Signed, sealed and delivered, Book Club: The Next Chapter is an unabashed love letter to four great movie stars. As a vehicle for their talents, it’s less of a sure thing. If you can see past the clunky plot contrivances, strained hijinks and one-liners that don’t land, and focus on the Italy-set comedy’s Mediterranean glow and the dazzling quartet of go-getters at its center, the movie might fit the bill as a celebratory pairing with Mother’s Day brunch.
The tagline on the key art encapsulates the sequel’s problems: “Slightly Scandalous. Totally Fabulous.” That qualifying “slightly” signals the softer cadence of this reunion. In the 2018 hit, Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen transcended the often tepid humor with their rat-a-tat delivery; here, returning director Bill Holderman, again working from a screenplay he wrote with Erin Simms, struggles to find a rhythm, and flat...
The tagline on the key art encapsulates the sequel’s problems: “Slightly Scandalous. Totally Fabulous.” That qualifying “slightly” signals the softer cadence of this reunion. In the 2018 hit, Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen transcended the often tepid humor with their rat-a-tat delivery; here, returning director Bill Holderman, again working from a screenplay he wrote with Erin Simms, struggles to find a rhythm, and flat...
- 5/8/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
When Mark Tildesley read Anthony McCarten’s script for “The Two Popes,” he saw how integral the Sistine Chapel was to the narrative. As the film’s production designer, he knew he couldn’t film inside the Vatican, which meant he’d have to reproduce the location. “We did visit it with a leading expert — [producer] Enzo Sisti. His father was a sacristan there who had dressed two of the popes. He took us on a tour and explained the place to us. It was the first time I’d ever been in the chapel. It was a daunting task to imagine that we were going to reproduce this.”
Through discussions with the film’s director, Fernando Meirelles, and cinematographer, César Charlone, Tildesley knew Michelangelo’s iconic frescoes would be featured prominently. “We were going to do these close-ups,” he says. “We went to Cinecittà Studios, and it’s big enough...
Through discussions with the film’s director, Fernando Meirelles, and cinematographer, César Charlone, Tildesley knew Michelangelo’s iconic frescoes would be featured prominently. “We were going to do these close-ups,” he says. “We went to Cinecittà Studios, and it’s big enough...
- 12/6/2019
- by Nick Vivarelli and Jazz Tangcay
- Variety Film + TV
Outside of a few interviews around the time of Badlands, Terrence Malick has stayed out of the press spotlight, only re-appearing recently for a talk before the shooting of A Hidden Life and then for the SXSW premiere of Song to Song, as well as appearing at the Cannes premiere of his new work. He’s now, fittingly, ventured to the most holy of places–the Vatican, specifically to their Filmoteca–for a screening of his latest film. While there, he shared a few words about his WWII feature and his next film, the Biblical drama The Last Planet.
“Franz [Jägerstätter, played by August Diehl] is a martyr, because he chose to be faithful to his conscience,” Malick said of A Hidden Life, as reported by La Repubblica via One Big Soul. “As his father-in-law says in the film, it’s better to be a victim of injustice than to perpetuate an injustice.
“Franz [Jägerstätter, played by August Diehl] is a martyr, because he chose to be faithful to his conscience,” Malick said of A Hidden Life, as reported by La Repubblica via One Big Soul. “As his father-in-law says in the film, it’s better to be a victim of injustice than to perpetuate an injustice.
- 12/4/2019
- by Jordan Raup
- The Film Stage
The new faith-based movie Risen is set to open in theaters winter of 2016.
Starring Joseph Fiennes (Shakespeare in Love), Tom Felton (Harry Potter), Peter Firth (“Spooks”) and Cliff Curtis (Live Free or Die Hard), and directed by Kevin Reynolds (Robin Hood: Prince of Thieves), the action drama will be released on Friday, January 22.
Risen is the epic Biblical story of the Resurrection and the weeks that followed, as seen through the eyes of an unbelieving Clavius (Joseph Fiennes), a high-ranking Roman Military Tribune. Clavius and his aide Lucius (Tom Felton) are instructed by Pontius Pilate to ensure Jesus’ radical followers don’t steal his body and claim resurrection. When the body goes missing within days, Clavius sets out on a mission to locate the missing body in order to disprove the rumors of a risen Messiah and prevent an uprising in Jerusalem.
