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Blu-ray Review: Green RoomFan The Fire Recommends

By Martin Roberts on 16 Sep 2016

Director Jeremy Saulnier’s first feature was a little-seen horror called Murder Party, but the film that established him as a director to watch was Blue Ruin, a taut, stripped-down thriller with a stream of jet-black humour running through it. Show the rest of this post…

And that description more or less suits his follow-up, Green Room, in which a punk band become trapped in a neo-Nazi stronghold after stumbling upon a crime following a gig.

Like Blue Ruin, Green Room’s premise is simple. There isn’t a superfluity of narrative here, just a situation played out to its resolution. The members of the band – played by Anton Yelchin, Alia Shawkat, Joe Cole and Callum Turner – are variously wounded and picked off by Nazi thugs as their attempts to escape become more and more desperate. The owner of the titular green room, Darcy (played with understated menace by Patrick Stewart), dispatches his henchmen calmly and collectedly while his underling Gabe (Macon Blair, who was so good in Blue Ruin) tries his best to clean up the mess.

Saulnier orchestrates the outbursts of violence with aplomb, proving once again he has a knack for tense situations exploding into disarray. While Green Room’s narrative is perhaps a tad repetitive and the ending a little anticlimactic, it establishes its idea wholeheartedly and runs with it until there’s nowhere left to go. There isn’t a massive amount of depth in its characters , but the performances are strong and the actors inject the film with charm and tension. Green Room is a memorable thriller, and I can’t wait to see what Saulnier does next.


Film Review: Hunt for the WilderpeopleFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 15 Sep 2016

New Zealand director Taika Waititi’s (Boy, What We Do in the Shadows) latest film, Hunt for the Wilderpeople, is a thoroughly likeable coming-of-age comedy drama, set in the wilds of the director’s home country, and starring Julian Dennison as Ricky Baker, a troubled kid who ends up in a new foster home with adoptive guardians Aunt Bella and Uncle Hec (Rima ti Wiata and Sam Neill). Show the rest of this post…

It hasn’t been easy to find Ricky a home, as social worker Paula (Rachel House) is all too happy to remind Aunt Bella, but Ricky and his new aunt quickly form a restrained but very touching bond. That is, until a surprise incident throws Ricky and Uncle Hec together in the wilderness, where the two must learn to get along if they are to survive.

Ricky’s infectious enthusiasm and surprising good nature come out the more we see of him, brought to life by Dennison’s charming and very funny performance. Opposite him, Sam Neill does a good job playing the familiar ‘grumpy but softhearted’ role. In many ways Waititi’s film is reminiscent of countless other entries in the coming-of-age genre, though it stands out because of its wonderful sense of place, its fantastic sense of humour, and its witty script, which Waititi wrote himself. The director divides his film into chapters and plays with montage, giving the film a freewheeling sense of fun that is maintained even when the film flirts with more serious issues.

There are perhaps a few too many montages set to music, which threaten to saddle the film’s carefree nature with a sense of treading water, and one or two instances of contrived comedy, but in general I enjoyed the film’s consistent tone and revelled in its dry, and very funny, sense of humour. Just as the film is beginning to feel a tad overstretched, the excellent Rhys Darby turns up in a cameo role to thrust the film into its joyous and lovely final movement.

The film’s musical score and lush visuals complement the performances of the leads, lending the film a unique feel in a pretty busy genre. Ricky Baker is a memorable hero and the supporting cast bring laughs where we might not expect them. Waititi himself shows up in a brief cameo as a priest in a bizarre but entertaining scene.

It’s hard to imagine anybody not being won over by this charming adventure, which I’m alre ady looking forward to watching again. Waititi’s next film will be 2017’s Thor: Ragnarok, and I’m very curious to see what he can bring to Marvel’s franchise universe.


