“How to Train Your Dragon” didn’t even make my radar when it came out. Then, one of my bffs called me and said, “Candy, you may as well just go buy this movie, because you’re going to love it.”
I’m leery of buying movies I’ve never seen before (a recent “Hellboy” misadventure comes to mind), but I did add it to my Netflix queu. She was right: I may as well have just bought it.
Maybe it’s because I love, and always have, stories dealing with magic and dragons and long-lost ages where people spent more time being brave than whining about their paycheck. This even adds in a little Viking culture.
Meet Hiccup (Jay Baruchel), the characteristic odd-teen-out, who just wants to kill a dragon and be like everyone else. Plus, he figures killing a dragon is the only way to impress his super macho father, Stoick (Gerard Butler), who just also happens to be leader of the Berk Vikings.
It might even get the old smith and dragon slayer Gobber (Craig Ferguson) off his back, just for a little while.
See, dragons and Vikings don’t get along. Dragons terrorize the village of Berk, which is pretty old but has all new houses. Vikings, as we know, are too hearty to let a little thing like constant terror and death at the hands of fire-breathing dragons scare them away from the craggy, harsh part of the world they call home. (Hiccup’s description of a barren landscape where it snows 9 months out of the year and hails the remaining three bears a strong resemblance to several states in the North Central region of this country.)
So, with a crazy invention of his own making, Hiccup manages to bring down the most fearsome of the dragons that terrorize his people: the Night Fury. But once he sees it, he can’t bring himself to follow the village’s “kill on sight” mantra. He releases the dragon, which in turn pays it forward by not killing Hiccup before disappearing.
But Hiccup and the dragon cross paths again, and form an unlikely friendship. Through Toothless, the aptly named dragon, Hiccup discovers that dragons don’t terrorize Berk just for the fun of it – there’s a darker, and much wartier, purpose at work.
Of course, Hiccup can’t tell his dad. Or Gobber. Or any of his peers in “dragon slaying school.” Then he faces his moment of truth, when he must choose to either kill a dragon in front of the villagers and earn their acceptance, or walk away and face something much scarier than even dragons: being told by people you care about that you don’t belong.
Though I’m still a traditional animation snob, this film looks fantastic. Toothless is cute, funny, and superbly expressive. He made me laugh out loud on more than one occasion.
Yes, it’s somewhat predictable. No, I don’t understand why the Vikings speak English with a variety of Scottish and Midwestern accents. In an animated film about fire-breathing dragons, however, it’s not especially hard for me to suspend my expectations of what is or is not realistic.
All I know is that this film reaffirmed my desire to have my own flying dragon to ride. So I don’t care what you say, Roger Ebert. I’m buying this movie.
Thursday, November 11, 2010
'Life as We Know It'
Katherine Heigl plays a successful, uptight, but romantically-minded single female who meets a successful, carefree, somewhat self-centered man (I would even go so far as to say a man whore) and is instantly repulsed.
No, this isn’t “The Ugly Truth.” At least, not quite. Different names, scenery, different leading man…but you’ve seen this movie before: Two people who hate each other are thrown into a situation where they’re forced to spend lots of time together and realize that they actually don’t hate each other.
Holly (Heigl) is best friends with Alison (Christina Hendricks). Alison is married to Peter (Hayes MacArthur). Peter is best friends with Eric Messer, aka Messer (Josh Duhamel). In the opening scene, a pre-marriage Alison and Peter decide to set up their best friends on a blind date with each other.
Messer arrives an hour late and acts like a tool – even setting up a date with another woman while in the car with Holly – establishing himself as the carefree playboy. Holly gets snippy and refuses to get on Messer’s motorcycle, establishing herself as the uptight shrew. They decide to not finish the date.
Rather than being put off by this, Alison and Peter get married, have a baby, and make Holly and Messer the godfather of their daughter, Sophie (played by three equally adorable little girls).
Then we watch these grown ups’ lives revolve around christenings and birthday parties for Sophie’s first year of life. I’ve never really understood why you’d have 45 of your closest friends over for your baby’s birthday, but I suppose it was necessary to introduce the obligatory “wacky” set of neighborhood players who do little for the film, other than provide a few marginal laughs and remind us all why it’s ok to not be best friends with half the neighborhood.