Risen is produced by Mickey Liddell (The Grey), Patrick Aiello (As Above,...
Starring Joseph Fiennes (Shakespeare in Love), Tom Felton (Harry Potter), Peter Firth (“Spooks”) and Cliff Curtis (Live Free or Die Hard), and directed by Kevin Reynolds (Robin Hood: Prince of Thieves), the action drama will be released on Friday, January 22.
Risen is the epic Biblical story of the Resurrection and the weeks that followed, as seen through the eyes of an unbelieving Clavius (Joseph Fiennes), a high-ranking Roman Military Tribune. Clavius and his aide Lucius (Tom Felton) are instructed by Pontius Pilate to ensure Jesus’ radical followers don’t steal his body and claim resurrection. When the body goes missing within days, Clavius sets out on a mission to locate the missing body in order to disprove the rumors of a risen Messiah and prevent an uprising in Jerusalem.
Risen is produced by Mickey Liddell (The Grey), Patrick Aiello (As Above,...
- 5/4/2015
- by Michelle McCue
- WeAreMovieGeeks.com
For everyone else counting down the days until Wes Anderson’s The Grand Budapest is released next year, the wait has just got a little easier, with Anderson releasing a brilliant new short film, Castello Cavalcanti.
Anderson is of course no stranger to the medium, with his career beginning back in 1994 with the short, Bottle Rocket, which was itself be turned into a feature two years later). The director then made the fantastic Hotel Chevalier, serving as the prologue for The Darjeeling Limited. And now he returns to the format with Castello Cavalcanti, presented by Prada.
Anderson is reuniting here with Jason Schwartzman, with whom he has worked countless times over the years, including on Hotel Chevalier, with Schwartzman then starring as Jack Whitman opposite Natalie Portman, his on-screen girlfriend.
This time around, Schwartzman stars as a Us racecar driver who crashes in a small Italian village in 1955, and he stars opposite Giada Colagrande.
Anderson is of course no stranger to the medium, with his career beginning back in 1994 with the short, Bottle Rocket, which was itself be turned into a feature two years later). The director then made the fantastic Hotel Chevalier, serving as the prologue for The Darjeeling Limited. And now he returns to the format with Castello Cavalcanti, presented by Prada.
Anderson is reuniting here with Jason Schwartzman, with whom he has worked countless times over the years, including on Hotel Chevalier, with Schwartzman then starring as Jack Whitman opposite Natalie Portman, his on-screen girlfriend.
This time around, Schwartzman stars as a Us racecar driver who crashes in a small Italian village in 1955, and he stars opposite Giada Colagrande.
- 11/15/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
Hollywood is in a born-again mode with its rediscovery that Biblical epics can bring manna at the boxoffice. In New Line Cinema's "The Nativity Story" we have the first smart, artistically and spiritually satisfying film to emerge from this trend. The familiar story, iconic aspects of which will decorate many front lawns during the next few weeks, unfolds in a scrupulously accurate historical adventure story that depicts the world of Jesus' birth with an exciting you-are-there verisimilitude.
Young Keisha Castle-Hughes (an Oscar nominee for "Whale Rider") plays not so much the Virgin Mary but a gutsy young woman born to an honorable though struggling Jewish family in Nazareth, who handles miracles and hardships with a tough-minded spirit. When a diaphanous Archangel Gabriel puts in appearances, we're clearly in the realm of mythology. But the movie, written by Mike Rich and directed by Catherine Hardwicke, sticks as close as possible to a realistic account of the Christ child's birth.
The faithful will flock to this well-told tale -- and DVD sales will be formidable -- but there is room at the inn for nonbelievers, who appreciate a good story told with cinematic flair. Because most "Christmas movies" these days are mean spirited -- i.e., "Deck the Halls" -- "Nativity" is positively refreshing.
Hardwicke has directed the teens-on-the-edge-of-disaster drama "thirteen" and the Venice skateboard film "Lords of Dogtown", neither of which prepares us for her stepping into the scandals of Cecil B. DeMille. But step she does with remarkable assuredness and sensitivity. She and Rich shake off any qualms they might have entertained about retelling a Sunday school story and go for the inherent drama of an epic about sacrifice and destiny.