DVD Review: Only YesterdayFan The Fire Recommends

Posted in DVDs, Film, Recommended, Reviews
By Sam Bathe on 18 Aug 2016

Re-released in theatres in celebration of its 25th anniversary, Studio Ghibli’s classic, Only Yesterday, is a beautiful film about reflection of the past, and embracing the people we become. Show the rest of this post…

Unfulfilled by life in the city, Taeko (Ridley) heads home to the country for a much-needed vacation. Looking back on childhood memories, stepping back into her old way of life, and reconnecting with her old self, Taeko wonders if she has been true to the dreams she made so long ago. With stunning hand-drawn animation that hasn’t aged a day since the film’s original 1991 release, Daisy Ridley and Dev Patel’s first ever English dub has been mastered perfectly to the original visuals. Switching between the present and the past, we follow Taeko on a journey of rediscovery; this is a slower, human Ghibli film, rather than their f antastical features like Spirited Away or Totoro. With Studio Ghibli in an indefinite haitus, we must cherish their beloved films, and this is one of the very best.


Film Review: The Hard StopFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 13 Jul 2016

British readers will certainly remember the case of young Tottenham resident Mark Duggan, who was shot and killed by police in a ‘hard stop’ manoeuvre in 2011 – a hugely controversial incident that sparked anger in local communities about the treatment of black citizens, and is seen as one of the sparks that may have ignited the London riots. Show the rest of this post…

George Amponsah’s thoughtful documentary retells this story through the eyes of two of Mark’s peers, Marcus Knox Hook and Kurtis Henville.

Amponsah keeps the documentary at ground level, in the communities, mostly shirking news footage, and in this way the film becomes not just the story of Mark Duggan, but a portrayal of the deprived neighbourhoods of London (and indeed the UK) and the racial tensions therein. Hook is facing jail time for his role in, allegedly, catalysing the riots, while we see Henville looking for work and trying to provide for his family.

The film remains honest throughout. Our two protagonists come across as likeable, well-meaning guys whose previous lives of crime have been thrown into sharp relief by what they believe to be the unlawful killing of a close friend. Their hatred of police is palpable, and the film helps provide some context for that. The success of the film’s interactions with these two is that they provide an insight not just into Duggan himself, but the tribulations of communities who are getting a raw deal.

Shot mainly around the streets of Tottenham, the film has a genuine sense of place and mood, backed up by the use of music. There are interesting details in here about the shooting of Mark Duggan, which most viewers will remember, but also poignant moments of family, friendship and community. It doesn’t look directly at any aspect of the riots beyond the racial one, but in portraying the lives of struggling, everyday people, Amponsah’s film does more than it initially suggests. It’ s a film that reminds us about the inequality that persists in our country; about the racial tensions that shamefully still hold sway; and how community can provide hope and comfort.


Film Review: Maggie’s PlanFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 7 Jul 2016

In Maggie’s Plan, the new film written and directed by Rebecca Miller, Greta Gerwig stars as Maggie, a smart young woman who decides that she is ready to have a baby. Show the rest of this post…

The only problem is that she doesn’t have a boyfriend, so she attempts to artificially inseminate herself using a donation from an old acquaintance, Guy (Travis Fimmel).

Things are complicated by a chance meeting with John, a “ficto-critical anthropologist” (Ethan Hawke), whose marriage to Georgette (Julianne Moore) is creaking at the seams. Maggie and John quickly begin to enjoy each others’ company, to the point that Maggie’s plan starts to change. We then jump forward a couple of years to see how all the characters are getting on.

The triumph of Miller’s film comes from the meeting of a great cast with a sensitive, clever script that treats them all with remarkable even-handedness. There are no heroes or villains here; Miller is happy to let her characters fumble through their lives without singling any of them out for special treatment. So Maggie is smart and determined, but also controlling and afraid of imbalance; John is a borderline genius but has issues with self-absorption, and so on. Even Georgette, who initially appears to be the comic relief, is formulated by Moore into a rounded and likeable character. There’s also some lovely support from Bill Hader and Maya Rudolph as a bickering but loving couple who Maggie frequently turns to for advice.

In the first act, the film comes across as a little too quirky too quickly, but settles into itself. There are plenty of laughs along the way courtesy of the witty script, and by the end I found myself thoroughly enjoying the company of this cast – at times, its gentle warmth reminded me of a Woody Allen film. Gerwig, in particular, is on great form as Maggie, an d carries the film through its occasionally bitty narrative. The very last shot of the film is perhaps a tad too fairytale, but it’s not much of a bum note and still draws a smile.