Then tragedy strikes, and Alison and Peter bequeath their most prized possession – Sophie – to their two best friends. The condition is that Holly and Messer must move in together, in Alison and Peter’s house, and raise Sophie together.
Holly has to adjust her control issues to accommodate a baby who doesn’t always sleep or eat exactly as she should. Messer has to learn what it’s like to actually have any sort of a schedule, rather than coming and going as he pleases. Sophie has to endure two people who somehow managed to reach adulthood without knowing how to change diapers or identify baby food. It’s less than ideal, but we all make sacrifices.
They don’t think they can do it. Their case worker doesn’t think they can do it. The neighbors have bets on how soon Holly and Messer will “do it.” I’m guessing you know what happens.
Despite being incredibly predictable, it’s still watchable. Heigl reprises the quirkly control freak role, doing it as well as she always does, and Duhamel is able to pull off annoying and charming at the same time. There are some laugh-out-loud moments, several cutesie montages and one super cute baby.
Thank god they’re both super attractive, because otherwise the whole operation might have been a bust – and then what would have become of poor Sophie?
No, this isn’t “The Ugly Truth.” At least, not quite. Different names, scenery, different leading man…but you’ve seen this movie before: Two people who hate each other are thrown into a situation where they’re forced to spend lots of time together and realize that they actually don’t hate each other.
Holly (Heigl) is best friends with Alison (Christina Hendricks). Alison is married to Peter (Hayes MacArthur). Peter is best friends with Eric Messer, aka Messer (Josh Duhamel). In the opening scene, a pre-marriage Alison and Peter decide to set up their best friends on a blind date with each other.
Messer arrives an hour late and acts like a tool – even setting up a date with another woman while in the car with Holly – establishing himself as the carefree playboy. Holly gets snippy and refuses to get on Messer’s motorcycle, establishing herself as the uptight shrew. They decide to not finish the date.
Rather than being put off by this, Alison and Peter get married, have a baby, and make Holly and Messer the godfather of their daughter, Sophie (played by three equally adorable little girls).
Then we watch these grown ups’ lives revolve around christenings and birthday parties for Sophie’s first year of life. I’ve never really understood why you’d have 45 of your closest friends over for your baby’s birthday, but I suppose it was necessary to introduce the obligatory “wacky” set of neighborhood players who do little for the film, other than provide a few marginal laughs and remind us all why it’s ok to not be best friends with half the neighborhood.
Then tragedy strikes, and Alison and Peter bequeath their most prized possession – Sophie – to their two best friends. The condition is that Holly and Messer must move in together, in Alison and Peter’s house, and raise Sophie together.
Holly has to adjust her control issues to accommodate a baby who doesn’t always sleep or eat exactly as she should. Messer has to learn what it’s like to actually have any sort of a schedule, rather than coming and going as he pleases. Sophie has to endure two people who somehow managed to reach adulthood without knowing how to change diapers or identify baby food. It’s less than ideal, but we all make sacrifices.
They don’t think they can do it. Their case worker doesn’t think they can do it. The neighbors have bets on how soon Holly and Messer will “do it.” I’m guessing you know what happens.
Despite being incredibly predictable, it’s still watchable. Heigl reprises the quirkly control freak role, doing it as well as she always does, and Duhamel is able to pull off annoying and charming at the same time. There are some laugh-out-loud moments, several cutesie montages and one super cute baby.
Thank god they’re both super attractive, because otherwise the whole operation might have been a bust – and then what would have become of poor Sophie?
Sunday, September 26, 2010
MST3K Revisited...finally
Ok, at long last, here is my follow-up. From the men who brought you Mystery Science Theater: 3000, comes this wonderful website: http://www.rifftrax.com/
Learn it, live it, love it. Instead of doing what they used to do, which is take old, horrible B movies to mock, they record riffs of new, popular movies. I've only seen three thus far, but all three were worth the money. They are:
1. Twilight
2. Twilight: New Moon
3. Reign of Fire
I didn't know there were other people out there who could actually hate the Twilight franchise more than my college housemates and me, but these guys do. And it's hilarious. I'm making a goal to watch the 'Avatar' one very, very soon.
Learn it, live it, love it. Instead of doing what they used to do, which is take old, horrible B movies to mock, they record riffs of new, popular movies. I've only seen three thus far, but all three were worth the money. They are:
1. Twilight
2. Twilight: New Moon
3. Reign of Fire
I didn't know there were other people out there who could actually hate the Twilight franchise more than my college housemates and me, but these guys do. And it's hilarious. I'm making a goal to watch the 'Avatar' one very, very soon.
