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      "body": "Congratulations @vincefs! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@vincefs/birthday3.png</td><td>Happy Birthday! - You are on the Steem blockchain for 3 years!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@vincefs) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=vincefs)_</sub>\n\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "Congratulations @vincefs! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@vincefs/birthday2.png</td><td>2 Years on Steemit</td></tr></table>\n\n<sub>_[Click here to view your Board of Honor](https://steemitboard.com/@vincefs)_</sub>\n\n\n> Support [SteemitBoard's project](https://steemit.com/@steemitboard)! **[Vote for its witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1)** and **get one more award**!",
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      "body": "The Guilty is one of those special films that lives up to hype of its trailer. It's a suspenseful thriller that grips you from the opening shot of the emergency dispatcher's headset and doesn't let go until the final frame.\n\nJakob Cedergren plays Asger Holm, an emergency dispatcher in Denmark. Asger ia trained to respond to emergencies but is inundated with calls dealing with trivial matters such as public drunkeness. Full disclosure: I volunteered at a crisis center. I was trained to handle dustressed suicidal callers but 95% of the calls were from distressed lonely people. Kudos to writers Gustav Möller and Emil Nygaard Albertsen for getting the tone of the call center right. It's their brilliant script and Cedergreen's solo performance that keep us on the edge of our seats.\n\nAsger's tone shifts from condemnation to concern immediately when he gets a call from Iben, a kidnapped mother of two that is calling from her ex husband's getaway car. Asger goes on a mission to track the runaway vehicle. The inciting incident of the movie sets the tone for the movie because we are with Asger in that confined work space as he tries to save Iben (voiced by Jessica Dinnage)   - who we never see on screen but listen to her shrieking terror echoing in Asger's headset. \n\nCedergreen gives an academy award acting performance as  the edgy, brooding and empathetic Asger. It's his movie. He is reacting to the story beats on the page. He is alone for half the film in a private room, reacting not to glances, voices or expressions but to distressed voices coming from his headset. It's Cedergreen that carries this picture. It's his film. Gustav Möller and Emil Nygaard Albertsen's brilliant script bring the best out of Cedergreen.\n\nThe twists and turns make us forget that the entire movie is set at the call center. The script is so powerful that the movie doesn't need a score to trigger an audience's responses to what is happening on screen.  We even forgive Möller's stylistic choices such as confining Cedergreen to confined medium close ups and close ups. They work but a one take and more creative staging might have pushed The Guilty into cinematic acendency. One can only wonder what Soderbergh would have done with this near perfect script.\n\nThe Guilty is inspiration for independent cinema. A simple premise, a fantastic script, and a strong performance - and not millions of dollars and a star - are fundamental in making a triumphant movie.\n\nThe Guilty plays at Bell Lightbox until Nov 1.\n\nReviewed by Vince Sannuto (writer and director of Quarter Life Crisis movie)\n\n![20181030_202349.png](https://cdn.steemitimages.com/DQmPAvhLSTz8cWAx9xn1SKYJNaFWVLUiRSz5NJW3nvThGmH/20181030_202349.png)",
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      "body": "I remember breaking up with a girlfriend two weeks before my birthday and wondering if I was spending that particular birthday alone.  When the birthday arrived, I received many digital well wishes from friends and acquaintances but one particular greeting from my past led to an invitation to her house. That invitation created an expectation that led me to ask, is she going to blow my birthday candle? What does that have to do with Lee Chang- Dong's film Burning? I had high expectations but unlike my birthday, Burning did not meet them.\n\nBurning's biggest problem is that is has a hard time defining its genre. Is it crime, is it romance, is it existential? \n\nLee Jong-Su played by Ah-In Yoo takes care of his dad's farm because his dad is in jail for assaulting another man. One day Jong Su travels to the city and meets Haemi during a strange encounter in which Jong-Su's number is drawn randomly from a merchandiser's store where Haemi works as a promotional model. Haemi reveals that she knew Jong-Su when they were kids because they grew up in the same small town in South Korea. They begin a courtship but Haemi ends that courtship quickly when she asks Jong-Su to take care of her cat because she is going to Africa.  She isn't there long because of civil strife and when she asks Jong-Su to pick her up at the airport, Jong-Su is greeted by her male friend: The charming Ben she met in Africa played by Steven Yeun.\n\nThings get interesting fast because we expect Jong-Su to win Haemi back but Ben does his best to thwart Jong-Su.  Every time Haemi invites Jong-Su out, Ben is always there. Ben is sauve and rich. He is only a few years older than the teenagers but he drives a Porsche.\n\nThings get even more complicated when Haemi disappears. Jong-Su does everything in his power to find her but can't locate her. He thinks Ben has something to do with the disappearance so he tails Ben's every move. When he is not chasing Ben, Jong-Su tries to get his dad out of prison. A sub plot that doesn't complicate the main plot but just runs along it, adding nothing to the story.\n\nDirector Lee Chang Dong' s choices cause the film to be flat. He does very little to establish a point of view to help his audience distinguish the film's genre.  We are confused and wondering whether we are watching a murder mystery or romance. The action plods slowly and that would be fine, but Dong' s script doesn't add suspense to keep us intrigued.  His script is flat.\n\nIf this is indeed a story about a coy charming murderer then I recommend you watch Mud. At least we know that Matthew Mccounaghey is a murderer.  We're not sure if Ben is although a couple subtle clues may point to that.\n\nBurned is disappointing and your time would be better spent watching something else at TIFF.\n![20180907_075801.png](https://cdn.steemitimages.com/DQmNzog3yVBbb1EHUE9YcP7jZhiqD5gaBWRrnUmDbmCFrW4/20180907_075801.png)",