Film Review: The Neon DemonFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 4 Jul 2016

What a spellbinding director Nicholas Winding Refn is. From his early work through to his biggest hit, Drive, viewers have tended to appreciate his artistry on a visual level, even if the films themselves tend to be divisive. Show the rest of this post…

His films, even when they don’t work, tend to at least look gorgeous. Refn’s latest, The Neon Demon, takes his languid, super-stylised approach – which reached ennui-inducing levels in Only God Forgives – and distills it into a more focused, taut narrative, and is ultimately a much more successful film as a result.

The story follows an aspiring model, Jesse (Elle Fanning), who moves to the city to kick-start her career, and swiftly turns heads in the fashion industry with her youth and natural good looks. She very quickly falls in with makeup artist Ruby (Jena Malone) and her friends Gigi and Sarah (Bella Heathcote and Abbey Lee), the latter of whom are immediately jealous of Jesse’s quick success. Jesse is innocent (and told to lie about her age) and overwhelmed, but her attitude becomes twisted by success and a conviction that she has no real talent beyond her looks.


In Only God Forgives, I felt Refn’s style overpowered what little narrative and character there was, leaving us with a film that, despite its surface beauty, was hollow and, frankly, boring. I was pleased, therefore, to find myself thoroughly enjoying The Neon Demon. Refn’s languorous style is perfectly suited to the poised, precise world of fashion, to the point that the themes of vanity and the monetisation of beauty crystallise into the very fabric of the film. Like Drive, this is a film whose powerful visual style and hypnotic soundtrack help build the narrative up to a point which it might not otherwise have reached. Refn and his collaborators give the film a very poised sense of tone and mood, which elevate and enhance the thin, genre movie plot. The whole thing is drenched in Cliff Martinez’s throbbing, undulating score – a fusion of electronica and pulsating noir tones. In places, the sound is as important as the visuals – Refn and Martinez clearly work as a cinematic pairing.

The film’s primarily female cast are all on deceptively good form, and while the script (by Refn, Mary Laws and Polly Stenham) doesn’t require huge range from all of its performers, the mannered style and delivery all work towards the film’s overarching sense of tone. The supporting cast are also on great form, from Karl Glusman as Jesse’s friend to Keanu Reeves’ sinister turn as the owner of the motel Jesse moves into. A word, too, for Alessandro Nivola as an unnamed fashion designer, who is just terrific, stealing every scene he’s in and providing one of the best outlets for the film’s sense of jet-black humour.


It’s important to note the prevalence of women who worked on this film, from producers to writers to Natasha Braier’s terrific cinematography, because although for the majority of The Neon Demon, Refn shoots his cast with delicacy, there are one or two scenes towards the end which verge on the problematic, in particular a brief dream sequence which feels unnecessarily exploitative, and a crass nude shower scene which feels leery and out of place.

Some of the riffs Refn draws on with the visuals and violence hark back to the work of other directors, but only in a loving way; I felt the film had a mood and style all of its own, and that it subsumed its world so fully that it even came to resemble it, in a sort of formalised satire. Yes, Refn is certainly not the first filmmaker to comment on the beauty industry, but he’s the first to do it quite like this. The Neon Demon is positive step in Refn’s career after the dis appointment of Only God Forgives, which promised so much but delivered so little. I found much to enjoy in its stylised world of bitchy models and disturbing, noirish imagery.


Blu-ray Review: CreedFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 19 May 2016

Ryan Cooler’s Creed is both a sequel to and a reboot of the Rocky franchise. Michael B Jordan plays Adonis, the son of the original series’ Apollo Creed, and is struggling to find happiness in a high-flying office-based career in LA. He decides to move to Philadelphia, seek out Rocky Balboa (Sylvester Stallone) and convince him to train him to be a boxer like his father. Show the rest of this post…

The film succeeds on many levels and it very much feels like a Rocky film, even though Rocky himself if now a supporting character. The tone is right; the environment feels right; and the underdog story, though familiar, establishes a hero to root for. Michael B Jordan brings the required physicality to the role of Adonis, but also gives the character depth and heart. The relationship that develops between him and Rocky, whom he affectionately calls “Unc” is a pleasure to watch, and Stallone is sensible enough to downplay and not try to take Jordan’s film away from him.