Monday, September 6, 2010
Recommendations!
I don't know exactly how to do a 'review' of MST3K riffs, but I have to share the joy. If you love satire, laughing at bad movies, and are SUPER excited about the upcoming Paul Walker/Haydn Christenson collaboration and haven't discovered the world of Mystery Science Theater 300, please. Stop what you're doing (except finish this post), and go find some.
Premise: a man gets kidnapped and taken into space, where he and his two robot friends are subjected to torture and forced to watch incredibly awful B-type movies. So, you watch the movie along with them as they proceed to mock it. Usually very well.
Of the originals, here are my top 5 (if I miss someone's favorite, please chime in):
5. MST3K: The Movie - Maybe not the snappiest MST3K fare, but the fact that I can still remember a few key quotes almost 6 years after watching it brings it onto my list.
4. Manos: The Hands of Fate - It's one of the slower MST3K films, but funny nonetheless.
3. Pod People - "It's called evil, kid." 'Nuff said.
2. Boggy Creek II: And the Legend Continues - Hot pants and Sasquatch? I think that's a yes!
1. Deathstalker and the Warriors from Hell - Highly quotable, utterly hilarious: it's the boys at their satirical best. I've seen it probably 20 times, and it never gets old.
Now, the geniuses that brought us MST3K have started doing new movies. More on that later.
Premise: a man gets kidnapped and taken into space, where he and his two robot friends are subjected to torture and forced to watch incredibly awful B-type movies. So, you watch the movie along with them as they proceed to mock it. Usually very well.
Of the originals, here are my top 5 (if I miss someone's favorite, please chime in):
5. MST3K: The Movie - Maybe not the snappiest MST3K fare, but the fact that I can still remember a few key quotes almost 6 years after watching it brings it onto my list.
4. Manos: The Hands of Fate - It's one of the slower MST3K films, but funny nonetheless.
3. Pod People - "It's called evil, kid." 'Nuff said.
2. Boggy Creek II: And the Legend Continues - Hot pants and Sasquatch? I think that's a yes!
1. Deathstalker and the Warriors from Hell - Highly quotable, utterly hilarious: it's the boys at their satirical best. I've seen it probably 20 times, and it never gets old.
Now, the geniuses that brought us MST3K have started doing new movies. More on that later.
Thursday, July 29, 2010
Inception
It seems like most blockbusters don't live up to their own expectations.
Inception does.
Brought to us by the man who wrote and directed "Memento," "The Prestige," and most recently "The Dark Knight," "Inception" is another achievement in originality and story telling.
Leonardo DiCaprio stars as Cobb, who specializes in a new technology that allows him to enter peoples' dreams to steal valuable information from their manipulated subconscious.
Cobb and Co. botch their latest assignment, but are offered a reprieve of sorts by a powerful business man who wants them to reverse their specialty: instead of stealing from someone's subconscious, they are to plant an idea.
Cobb, though distrustful of the notion, takes the job on the premise that this last job will allow him to return, at last, to his children in the States.
This job requires going deep into the target's subconscious – dreams within dreams within dreams - so they set about finding a team that can hack it.
Like any heist movie, getting to know the team is half the fun. The craziness that follows is the other half.
Like "Memento," the film plays with time and reality, making us question just which we are witnessing.
And like "The Dark Knight," Nolan shows that innovative and thrilling action sequences can indeed go hand-in-hand.
(Were there moments that reminded me of "The Matrix"? Yes. But in a good way.)
It's the kind of film you get all wrapped up in plot and character.
DiCaprio is convincing as the intelligent though haunted Cobb, and Joseph Gordan-Levitt easily switches from his usual rom-com self to a smart action star.
The weakest part of the film is a basic unanswered question: why can't Cobb's kids join him in France, where his father (Michael Caine) also lives and teaches?
No matter. They can't, so Cobb must do what he does.
Want to know more?
One of my friends said it best: "I walked away from the moving understanding what happened, however, I probably couldn't explain it to another person. Go. You'll love it."
Inception does.
Brought to us by the man who wrote and directed "Memento," "The Prestige," and most recently "The Dark Knight," "Inception" is another achievement in originality and story telling.
