Friday, October 2, 2015

I'm Leaving On A Jet Plane (And a Cruise Ship)...

For the next week and a half, chances are ya'll won't hear much of me and I won't be watching many new fall releases. I'm going on a cruse ship to the Dominican Republic, and in a few hours, I board a flight to Miami overnight to get there. So, if you're wondering about the silence, that'll be why. Even movie nerds, like yours truly, need a vacation every now and then.

 See ya'll in 10+ days time!

Wednesday, September 30, 2015

Never Have I Pined More for Madonna's Die Another Day

In October of 2012, I heard Adele's contribution to the latest 007 picture Skyfall, and I thought the title track of the same name would go on to win the Oscar for Best Original Song, which tuned out to be spot on. So far, I have a perfect 1-1 track record in predicting what will win the Academy Award in music, so I'm going to make another accurate prediction: not only will the theme song to this new James Bond film, Spectre, will not only miss a Best Original Song nomination, but it will also go down as one of the worst 007 tracks in the franchise's storied history.

I hate to do this, because, in general, I do think Sam Smith is a very good singer-songwriter. I love that he goes for a mix of soul, lush melodies and emphasis on production value. I think tracks like "Stay With Me" & "Not The Only One" are solid pop tunes. The problem is that his soft falsetto voice does not mix with the theme of a Bond song; and furthermore, the track comes off as another one of his yearning love ballads. Instead of feeling like Bond's conscious is telling him he's headed for his potential doom, the song comes off as obnoxious to listen to. Say what you will about Madonna's "Die Another Day" and the duet between Jack White & Alicia Keys' "Another Way to Die" (from the films Die Another Day and Quantum of Solace, respectively), but those songs, while terrible, were at least interesting in what they were trying to accomplish, and felt like, on their own, they were listenable, just not Bond songs. "Writing's On the Wall" is just terrible from start to finish.

Tuesday, September 22, 2015

Trailer Talk: Farewell to Prim

Geez, Hunger Games franchise: I know Mockingjay - Part II is the last movie in your sci-fi YA series, but there's no excuse to all but announce that Prim (Willow Shields), Katniss Everdeen's younger sister, is going to end up biting the dust!

Basically, the latest trailer is an extend montage between Katniss (Jennifer Lawrence) and her younger sister, from the first movie in the series, to the clip of the two of them dancing at Finnick's wedding. All thought this is the two of them conversing from previous exchanges of dialogue from various moments in the series, which, along with the music attached to it, makes it even more obvious that the younger Everdeen is going to die. And why would the Lion Gate's PR team spoil such an important plot point in the first place? I get they're playing on fans who have already read the book, but for those who haven't read Mockingjay, this trailer is just a big, fat announcement that a major character isn't making it out of this series alive.

Wednesday, September 16, 2015

Summer Recap 2015: Welcome to the Most Terrifying Place On Earth

It's been 23 years since Steven Spielberg's Jurassic Park was released and was hailed as another crowning achievement from the master storyteller, and another 8 years since Joe Johnson milked dry the udders of what was left of the franchise with Jurassic Park III. It was rumored that Universal and Spielberg have been in talks for years about making a fourth installment of the series, but I didn't think by this point, that people would care enough to go see another JP film, much less be any good.

Imagine my surprise: Jurassic World was a monster hit for the studio, beating Marvel's The Avengers record for the highest grossing 3-day weekend of all time with $208 million, became the third-highest grossing film in the U.S. with $648 million and is now the third highest grossing film worldwide. But, of course, numbers don't mean jack to me if the picture is basically another Michael Bay-style soulless spectacle. Again, Imagine my surprise: Enter Colin Treverrow, the indie director who won well-received praise for his feature debut, Safety Not Guaranteed in 2012, to inject what made the first JP movie so damn enjoyable: the thrill, the excitement and the wonder of seeing prehistoric animals come to life. Oh, and the director and co-writer also makes a nice subtle jab at both Hollywood for churning out these effects-heavy movies and for-profit amusement parks domesticating and abusing animals.