It’s tough to make boxing films feel fresh, especially as this is technically the seventh film in the series, but Coogler (who also co-wrote the film with Aaron Covington) manages to retread old ground in a new way, delivering drama and depth. The boxing sequences, which feature roving cameras and long takes, are fantastic, full of real weight  and tension. Most importantly, Coogler has remembered that the original Rocky was a drama before it was an action film, and Creed satisfactorily fits into that legacy.


Film Review: Sing StreetFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 10 May 2016

I liked Sing Street pretty much from the word go and only went on to like it more from that point onwards. As this musical comedy/drama eased into its period 1980s Ireland setting, I totally fell for its romantic, almost old-fashioned view of the world: John Carney’s film believes that creativity has a purpose no matter how tough circumstances might be, and that expressing oneself can lead to great things – not necessarily in terms of financial success or wish fulfilment, but in self-discovery. Show the rest of this post…

With a cast of mostly little-known actors, Carney’s film tells the story of Conor (Ferdia Walsh-Peelo), who is forced to move from his expensive private school to a gritty state school in order for his parents to save money. Things get off to a pretty bad start, but when Conor finds the mysterious and beautiful Raphina (Lucy Boynton) standing on the steps outside school, he manages to charm her the way his older brother Brendan (Jack Reynor) tells him will be successful – by telling her he’s in a band. From there, Conor has to gather together a disparate group of kids – most of whom are poor but talented – to form a rock band. Raphina, who stars in the band’s videos, becomes Conor’s muse, and the songs he writes reflect their burgeoning relationship.

What a good-natured, uplifting film this is; and not in the cheesy sense, either. I found Sing Street to be a joyous experience, successfully combining a fairly traditional coming-of-age story with the quirks of a musical. As Conor, Walsh-Peelo is fantastic, effortlessly conveying the feeling of first love and the joy of discovering expression through music. Lucy Boynton is just as good opposite him, and the two share an increasingly irresistible chemistry that becomes the heart of the film. In fact all of the young cast do a great job, from the members of Conor’s makeshift band to the local bully, bringing spark and laughs to Carney’s witty script. The setting feels real: Carney establishes that these are mostly poor families, and that these kids have a lot to deal with, but watching them get by in each other’s company is rewarding.

Then we have the musical side of things, which I felt complemented the story beautifully. This is not your traditional song-and-dance musical – though Carney does briefly indulge in a well-staged (and sensibly hallucinatory) number – but instead weaves the songs into its narrative. Not all of the original numbers in here are masterpieces, but they are strong enough that they help carry the narrative along. They work because the characters making them are believable and likeable.

Carney wisely allows the adults in the film to take a back seat to his impressive young cast, and through them the film blossoms. Sing Street works as a coming- of-age drama, a romance, a musical, and more, all of which feeds into its pleasingly upbeat, inspirational message. When I got out of the cinema I immediately wanted to see it again.


Film Review: Captain America: Civil WarFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Martin Roberts on 25 Apr 2016

For a while, Captain America: Civil War and Batman vs Superman: Dawn of Justice were scheduled to release on the same day. In the end, DC blinked first and moved Zack Snyder’s film to March, where it opened to lavish box office figures and mostly poor reviews. 2016′s second superhero smackdown comes courtesy of Marvel Studios, and is the third film in the Captain America series, although in reality it also functions as a sequel to Avengers: Age of Ultron. Show the rest of this post…

Anthony and Joe Russo, the sibling directors of the second Captain America film, Winter Soldier, return here after being rewarded for their work by being handed the reins to Marvel’s ultimate, two-part cinematic showdown, Avengers: Infinity War, which begins next year. This project feels like a rehearsal for that one, in that it gathers together a huge amount of larger-than-life characters, most of whom we’ve seen on screen already. The Russo’s job – as it was Joss Whedon’s before them – is to cram a whole load of stuff into a cohesive, entertaining film. On this evidence, Marvel may have put their gargantuan series in two pairs of safe hands.