At the time of Jesus' birth, the Holy Land was a fearful place, occupied by arrogant Roman soldiers under the command of King Herod, a client of Caesar Augustus. Yet the king quakes in morbid fear of the Old Testament prophecy of a Messiah, who will overthrow his rule, even to the point of ordering the slaughter of all male children, under 2 years of age, in the city of Bethlehem.
The movie retreats one year to account for this drastic action. In Nazareth, a city hounded by the king's tax collectors, economic necessity forces Anna (Hiam Abbass) and Joaquim (Shaun Toub) to tell their daughter Mary (Castle-Hughes) they have arranged her marriage to "a good man" named Joseph (Oscar Isaac). Troubled by this news, she retreats to an olive grove where the angel Gabriel Alexander Siddig) appears and tells her that the Holy Spirit will cause her to bear a son she will name Jesus, who will be mankind's savior.
Her aging cousin Elizabeth (Oscar-nominee Shohreh Aghdashloo) is experiencing a similar miracle, newly pregnant by her equally ancient husband Zechariah (Stanley Townsend), a priest. Mary convinces her parents to allow her to visit the pious couple to sort out her life. It is here she experiences the Immaculate Conception.
But returning to her hometown clearly pregnant, she puts her new husband in a moral dilemma. No one in town, not even her parents, believe her story about angels and conception. In many ways, it is Joseph who is the real hero of this story, a man who stoically accepts a role that in many eyes brands him a cuckold. Some of the movie's best passages survey his evolving spiritual awareness of this role.
Meanwhile, in Persia, three Magi -- Melchoir (Nadim Sawalha) the scholar, Gasper (Stepan Kalipha) the translator and Balthasar (Eriq Ebouaney) the confident Ethiopian astronomer -- study celestial charts and maps to discover that the signs of the Messiah's coming are unmistakable. Melchoir convinces his reluctant companions to undertake the hazardous journey through the wilderness to witness the child's entry into the world.
The film follows these story lines, paying close attention to details. This ancient world -- its flowing clothes, stone houses, scattered settlements and vast, forbidding deserts -- displays harmonious, earthen colors that delight the eye in Elliot Davis' subtle cinematography. Here we witness the close proximity of mankind with their livestock. And the spiritual awareness of a people, subjugated by foreign troops, dominates all thought and action.
The film's locations -- Matera, Italy; Morocco; and Israel -- supply amazing terrain, while production designer Stefano Maria Ortolani dresses real locations and sets that make this world come vibrantly alive. Stables are cramped, filthy places; a river crossing invites disaster; wise men weary of the journey; and treachery lurks everywhere. Mychael Danna's music is a major plus as it underscores rather than overrides the film's emotions.
THE NATIVITY STORY
New Line Cinema
A Temple Hill production
Credits: Director: Catherine Hardwicke
Screenwriter: Mike Rich
Producers: Wyck Godfrey, Marty Bowen
Executive producer: Toby Emmerich, Cale Boyter, Tim Van Rellim, Mike Rich, Catherine Hardwicke
Director of photography: Elliot Davis
Production designer: Stefano Maria Ortolani
Music: Mychael Danna
Costume designer: Maurizio Millenotti
Editor: Robert K. Lambert, Stuart Levy
Cast:
Mary: Keisha Castle-Hughes
Joseph: Oscar Isaac
Anna: Hiam Abbass
Joaquim: Shaun Toub
Archangel Gabriel: Alexander Siddig
Melchoir: Nadim Sawalha
Balthasar: Eriq Ebouaney
Gaspar: Stefan Kalipha
King Herod: Ciaran Hinds
Elizabeth: Shohreh Aghdashloo
Running time -- 102 minutes
MPAA rating: PG...
Young Keisha Castle-Hughes (an Oscar nominee for "Whale Rider") plays not so much the Virgin Mary but a gutsy young woman born to an honorable though struggling Jewish family in Nazareth, who handles miracles and hardships with a tough-minded spirit. When a diaphanous Archangel Gabriel puts in appearances, we're clearly in the realm of mythology. But the movie, written by Mike Rich and directed by Catherine Hardwicke, sticks as close as possible to a realistic account of the Christ child's birth.