Jurassic Park - now renamed Jurassic World - has been open for years, and the tourists are looking for the next big thrill; the 'OMFG, did you see that?!' moment, if you will. Seeing Brachiosaurus's and Parasaurolophus's in their natural habitat from the safety of a gyrosphere? Boring. Having the little ones go on dino rides? Who cares. Seeing a dead great white shark being swallowed whole by a Mososarsus? People get splashed, big deal. Even the T-Rex has lost its scare effect on the audience. Attendance has dipped, and they want something new, and Claire (Bryce Dallas Howard), the operations manager, is all-but wiling to give it to them in the form of a genetically-modified dinosaur, the Indomius Rex. The one voice of reason, Owen (Chris Pratt), a velociraptor trainer, basically states the obvious about the park's newest creation: "Probably not a good idea." You should guess what happens next, but just to avoid spoilers, I'll simply say that the I-Rex is one of the baddest monsters I've seen in years. Seeing her pick off humans and other dinosaurs is thrilling to watch.

I forgot to mention that Jurassic World is perhaps the most meta picture I've come across since Drew Goddard's The Cabin in the Woods and George Romero's Diary of the Dead. Take the scene where the great white is devoured by the Mososarus for example. Besides providing commentary on how a wild beast has now been domesticated for the amusement of the paying audience, it also acts as both a tribute to Spielberg's classic monster movie Jaws, but it also serves as bit of stinging irony: that 1978 film was a landmark in the blockbuster genre, along with A New Hope and Raiders of the Lost Ark and others. Spielberg carved out a new genre in film, and his own creation, the terrifying great white, is now being devoured by larger behemoths; blockbuster movies that are inspired by Jaws, but lack the same touch a Spielberg has, or a Lucas, or even a Jim Cameron has. Even the Indomius Rex serves as a piece of clever commentary: she's what happens when we get exactly what we wish for: excess running amok and leaving a trail of wreckage in it's wake. In a season where all studios care about is churning out the same spectacle, and an audience that's looking for the next big thing, it's refreshing to see a popcorn film that delivers on eye-popping visuals, and has something meaningful to say about the state we're in, if we're smart enough to listen, that is.

*** stars out of ****

Tuesday, September 8, 2015

Summer Recap 2015: Singing is Easy, Comedy is Hard

If Avengers: Age of Ultron constantly flirts with falling back on old blockbuster tricks, then Pitch Perfect 2 announces, within seconds of the Universal logo being unveiled, that yes, you have, indeed paid to watch the same movie twice. The Barden Bellas are back, and four years after their triumphant victory in the national a capella competition, the all-female singing squad have become a national hit, as they invited to perform at the birthday gala for President Obama. If you guessed that this performance goes to shit, then congratulations, you saw the first movie! Fat Amy (Rebel Wilson) has a wardrobe malfunction in front of Pres-O, and the girls are banned from every a capella showcase across the nation, as well as disbanded by their university as a result. Becca (Anna Kendrick), the group's leader, make a deal with John Smith (John Michael Higgens) and Gail Abernathy-McKadden-Feinberger (Elizabeth Banks), the two a capella commentators to reinstate the Bellas if they win at the Worlds a capella competition, which brings up a few points:

  1. Why is Becca going to two commentators to beg to reinstate her team? Shouldn't she take this matter up with the ASB, or the Dean of the university? Are John and Gail on the school's board who just happen to moonlight as commentators? 
  2. The film announces that no American a capella group has ever won at the Worlds competition. But given the success of the Bellas, you'd think they would have at least been invited over the course of the four years the group has been together?
  3. And why do they have to prove themselves again to get reinstated? I'm assuming the group has won another title in this timespan, so at the very least, would't an accident like this have minor consequences and not an outright severe punishment?
Oh, right - they're plot holes to cover-up for the already thin excuse to make this sequel which was a surprise smash the first time. Nevermind.

Before I continue, I'll just come right out and say it: I didn't like Pitch Perfect back in 2012. In fact, I had named it one of the worst movies of the year, and went even further to call it an overrated, predictable and unfunny piece of crap. To me, Pitch Perfect came off as a longer, more obnoxious version of Glee meets Bring It On!, and I just couldn't enjoy the musical numbers as a result because the humor was so uninspired and flat; the performances so full of recycled cliches and annoying.

Having an idea of what to expect the second time around made me look past the films flaws and see what could be salvaged, mainly the musical numbers are all strong. You can tell how much these actresses worked on making sure the performances on the stage look as authentic as possible, and it's a real joy to watch. Hell, the scene with the underground a capella duel is perhaps the most creative and - dare I say it? - fun sequence in the whole movie. And after seeing the Bellas rivals, Da Sound Machine, I was kinda rooting for those arrogant d-bags to win it all, because of how in sync they were the whole time and how well the dance choreography was with that particular group.