Leonardo DiCaprio stars as Cobb, who specializes in a new technology that allows him to enter peoples' dreams to steal valuable information from their manipulated subconscious.
Cobb and Co. botch their latest assignment, but are offered a reprieve of sorts by a powerful business man who wants them to reverse their specialty: instead of stealing from someone's subconscious, they are to plant an idea.
Cobb, though distrustful of the notion, takes the job on the premise that this last job will allow him to return, at last, to his children in the States.
This job requires going deep into the target's subconscious – dreams within dreams within dreams - so they set about finding a team that can hack it.
Like any heist movie, getting to know the team is half the fun. The craziness that follows is the other half.
Like "Memento," the film plays with time and reality, making us question just which we are witnessing.
And like "The Dark Knight," Nolan shows that innovative and thrilling action sequences can indeed go hand-in-hand.
(Were there moments that reminded me of "The Matrix"? Yes. But in a good way.)
It's the kind of film you get all wrapped up in plot and character.
DiCaprio is convincing as the intelligent though haunted Cobb, and Joseph Gordan-Levitt easily switches from his usual rom-com self to a smart action star.
The weakest part of the film is a basic unanswered question: why can't Cobb's kids join him in France, where his father (Michael Caine) also lives and teaches?
No matter. They can't, so Cobb must do what he does.
Want to know more?
One of my friends said it best: "I walked away from the moving understanding what happened, however, I probably couldn't explain it to another person. Go. You'll love it."
Tuesday, July 20, 2010
Toy Story 3
"To infinity, and beyond!"
"The Claw, it moves!"
"That's not flying, it's falling with style."
For fans of the franchise, these quotes are easily recognizable — some of the more memorable moments from the one that started it all: Toy Story.
(Proof: I haven't seen the movie in years, and I remembered those easily. Say those lines to anyone in my age bracket, and you'll get an immediate follow-up line.)
I could talk about how ground-breaking it was, how it started one of the most acclaimed and profitable relationships in showbiz (Disney/Pixar), etc.
But I won't.
Instead I'd like to focus on how these films, and the newest one in particular, managed to follow an entire generation through its development.
I remember going to see the original Toy Story as a little girl, not much older than Andy, the boy whose toys get into so much trouble.
The first film worked for me because it brought to life what I (and every other child) was so sure of – toys (and animals, for that matter) are alive. They can talk. They really can, they just won't while humans are around.
The second film, though less memorable, did what every good sequel does by bringing back all the original staple characters and throwing them together with some new fun faces.
Then comes the third film, making Toy Story yet another member of the Trilogy club.
I'm not generally a huge fan of sequels, prequels or tri-quels, especially not when they come 15 years later.
However, that very gap is what made this film's central theme so potent for me and my friends.
It's the same basic concept as before: Toys get separated from Andy, Toys think Andy doesn't love them anymore, Toys encounter danger, destruction and mayhem as they try to get home.
Andy is 18 now, and getting ready to go to college. His mom gives him three choices for the toys: to the attic, to college or in the trash.
The toys Andy intends to send to the attic get mistaken for trash, and sent to a "retirement home" for old, unwanted toys. They realize there's been a mistake, and Woody, ever loyal, leads the way home.
It's probably less original than the first, maybe even the second. And, the villains aren't as creepy (few things can match Sid's House of Horrors from the first film).
But at the center of the film is a chord of a coming-of-age story, of toys who no longer come alive for Andy (though they want to).
Andy has to decide whether or not to hold on to the toys and what they represent, or to let them go.
This film marks the end of a franchise, and in a way, the end of an era.
Whether or not it's a happy ending I guess is up to you.
"The Claw, it moves!"
"That's not flying, it's falling with style."
For fans of the franchise, these quotes are easily recognizable — some of the more memorable moments from the one that started it all: Toy Story.
(Proof: I haven't seen the movie in years, and I remembered those easily. Say those lines to anyone in my age bracket, and you'll get an immediate follow-up line.)
I could talk about how ground-breaking it was, how it started one of the most acclaimed and profitable relationships in showbiz (Disney/Pixar), etc.
But I won't.
Instead I'd like to focus on how these films, and the newest one in particular, managed to follow an entire generation through its development.