The faithful will flock to this well-told tale -- and DVD sales will be formidable -- but there is room at the inn for nonbelievers, who appreciate a good story told with cinematic flair. Because most "Christmas movies" these days are mean spirited -- i.e., "Deck the Halls" -- "Nativity" is positively refreshing.
Hardwicke has directed the teens-on-the-edge-of-disaster drama "thirteen" and the Venice skateboard film "Lords of Dogtown", neither of which prepares us for her stepping into the scandals of Cecil B. DeMille. But step she does with remarkable assuredness and sensitivity. She and Rich shake off any qualms they might have entertained about retelling a Sunday school story and go for the inherent drama of an epic about sacrifice and destiny.
At the time of Jesus' birth, the Holy Land was a fearful place, occupied by arrogant Roman soldiers under the command of King Herod, a client of Caesar Augustus. Yet the king quakes in morbid fear of the Old Testament prophecy of a Messiah, who will overthrow his rule, even to the point of ordering the slaughter of all male children, under 2 years of age, in the city of Bethlehem.
The movie retreats one year to account for this drastic action. In Nazareth, a city hounded by the king's tax collectors, economic necessity forces Anna (Hiam Abbass) and Joaquim (Shaun Toub) to tell their daughter Mary (Castle-Hughes) they have arranged her marriage to "a good man" named Joseph (Oscar Isaac). Troubled by this news, she retreats to an olive grove where the angel Gabriel Alexander Siddig) appears and tells her that the Holy Spirit will cause her to bear a son she will name Jesus, who will be mankind's savior.
Her aging cousin Elizabeth (Oscar-nominee Shohreh Aghdashloo) is experiencing a similar miracle, newly pregnant by her equally ancient husband Zechariah (Stanley Townsend), a priest. Mary convinces her parents to allow her to visit the pious couple to sort out her life. It is here she experiences the Immaculate Conception.
But returning to her hometown clearly pregnant, she puts her new husband in a moral dilemma. No one in town, not even her parents, believe her story about angels and conception. In many ways, it is Joseph who is the real hero of this story, a man who stoically accepts a role that in many eyes brands him a cuckold. Some of the movie's best passages survey his evolving spiritual awareness of this role.
Meanwhile, in Persia, three Magi -- Melchoir (Nadim Sawalha) the scholar, Gasper (Stepan Kalipha) the translator and Balthasar (Eriq Ebouaney) the confident Ethiopian astronomer -- study celestial charts and maps to discover that the signs of the Messiah's coming are unmistakable. Melchoir convinces his reluctant companions to undertake the hazardous journey through the wilderness to witness the child's entry into the world.
The film follows these story lines, paying close attention to details. This ancient world -- its flowing clothes, stone houses, scattered settlements and vast, forbidding deserts -- displays harmonious, earthen colors that delight the eye in Elliot Davis' subtle cinematography. Here we witness the close proximity of mankind with their livestock. And the spiritual awareness of a people, subjugated by foreign troops, dominates all thought and action.
The film's locations -- Matera, Italy; Morocco; and Israel -- supply amazing terrain, while production designer Stefano Maria Ortolani dresses real locations and sets that make this world come vibrantly alive. Stables are cramped, filthy places; a river crossing invites disaster; wise men weary of the journey; and treachery lurks everywhere. Mychael Danna's music is a major plus as it underscores rather than overrides the film's emotions.
THE NATIVITY STORY
New Line Cinema
A Temple Hill production
Credits: Director: Catherine Hardwicke
Screenwriter: Mike Rich
Producers: Wyck Godfrey, Marty Bowen
Executive producer: Toby Emmerich, Cale Boyter, Tim Van Rellim, Mike Rich, Catherine Hardwicke
Director of photography: Elliot Davis
Production designer: Stefano Maria Ortolani
Music: Mychael Danna
Costume designer: Maurizio Millenotti
Editor: Robert K. Lambert, Stuart Levy
Cast:
Mary: Keisha Castle-Hughes
Joseph: Oscar Isaac
Anna: Hiam Abbass
Joaquim: Shaun Toub
Archangel Gabriel: Alexander Siddig
Melchoir: Nadim Sawalha
Balthasar: Eriq Ebouaney
Gaspar: Stefan Kalipha
King Herod: Ciaran Hinds
Elizabeth: Shohreh Aghdashloo
Running time -- 102 minutes
MPAA rating: PG...