Having said all that - Pitch Perfect 2 suffers two major drawbacks. The first is that besides the Worlds a capella tournament setting and new rivals, this is a carbon copy of the first movie - the girls have a new member to their roster, Emily Junk (Halie Steinfeld) who they're trying to figure out where and how she fits into the group. The girls get humiliated by their rivals, and there's a falling out. The girls have to find a way to regain their harmony back and square off in a showdown between their rivals who had bested them before. Oh, and more forced and unfunny humor with the individual members of the team. Later, rinse and repeat. The second, and most important issue with this sequel is the same one that plagued the first: Pitch Perfect 2 simply isn't that funny. The jokes are just so one-note: Stacie's promiscuous; Chloe's a control freak; Fat Amy does outrageous things, Lily's weird as hell - we get it already! These jokes and quirks that we saw in the first movie were hammered so many times that it made the humor obnoxious to listen to, and screenwriter Kay Cannon plays the same hand once again, to even lesser effect this time.

Pitch Perfect 2 might be slightly more tolerable this time, but it can't conceal the fact that it's a repetitive sequel that offers more of the same, and honestly, if you enjoyed the first Pitch Perfect movie, then don't let me keep raining on your parade. Universal is green lighting a second sequel for summer 2017, but I'll just sit that one out. The Barden Bellas just aren't my thing, but I'll always have Da Sound Machine, I guess.

** stars out of ****

Monday, September 7, 2015

Summer Recap 2015: Flawed, But Still Fun

For the next two weeks, I won't be going to the movies.

Sort of.

I'm taking an extended hiatus from watching the last bits of late summer movies or the early fall flicks due up on the docket, and instead, I'll be holding off until mid-September for the crime drama Black Mass, due out on the 18th, and (maybe) for the second installment in the Maze Runner series, The Scorch Trials. Don't worry - I'll still be writing; in fact, I have a backlot of stuff of summer movies I've been meaning to review, but never got around to them, so what better time, with the fall and Awards season looming around the corner, than now to start talking about what I thought about this season's mix of summer offerings?

In 2012, I called Marvel's The Avengers the best film of the year - yes, better than Zero Dark Thirty, Lincoln, Life of Pi and Django Unchained. I still stand by my choice, because, as I stated before, I saw Joss Whedon's superhero team-up as the blockbuster genre at its best. The many, many things that could have (and should have, in anyone else's hands) gone wrong, simply didn't. It brought a new element we hadn't seen before, it wowed, made us cheer and feel completely invested in this relatively new shared universe and it's vast characters. It put Marvel Studios on the map as a powerhouse film studio, made Whedon a bigger geek god than he already was, and changed the game as Sony, Fox and Warner Bros scrambled to model their comic book properties in the same mold as what producer and president Kevin Feige has done. So how do you build off of one of the highest-grossing movies of all time? You go bigger: You make the stakes and the action bigger, the villain badder and make the Battle of New York look like child's play. However, 'bigger' tends to be confused with 'better', and that's the biggest shortcoming with Avengers: Age of Ultron.

This time around, there's no Loki to spring the team to action, and there's no S.H.I.E.L.D. to reign them in. It's just Tony Stark/Iron Man (Robert Downey Jr.) and Dr. Bruce Banner/Hulk (Mark Ruffalo) playing Frankenstein as they give birth to a malevolent A.I. in the form of Ultron (voiced and motion captured by the funny and menacing James Spader), a peace-keeping program who's idea of peace in his time equals wiping out humanity itself. The rest of the Avengers - Captain America (Chris Evans), Thor (Chris Hermsworth), Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) - pissed off at Stark for putting the planet in jeopardy, scower the earth to find and stop Ultron from achieving his goals, taking them from Wakanda, to Korea to Sovokia and causing shitloads of damage in their wake. It's a big cat-and-mouse chase that tends to wear you out, and not in a good way, either. Despite the film being a minute shorter than it's predecessor (Ultron runs at 141 minutes), Whedon's second outing drags in certain places, none more so the Seoul chase with Widow, Hawkeye and Cap in pursuit of stopping Ultron from bringing to life his own Frankenstein in the form of the Vision (Paul Bettany, formerly known as Stark's digital butler J.A.R.V.I.S.)., along with the subplot of Thor seeking out Dr. Erik Selvig (Stellan Skarsgard in an extended cameo) to make sense of a vision he had while encountering Wanda Maximoff/Scarlet Witch (newcomer Elizabeth Olsen). I'm not going to spoil the payoff to this subplot, but if you've been keeping up with the MCU movies and/or seen last summer's Guardians of the Galaxy & 2013's Thor: The Dark World, you'll know that it's all setting up for a future showdown featuring a half-dozen artifacts, a metallic glove and a big, purple alien hell-bent on annihilating the universe.