I remember going to see the original Toy Story as a little girl, not much older than Andy, the boy whose toys get into so much trouble.
The first film worked for me because it brought to life what I (and every other child) was so sure of – toys (and animals, for that matter) are alive. They can talk. They really can, they just won't while humans are around.
The second film, though less memorable, did what every good sequel does by bringing back all the original staple characters and throwing them together with some new fun faces.
Then comes the third film, making Toy Story yet another member of the Trilogy club.
I'm not generally a huge fan of sequels, prequels or tri-quels, especially not when they come 15 years later.
However, that very gap is what made this film's central theme so potent for me and my friends.
It's the same basic concept as before: Toys get separated from Andy, Toys think Andy doesn't love them anymore, Toys encounter danger, destruction and mayhem as they try to get home.
Andy is 18 now, and getting ready to go to college. His mom gives him three choices for the toys: to the attic, to college or in the trash.
The toys Andy intends to send to the attic get mistaken for trash, and sent to a "retirement home" for old, unwanted toys. They realize there's been a mistake, and Woody, ever loyal, leads the way home.
It's probably less original than the first, maybe even the second. And, the villains aren't as creepy (few things can match Sid's House of Horrors from the first film).
But at the center of the film is a chord of a coming-of-age story, of toys who no longer come alive for Andy (though they want to).
Andy has to decide whether or not to hold on to the toys and what they represent, or to let them go.
This film marks the end of a franchise, and in a way, the end of an era.
Whether or not it's a happy ending I guess is up to you.
Tuesday, March 23, 2010
‘Reel’ Life
"Percy Jackson & the Olympians: The Lightning Thief"
Way before Batman and Spidey donned their studly suits of spandex, ancient Greece had its own pantheon of comic book characters. Except those characters were gods, and their ‘superpowers’ varied from Zeus’ awesome lightening bolt to Hermes’ messenger duties.
So, the movie starts with the premise that these gods are still alive and well and still ruling the world as ineptly as ever. We’re introduced to Poseidon and Zeus, where we discover that Zeus is all bent out of shape because someone stole his lightening bolt.
You’d think that the most powerful god would keep his most powerful weapon someplace more secure, but hey, even the gods overlook things from time to time.
Zeus thinks Poseidon’s son stole it, and threatens war if it is not returned by the Summer Solstice, which naturally, is only a couple of weeks away.
Enter Percy Jackson. An average teenager, who hates high school because he has ADHD and dyslexia. He’s really only happy when he’s underwater – usually for several minutes at a time.
Come to find out, Percy is actually the demi-god son of Poseidon. Even better, Percy’s best friend is actually a satyr. He soon makes friends with Annabeth, the appropriately fierce daughter of Athena.
Ok, I’m a sucker for Greek mythology (always have been), so the movie didn’t have to work very hard to hold my attention.
The movie does a good job of catering to its target audience – adolescents.
It was serious without being too heavy, humorous without being too ridiculous...usually.
Still, at times it seemed the filmmakers were too distracted with their special effects to pay attention to logistics, and hoped that we would be too.
Well. Sorry. I have questions.
Like, how could three teenagers with no jobs afford to drive all over the United States?
How did they never get chased by the cops, especially once one of them had been declared missing?
How is Percy suddenly able to control all of his powers after one day of training?
Did Percy have any inkling of his powers, other than being able to hold his breath longer than the Navy Seals? Did he ever accidentally make the faucet explode when he was angry? Did he ever turn water into a trident and shoot it at his mother when she tried to make him take his vitamins?
What did Hermes use to fly before trendy basketball shoes started coming with a “wings-on” option?
Why is the entrance to Mt. Olympus, traditionally the highest mountain in Greece, located at the top of the Empire State Building?
And why, oh why, do the Greek gods who are now apparently based out of America speak English with a British accent? It probably isn’t out of the question to assume that gods could easily learn modern English, but then why any accent at all? They studied at Cambridge before relocating to NYC?
Kids watching will not notice, or care about those things, but they distracted me. Which is probably just as well, because there were a few cheesed out moments that I needed to be distracted from.
Still, it was, for the most part, entertaining. Logan Lerman plays the parts of angry teen and heroic youth equally well, and Uma Thurman plays Medusa as only she could.
I was even impressed that for once, instead of romanticizing the world of the gods, the film acknowledges what most Greek stories showcase those deities to be: spoiled children who do little but compete with each other and fulfill their own desires.