This film adapts a much-liked storyline from the comics, updating it for the Marvel Cinematic Universe, in which Captain America/Steve Rogers (Chris Evans) and Iron Man/Tony Stark (Robert Downey Jr) are pitted against each other by a moral quandary. In this version, the divisive factor is the Sokovia Accords, a document signed by 117 countries which calls for the Avengers to be brought under the stewardship of the United Nations. Various elements of plot are introduced or resurrected in order to establish the basic setup: Iron Man wants to sign, and Captain America does not. After the scene is set, following on from an action-packed introduction, the film enters a protracted period of calm, taking its time to establish the plot strands that will come together in the final third. And, of course, a massive punch-up between two teams of five superheroes.


The problem all directors and screenwriters must get around with Marvel films is how to fit all the constituent elements together in a way that not only makes sense, but is entertaining and feels like it’s going somewhere. Inevitably, some of the pieces are served better than others, but what the Russo brothers have done – and indeed the screenwriters Christopher Markus and Stephen McFeely – is carefully pick and choose their moments. As directors, the Russos clearly have a flair for action – that much was clear in the previous Cap film – and that flair is ramped up here, but the action is not the only positive. They also seem able to tap into that now-familiar Marvel tone – one of complete seriousness interspersed with tongue-in-cheek silliness. It’s that lightness of touch that many feel separates these films from their murkier DC equivalents. Civil War’s tone lies somewhere between the more considered parts of Winter Soldier and the free-wheeling fun of the Avengers films. When the main players are on screen, the film tends to be more serious (Tony Stark’s quick wit is mostly reined in here) but it allows itself a sense of fun, too, primarily when the supporting cast are assembled. The central showdown, for instance, comes after that rather long establishing section. Just as the film is beginning to feel too heavy for its own good, along come Paul Rudd (as Ant Man) and Tom Holland as the new Spiderman (both great), and their presence acts as a catalyst for the film to throw off its shackles and become deliriously entertaining. Just don’t think too hard about the mechanics of what’s going on – the film even makes a joke (through Spiderman) about how silly it all is.

Where the film struggles a little is in defining the allegiances and enmities running through its massive cast of characters. It does a fairly decent, if not entirely convincing, job of building a conflict between its two central players, and actually there is some depth in the film’s discussion of responsibility and guilt. The rest of the cast are competing for screen time and, when the fighting starts, the motivations of some of the minor players are thinly sketched at best. Tom Holland is great as the new Spiderman (something I really didn’t expect to be saying, given how well covered the character has been) but his introduction is a weak structural element. The other main new addition to the cast is Chadwick Boseman as Blank Panther, whose storyline is central to the setup of the film, and who handles his role well. The rest of supporting cast are all on good form, even if most of them are reduced to action sidekicks in this narrative. Sebastian Stan has a difficult role as the Winter Soldier, aka Steve Rogers’ old war buddy, but makes it work – particularly through one great line of dialogue. The development of characters such as Scarlett Witch and Vision, for instance, will have to wait until the next Avengers film.


As a whole, Civil War is a success. Though it has flaws in its structure and struggles to make all of its characters feel vital, it nevertheless provides a romping action adventure with enough depth and heart to make it feel like an essential part of this ongoing mythology. Thankfully, Marvel has thought about how to vary its action sequences up – nothing falls from the sky and no cities explode in the final third – and the drama in Civil War comes not just from clashing fists, but from an interesting conflict of opinions. It even manages to introduce two new heroes, one of whom the cinema-going audience probably thought it was sick of, and as a bonus has Daniel Bruhl as an underdeveloped but effective third-party villain. In the 2016 battle for superhero supremacy, Marvel has unquestionably delivered the knock-out blow.



Film Review: The DivideFan The Fire Recommends

Posted in Film, Recommended, Reviews
By Temoor Iqbal on 22 Apr 2016

“The health of our democracies, our societies and their people, is truly dependent on greater equality.” So ends The Spirit Level, Kate Pickett and Richard Wilkinson’s seminal text on inequality. Mental and physical health, the authors argue, suffer most in those economies that have the largest relative equality gaps between the richest 20% and the poorest 20%. Show the rest of this post…

The text, published in 2009, has influenced much of this decade’s political and sociological thinking, but there is a feeling that its message, in its arch, statistical formulation, has not reached a wide enough audience to enter into everyday consciousness.