- 11/22/2006
- The Hollywood Reporter - Movie News
The Exorcist movie series is not so much a franchise as a perpetual going-out-of-business sale. There are now four official Exorcist films and many more imitations. The Exorcist (1973), written by William Peter Blatty and directed by William Friedkin, was truly one of the scariest movies ever made, for it portrayed a confrontation by humans with true evil rather than the monsters, mummies, ghosts and living dead that populate most horror films. Since then, however, audiences have been treated to the usual off-the-rack horror nonsense with the Exorcist label misleadingly attached to the titles. Exorcist: The Beginning continues the practice of false advertising.
Yes, the Exorcist imprint will draw enough young males for a solid opening week. Once word gets out that this movie makes Alien vs. Predator look like a classic, boxoffice could drop 50% or more.
The scariest thing about this film is how desperate the makers are to earn a scream. Clearly lacking confidence in a prosaic premise, director Renny Harlin and writers Alexi Hawley, William Wisher Jr. and Caleb Carr try out just about every gag they can think of: From a meaningless opening sequence featuring severed limbs and upside-down crucifixes on a battlefield, the movie indulges in facial boils, blood-sucking leeches, maggots on a stillborn baby, squirting blood, buzzing flies, two suicides, a bird plucking out a human eye and mad hyenas tearing apart of small boy. And when all else fails, they throw in a shower scene and sandstorm.
This was the film that found Morgan Creek making two versions. Paul Schrader shot and finished an edit of his The Beginning in May 2003. When Morgan Creek topper James Robinson rejected this film, Schrader departed and Harlin was brought aboard. Reportedly, little if anything from Schrader's version appears in Harlin's film.
Like the lamentable John Boorman film Exorcist II: The Heretic, this film too rolls back the clock to investigate the first confrontation between Father Merrin, the aging exorcist in the original film, and the devil in British colonial Africa, an incident alluded to in Friedkin's film and Blatty's best-selling novel. Stellan Skarsgard, who, remarkably, stars in both Schrader and Harlin's movies, plays Merrin as a disillusioned ex-priest, drifting through Cairo in 1949 in an alcoholic haze. A mysterious antiquities collector (Ben Cross) approaches him about joining an archaeological dig in a remote region in Kenya, where British authorities have discovered a buried Christian Byzantine church in a place where no church from that era should exist.
Merrin arrives at the site to learn people are disappearing, wild hyenas circle the compound and villagers believe an evil force lurks within the church. He is accompanied by a young and eager priest (James D'Arcy) whose belief in God is so mighty you know he is doomed. Merrin finds more in common with Dr. Sarah Novack (Izabella Scorupco), one of those selfless souls who can do good deeds without ever mussing her makeup or perfectly coifed hair.
Father Merrin -- oops, make that Mr. Merrin -- and Dr. Sarah Share a Holocaust background. She is a concentration camp survivor, while he left the church after witnessing Nazi atrocities in his native Holland.
The remainder of the movie is taken up with bad nightmares, living nightmares of strange doings in the devil's playground and hideous deaths experienced by several characters. The soundtrack is more alarming than the hyenas as every sound is amplified and ominous choral music pounds away. From time to time, Merrin feels the urge to search -- alone -- inside the church or go digging in the nearby graveyard. He always does so in the dead of night. Guess he doesn't want to wake anybody up.
Cinematographer Vittorio Storaro makes the whole look much better than it deserves, while designer Stefano Maria Ortolani does an amazing job of creating an African desert, old Cairo and wintry Holland on the backlots of Rome's famed Cinecitta Studios.
This is the kind of film that mysteriously vanishes from most participants' resumes. In this instance, they can always fall back on Flip Wilson's old line and claim that "the devil made me do it."
EXORCIST: THE BEGINNING
Warner Bros. Pictures
Morgan Creek
Credits:
Director: Renny Harlin
Screenwriter: Alexi Hawley
Story by: William Wisher Jr., Caleb Carr
Producer: James G. Robinson
Executive producers: Guy McElwaine, David C. Robinson
Director of photography: Vittorio Storaro
Production designer: Stefano Maria Ortolani
Music: Trevor Rabin
Costume designer: Luke Reichle
Editors: Mark Goldblatt, Todd E. Miller
Cast:
Father Merrin: Stellan Skarsgard
Father Francis: James D'Arcy
Dr. Sarah Novack: Izabella Scorupco
Joseph: Remy Sweeney
Major Granville: Julian Wadham
MPAA rating: R
Running time -- 112 minutes...