Maybe their kids will do better – or maybe not. Watch the film and you can decide.
Director: Chris Columbus
Writers: Rick Riordan (novel)
Craig Titley (screenplay)
Characters:
Percy Jackson – Logan Lermen
Grover – Brandon T. Jackson
Annabeth – Alexandra Daddario
Luke – Jake Abel
Zeus – Sean Bean
Mr. Brunner / Chiron – Pierce Brosnan
Hades – Steve Coogan
Persephone – Rosario Dawson
Athena – Melina Kanakaredes
Sally Jackson – Catherine Keener
Poseidon – Kevin McKidd
Medusa – Uma Thurman
Rating: PG for “action violence and peril, some scary images and suggestive material, and mild language.”
Way before Batman and Spidey donned their studly suits of spandex, ancient Greece had its own pantheon of comic book characters. Except those characters were gods, and their ‘superpowers’ varied from Zeus’ awesome lightening bolt to Hermes’ messenger duties.
So, the movie starts with the premise that these gods are still alive and well and still ruling the world as ineptly as ever. We’re introduced to Poseidon and Zeus, where we discover that Zeus is all bent out of shape because someone stole his lightening bolt.
You’d think that the most powerful god would keep his most powerful weapon someplace more secure, but hey, even the gods overlook things from time to time.
Zeus thinks Poseidon’s son stole it, and threatens war if it is not returned by the Summer Solstice, which naturally, is only a couple of weeks away.
Enter Percy Jackson. An average teenager, who hates high school because he has ADHD and dyslexia. He’s really only happy when he’s underwater – usually for several minutes at a time.
Come to find out, Percy is actually the demi-god son of Poseidon. Even better, Percy’s best friend is actually a satyr. He soon makes friends with Annabeth, the appropriately fierce daughter of Athena.
Ok, I’m a sucker for Greek mythology (always have been), so the movie didn’t have to work very hard to hold my attention.
The movie does a good job of catering to its target audience – adolescents.
It was serious without being too heavy, humorous without being too ridiculous...usually.
Still, at times it seemed the filmmakers were too distracted with their special effects to pay attention to logistics, and hoped that we would be too.
Well. Sorry. I have questions.
Like, how could three teenagers with no jobs afford to drive all over the United States?
How did they never get chased by the cops, especially once one of them had been declared missing?
How is Percy suddenly able to control all of his powers after one day of training?
Did Percy have any inkling of his powers, other than being able to hold his breath longer than the Navy Seals? Did he ever accidentally make the faucet explode when he was angry? Did he ever turn water into a trident and shoot it at his mother when she tried to make him take his vitamins?
What did Hermes use to fly before trendy basketball shoes started coming with a “wings-on” option?
Why is the entrance to Mt. Olympus, traditionally the highest mountain in Greece, located at the top of the Empire State Building?
And why, oh why, do the Greek gods who are now apparently based out of America speak English with a British accent? It probably isn’t out of the question to assume that gods could easily learn modern English, but then why any accent at all? They studied at Cambridge before relocating to NYC?
Kids watching will not notice, or care about those things, but they distracted me. Which is probably just as well, because there were a few cheesed out moments that I needed to be distracted from.
Still, it was, for the most part, entertaining. Logan Lerman plays the parts of angry teen and heroic youth equally well, and Uma Thurman plays Medusa as only she could.
I was even impressed that for once, instead of romanticizing the world of the gods, the film acknowledges what most Greek stories showcase those deities to be: spoiled children who do little but compete with each other and fulfill their own desires.
Maybe their kids will do better – or maybe not. Watch the film and you can decide.
Director: Chris Columbus
Writers: Rick Riordan (novel)
Craig Titley (screenplay)
Characters:
Percy Jackson – Logan Lermen
Grover – Brandon T. Jackson
Annabeth – Alexandra Daddario
Luke – Jake Abel
Zeus – Sean Bean
Mr. Brunner / Chiron – Pierce Brosnan
Hades – Steve Coogan
Persephone – Rosario Dawson
Athena – Melina Kanakaredes
Sally Jackson – Catherine Keener
Poseidon – Kevin McKidd
Medusa – Uma Thurman
Rating: PG for “action violence and peril, some scary images and suggestive material, and mild language.”
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