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      "body": "The Stooges \"Down on the Street,\" is featured prominately in the new Paolo Sorrentino movie about Italian Prime minister Silvio Berlusconi; Loro. For those of you that are unfamiliar with the song - poor you because it's a classic - Iggy Pop grunts:\n\nSee a pretty thing\nAin't no wall\nSee a pretty thing\nIt ain't no wall\n\nIggy is probably inferring that no woman is unobtainable. Speak for yourself Iggy. You're a rock God. Sorrentino depicts Silvio Berlusconi as rock royalty because just like Iggy, Dylan and Jagger, Berlusconi does not care what people think of him. He is a legend and (some) women worship him. Loro is a film of excess. Sex, drugs, more sex, rock and roll and did I mention sex? It's a tour de force of living on the edge and just like Wolf of Wall Street, Loro is an entertaning ride. Sorrentino shows us La Dolce Vita in all its debauchery. \n\nYou barely see Silvio Berlusconi in the 1st half of the movie, played brilliantly by Toni Servillio. We are introduced to sleezy, Sergio (Ricardo Scammarico): A pimp with ambitions of infiltrating Berlusconi's inner circle. Sergio is a lothario, something akin to Vittorio Gassman's Bruno in the movie Il Sorpasso. Sergio spends his nights finding loose women to penetrate Berlusconi's closest confidantes and when he can't bust through, he penetrates the help. Sergio is like Marcello Mastroianni's Guido Anselmi in 8 & 1/2 but Guido didn't snort coke like Sergio does and both characters are insecure narcissists that are constantly trying to affirm their manhoid to women. Sergio moves from women to women when he is not kept in check by his beautiful and \"loyal\" wife.\n\nBerlusconi is a lot like Sergio but cautious because he is a state figure head. Berlusconi cheats and flirts with women 50 years younger than him. His frustrated wife Veronica Lario tolerates it because she still loves him but how much humiliation can she bare? Berlusconi tests her.\n\nLoro is directed beautifully. Sorrentino makes excellent use of Stefania Cella's production design. Cella creates a fantasy world of merry go rounds and erupting volcanoes on Berlusconi's property. Sorrentino exploits Cella's beauty with gorgeous long shots. Sorrentino seduces Berlusconi and his audience with flattering low angles of his seductresses. They are shot beautifully. They are the central point of his frame and why shouldn't they. The hoardes of stunning models almost steal the movie.\n\nThe last shot of the movie is a shot of a Jesus statute preserved in tact after an earthquake destroyed everything in site. It is a fitting metaphor to Berlusconi because despite scandal, Berlusconi has survived it all.\n![loro.jpg](https://cdn.steemitimages.com/DQmcAKWZ1FCV8VCoCUd15QibhF8viu23YXHJJVqUqJe8dZq/loro.jpg)",
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      "title": "MUSEO: TIFF 2018 REVIEW",
      "body": "@@ -563,17 +563,25 @@\n as Eve. \n-T\n+Much of t\n he seque\n@@ -616,15 +616,51 @@\n and \n-perhaps\n+it zaps the film's energy.  Perhaps filming\n  han\n@@ -669,16 +669,21 @@\n held or \n+with \n a Go Pro\n@@ -695,36 +695,38 @@\n ing \n-their point of view would ad\n+would have injected much neede\n d en\n@@ -780,23 +780,23 @@\n ios \n-makes up for it\n+redeems himself\n  whe\n@@ -833,17 +833,23 @@\n  by \n-add\n+eliminat\n ing \n-no\n+the\n  sco\n@@ -879,47 +879,59 @@\n ves \n-steal the Mayan pieces from the Museum.\n+quietly pry the treasure from the plexiglass case. \n %0A%0AJu\n@@ -1361,16 +1361,16 @@\n nplay.%0A%0A\n-\n Museo is\n@@ -1397,16 +1397,355 @@\n tching. \n+It definitely doesn't add anything new to the heist drama but it's well done. It's a well told story. Personally, I think the movie would play better if the director went for a grittier look because at times the movie loses momentum with its current look. We feel that we are being robbed of something that could have been more exciting.%0A%0A\n Catch it\n",
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      "body": "Gael Garcia Bernal stars as Juan;  a thirty something veterinary student that lives with his sibkings at home. Juan is often the butt of his family jokes (they poke fun at his height or lack of it) and they all have given up on him.\n\nJuan wants respect and he thinks he can get it when he conjures a plan to lift some valuable Mayan artifacts during a Museum restoration project.\n\nJuan's accomplice Wilson, played by Leonardo Ortizgriz joins him in the heist. The beginning of the heist lacks tension as Juan and Wilson meander through the museum late on Christmas Eve. The sequence is filmed in long shots and perhaps hand held or a Go Pro showing their point of view would add energy to the scene but director Alonso Ruizpalacios makes up for it when he builds palpatable tension by adding no score as the would be thieves steal the Mayan pieces from the Museum.\n\nJuan and Wilson's journey runs into some roadblocks as they try to fence the loot. The progressive complications in Ruizpalacio and Manuel Alcala's script are great. Juan and Wilson catch a break when one of their colleagues puts them in touch with Simon Graves,  a British artifact collector played convincingly by Simon Russell.\n\nRussell's reaction is not what the boys expected, opening up more gaps in the brilliant screenplay.\n\nMuseo is definitely worth watching. Catch it at TIFf.\n\nVince Sannuto\n![20180906_113701.png](https://cdn.steemitimages.com/DQmdrQUmoPt8YfggHpRYZbJAikQx8c4hEppFubCCYo8piNk/20180906_113701.png)",
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