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By lichtgilphead · Posted
Don't the SNP still hold 64 seats without the Greens? If so, they can't lose a VONC as even if the Greens vote against them, Lab, Con LD & Greens can only muster 64 votes, resulting in a tie, and the Presiding Officer votes in favour of the status quo in the event of a tie. Obviously, this assumes that the all SNP vote together, but I can't see any of them breaking ranks... -
I agree that we're definitely favourites for 9th and fully expect that to happen, but I'm assuming these probabilities don't account for teams that have nothing to play for potentially taking their foot off the gas a bit and resting players? -
By accies1874 · Posted
Will have a couple of others to post later, but just wanted to get Civil War out there... 35. Civil War - Cinema God I loved this. So much of the cinematography resembles the photographs being taken by Lee and Jessie with a lot of still, though not necessarily stationary, shots that are perfectly framed to observe the USA that has gone to shit. Whether that's depicting innocuous that shouldn't be there or something horrific, it's a great way to give you an insight into this world as well as the characters and themes. It has the crisper look that Men did (Rob Hardy has shot all of Alex Garland's films) which still looks a bit funny to me, especially with greenery, however what I find interesting about Garland is that he's someone who went from a writer to also directing yet his last three films* have all had a distinctive aesthetic that have served the story. Annihilation recreates the otherworldliness of the shimmer, Men resembles a fairytale and now Civil War has that photojournalist look. *I don't remember it being quite as noticeable in Ex Machina but it's been a while since I've seen that. I think there's been a lot of chat about how Civil War is "apolitical", and yeah that's true to a certain extent as the "sides" are left relatively vague, but I absolutely don't think it's a film devoid of any commentary, particularly on apathy, action and ignorance. That first came to my mind when a gun-toting screwball takes Jessie to see a couple of looters he's got tied up. Jessie is given a choice to get the screwball to let them go or to shoot them, however, weirdly, the scene doesn't really come to anything. That made me realise that Jessie's inaction and us as viewers not seeing the consequences meant that we could remain ignorant to the outcome, but the looters will almost certainly die (which is later referenced by one of the other reporters, Joel) so they're almost like Schrodinger's Prisoners. Shortly after, the four of them travel through a picture-perfect suburb seemingly unaffected by the civil war. When they ask a shopkeeper if she realises that the country's gone to shit, it's not really any surprise when she says that it's easier to just not get involved. She's fine, her business is fine, where she lives is fine - why should she get involved? There are a few instances where questions are posed and we don't get the answers, similar to how Lee says that she views her job as a war photographer: document and let others ask questions. That reflects Lee and Jessie and their struggles with grasping the role of a photojournalist. Lee says that she thought her previous work in other countries would have served as a warning to those back home, so she watches missiles fly overhead with dismay rather than horror. Why should she subject herself to all of this pain? Why does she? Her warnings weren't heeded. "The information-action ratio" as said by some mark named Neil Postman and quoted by Alex Turner. Jessie is the other side of the coin. She's younger, more enthusiastic and feels "alive" when she's on the frontline, but you get a sense of her terror too. I thought of her as the vehicle for the audience, which makes the path she goes down all the more compelling. I was initially worried about the mentor-protégé relationship between them being a bit trite, but it's key to the whole film and goes in interesting directions. Morality in war - does it exist? Do we believe it exists? What about morality in war correspondence? Or war films? It's got these ideas within an exciting and tense mid-budget film. I thought it flew past. It's a road movie, kind of a hangout movie, but in the same vein as a lot of other post-apocalyptic films (which this essentially is - especially zombie flicks) where moving from moment to moment with a group of characters ratchets up the tension with every interaction. There's a constant sense of dread which comes to a head in the final act. The sound is unbelievable. I don't think that it uses music in its big set-pieces, instead opting for natural sound effects or silence which makes it all the tenser. The sound of bullets cut through the silence similar to how a horror would use a jump scare to startle you, but where they often feel cheap in that genre this feels completely earned and in-keeping with the film's paranoia. The final big scene then bombards you with all of the sound of gunfire that was previously isolated, but it manages to remain focused on Lee and Jessie among the chaos. I shouldn't really be surprised that I liked it so much given how much I loved Annihilation and Ex Machina, but Men, while I thought there was plenty of good in that film, did show worrying signs of a filmmaker beginning to sniff his own farts. Civil War is a true return to form for Alex Garland. -
I haven’t seen anyone on here defend him. There’s not even been much whataboutery. -
Somebody asked about them on the Facebook post about the bucket hats and the reply was soon. Just checked and it was the 8th March I ordered the first one, didn't realise it was as long ago as that.
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