold on to some semblance of purpose in his life through his fond memories of teen years. An opening flashback informs our view of these characters today, while also predicting future events in the film. They've all become serious-minded foils to Gary's over the top "cool guy" demeanor, and it seems not even alcohol will help heal their fractured friendships. Luckily, an accidental discovery of their hometown's secret extraterrestrial presence shocks them all into dealing with their personal business (in between all the alien robot ass-kicking, that is). It becomes a weird fight for their lives and sanity while opening up new doorways into their personal issues.

The World's End is a great mixture of superbly filmed action sequences, referential storytelling, strong character development, and hilarious dialogue, all pulled together by Edgar Wright's hyper-stylized approach to visuals and editing. It's a little dark, and that's good, as it strikes an emotional chord deeper than their previous comedies ever aimed for, and makes for a fitting end to Wright's, Pegg's, and Frost's trilogy. Like their other collaborations, it's the kind of film that will likely improve on repeat viewings, and I look forward to watching it again.

I have to say, my main criticism is that I wish there was more Rosamund Pike. Then again, that's kind of how I feel every time I see Rosamund Pike in a movie.


Pair This Movie With: I just wanted to watch the rest of the Cornetto Trilogy, naturally, so put this together with Shaun of the Dead and Hot Fuzz for an awesome day.