Yes, the Exorcist imprint will draw enough young males for a solid opening week. Once word gets out that this movie makes Alien vs. Predator look like a classic, boxoffice could drop 50% or more.
The scariest thing about this film is how desperate the makers are to earn a scream. Clearly lacking confidence in a prosaic premise, director Renny Harlin and writers Alexi Hawley, William Wisher Jr. and Caleb Carr try out just about every gag they can think of: From a meaningless opening sequence featuring severed limbs and upside-down crucifixes on a battlefield, the movie indulges in facial boils, blood-sucking leeches, maggots on a stillborn baby, squirting blood, buzzing flies, two suicides, a bird plucking out a human eye and mad hyenas tearing apart of small boy. And when all else fails, they throw in a shower scene and sandstorm.
This was the film that found Morgan Creek making two versions. Paul Schrader shot and finished an edit of his The Beginning in May 2003. When Morgan Creek topper James Robinson rejected this film, Schrader departed and Harlin was brought aboard. Reportedly, little if anything from Schrader's version appears in Harlin's film.
Like the lamentable John Boorman film Exorcist II: The Heretic, this film too rolls back the clock to investigate the first confrontation between Father Merrin, the aging exorcist in the original film, and the devil in British colonial Africa, an incident alluded to in Friedkin's film and Blatty's best-selling novel. Stellan Skarsgard, who, remarkably, stars in both Schrader and Harlin's movies, plays Merrin as a disillusioned ex-priest, drifting through Cairo in 1949 in an alcoholic haze. A mysterious antiquities collector (Ben Cross) approaches him about joining an archaeological dig in a remote region in Kenya, where British authorities have discovered a buried Christian Byzantine church in a place where no church from that era should exist.
Merrin arrives at the site to learn people are disappearing, wild hyenas circle the compound and villagers believe an evil force lurks within the church. He is accompanied by a young and eager priest (James D'Arcy) whose belief in God is so mighty you know he is doomed. Merrin finds more in common with Dr. Sarah Novack (Izabella Scorupco), one of those selfless souls who can do good deeds without ever mussing her makeup or perfectly coifed hair.
Father Merrin -- oops, make that Mr. Merrin -- and Dr. Sarah Share a Holocaust background. She is a concentration camp survivor, while he left the church after witnessing Nazi atrocities in his native Holland.
The remainder of the movie is taken up with bad nightmares, living nightmares of strange doings in the devil's playground and hideous deaths experienced by several characters. The soundtrack is more alarming than the hyenas as every sound is amplified and ominous choral music pounds away. From time to time, Merrin feels the urge to search -- alone -- inside the church or go digging in the nearby graveyard. He always does so in the dead of night. Guess he doesn't want to wake anybody up.
Cinematographer Vittorio Storaro makes the whole look much better than it deserves, while designer Stefano Maria Ortolani does an amazing job of creating an African desert, old Cairo and wintry Holland on the backlots of Rome's famed Cinecitta Studios.
This is the kind of film that mysteriously vanishes from most participants' resumes. In this instance, they can always fall back on Flip Wilson's old line and claim that "the devil made me do it."
EXORCIST: THE BEGINNING
Warner Bros. Pictures
Morgan Creek
Credits:
Director: Renny Harlin
Screenwriter: Alexi Hawley
Story by: William Wisher Jr., Caleb Carr
Producer: James G. Robinson
Executive producers: Guy McElwaine, David C. Robinson
Director of photography: Vittorio Storaro
Production designer: Stefano Maria Ortolani
Music: Trevor Rabin
Costume designer: Luke Reichle
Editors: Mark Goldblatt, Todd E. Miller
Cast:
Father Merrin: Stellan Skarsgard
Father Francis: James D'Arcy
Dr. Sarah Novack: Izabella Scorupco
Joseph: Remy Sweeney
Major Granville: Julian Wadham
MPAA rating: R
Running time -- 112 minutes...
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