Enter director Katharine Round, a self-confessed arithmophile who found herself captivated by what The Sprit Level’s charts and graphs revealed about social inequality in the developed west. As she pored over them, however, she began to look beyond the figures. “It struck me that every point on those graphs represented millions of ordinary lives – the charts had a human meaning beyond a mere statistical correlation.” And so, The Divide came into being – a documentary about the personal, human side of inequality, and the micro side of the macro issues the book covers. As Round herself put it: “I wanted to tell the story through the voice of lived experience – not just statistics, but real people.”

The film follows seven people in the US and UK who are affected by the vast inequality these two nations boast. Most are in unsurprising situations – a care worker who wishes it wasn’t such a constant uphill battle to make ends meet, a KFC server and single mother saddened by the decline of her neighbourhood, and a Wall Street investor convinced that his wealth is fair reward for his superior intellect and capacity for hard work. These vignettes are touching, infuriating and, at times, warmly comic, but they do little to explore the issue of inequality and don’t really touch on the significance of the scale of wealth difference. Indeed, Leah – the aforementioned mother working at KFC – comes across as the film’s main subject, in spite of offering little that relates to its stated objective. This is a tough thing to say, as she’s a brilliant personality – engaging in front of the camera, witty and incredibly moving. You just can’t shake the feeling that these traits captivated the filmmakers a little too much, leading things a little bit astray at times.

Much more interesting, situationally speaking, are relatively well-off psychologist Alden and housewife Jen. Both, in different ways, demonstrate the extraordinary layering of wealth divisions in the US, emphasising that when top-to-bottom inequality is so unutterably massive, even those who would seem infinitely rich to most people around the world still struggle hugely. Alden wakes at 6am every day to exercise (his tame jogging overlaid with his own motivational tripe about ‘pushing the limits’ is by far the film’s funniest moment), then sees patients one after another non-stop, before heading home and more or less straight to bed. The exercise, if it can be called that, is to guard against the dreaded possibility of falling ill – he cannot afford a sick day, and studiously avoids public transport for the same reason. He spends very little time with his family, deciding that the best thing he can do for them is work himself to the bone to provide a certain lifestyle – at one point we join him and his wife as they check out houses in a gated community.

This brings us to Jen, who is living the gated community ‘dream’. This seems a level of opulence beyond the reckoning (or desire) even of most people in the developed world. And yet, she is subjected to constant reminders that her wealth might be enough to have bought a house there, but it is not nearly enough to live the gated community lifestyle – a lifestyle that sees people spend $10,000 on golf carts, which are converted with special kits to look like BMWs. Insulted for driving a car that isn’t brand new, for mowing her own lawn, and for having kids who look different to most of her neighbours’ kids (this isn’t clearly explained – we’re told her kids are blonde-haired and blue-eyed, but the implication is left hanging), Jen is constantly made to feel unwelcome. The coup de grâce comes when she reveals that a group of the richest people in the gated area, which is already guarded 24/7 by an armed security officer, is planning to request a second internal gate, creating their own gated community within a gated community.

It is this seeming insanity – this sense of the futility of social ‘progress’ and the non-existence of social mobility – that really drives home the film’s point about inequality. It is an unsubtle reminder of quite how mind-blowing the scale of inequality is in two countries that are considered wealthy, successful and developed places. Of course, this isn’t the only context we’re given – the seven stories are broken up with illuminating talking heads, including the ever-present Noam Chomsky and, much more enlighteningly, Sir Alan Budd. The latter advised the Thatcher administration on monetary policy, and thus had more than a small hand in setting the neo-liberal economic agenda that fosters and drives inequality to greater and greater extremes to this day. Fascinatingly, and to his immense credit, he offers no attempt to justify this legacy, and instead apologises for the terrible results (not least the elephant in the room – the 2008 financial crisis), which he convincingly claims to be consequences that he, at least, genuinely did not foresee.

Ultimately, The Divide is enraging for all the right reasons. It could be criticised for wandering a little astray at times, but this is simply a result of Round sticking to her guns and telling human stories, not statistical ones. That is not to say the film is devoid of context, but rather that it is pleasingly unfettered by its own agenda. Certainly, it will appeal more to those of a particular political persuasion, but I’m sure those on the other side of the debate would enjoy picking it apa rt almost as much as the rest of us would enjoy agreeing with and learning from it. It might even go so far as to touch a nerve with those too hardened to be convinced by statistics.


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