Avengers 2 also contains plenty of new characters, along with returning ones. Unlike the last outing where each character had their moment, its predecessor just has too many. New to the MCU is Korean actress Claudia Kim as Helen Cho, a doctor who regularly aids the Avengers in Stark's rebuilt Avengers Tower; Aaron Taylor-Johnson as brother to Wanda, Pietro Maximoff/Quicksilver; and motion-capture icon Andy Serkis as Ulysses Klaue, a South African arms smuggler who has a connection to Stark back in the days of him being a weapons manufacturer. And that's not even including returning characters like Sam Wilson/Falcon (Anthony Mackie), Agent Peggy Carter (Haley Atwell), Col. James "Rhody" Rhodes (Don Cheadle), former S.H.I.E.L.D. agent Maria Hill (Colbie Smulders) and the previously mentioned Selvig. Most of these returning actors show up to basically say that they'll be back in future installments of Marvel's interconnected playhouse (or in Atwell's case, that the second season of Marvel's Agent Carter will be back in 2016 on ABC!), and don't really affect the plot in any significant way, except in the case of Cheadle. Hell, even Samuel L. Jackson's Nick Fury isn't given a whole lot to do, expect to give the ragtag supergroup a pep talk after Ultron hands them their collective biscuit. You get the feeling that most of these guys only showed up in the final cut because the studio told Whedon he had to include them in the plot, and given the reports of conflict between the writer-director and the higher-ups, Feige included, it honestly wouldn't surprise me.

If it sounds that I'm hating on the Marvel Studios sequel, I'm not. Personally, I'm more let down than anything else because it falls back on familiar tricks - namely, Marvel's '3rd act syndrome' where it becomes a CG overload of explosions and mayhem that makes Bay's robot carnage in the Transformers films almost look restrained by comparison, along with the old blockbuster trick of one-uping the ante from the last go around, in the form of the Avengers v. Ultron's copycat army, and lifting a small city to new heights (literally) - tricks that I honestly thought Whedon would be too smart to fall for. Still, this isn't anywhere near as obnoxious, discarable or terrible as last year's Age of Extinction or as bloated and tedious as Pirates of the Caribbean: At World's End. The man still understands that, without compelling, fun characters, audiences wouldn't give a damn about what happens to any of them.

I love the contrast between RDJ's Stark and Evan's Rodgers, two guys who would rather do their own thing than work together. Stark built Ultron out of fear of another impending invasion, and to be the ultimate peace-keeping force he feels the Avengers can never fully be; whereas Cap sees Stark's actions as trying to start a war before the actual war begins. I also love the additions of Quicksilver, Scarlet Witch and the Vision, enhanced beings who bring a new element of superpowers not seen in previous Marvel Studios fare, and it opens the door for new forms of abilities that aren't grounded in reality or in the cosmos. The romantic subplot between Romanoff and Banner is also touching and bittersweet, given their respective backstories - Natasha was bred to be a killer during the Soviet-era, and Bruce, thanks to his exposure to gamma radiation, is a walking timebomb that can't be easily contained, if at all. Jeremy Renner's Hawkeye is a scene-stealer, from quips about hating being manipulated telepathically, to his secret second-life that adds a new layer to a character who was the most underutilized in the first movie. And Spader's Ultron presents a moral conundrum to the whole proceedings - the Avengers were created to protect the world from all sorts of threats, so what happens when the threat is one of their own making? Can we rely on them to protect humanity from themselves, if need be? Are outside forces necessary to reign in a potentially dangerous group of special individuals like the Hulk's and the Vision's of this brave new world? This addition of depth is explored, and although it's not fully answered in this blockbuster, it's refreshing to see these ideas take root and be fleshed out in future installments of the MCU. And despite a familiar 3rd act, the action scenes are simply Marvel-ous to be behold (sorry for the atrocious pun), including a show-stopper featuring Stark's Hulk-buster suit and the Hulk himself, throwing hands in a South African street and the opening sequence of the team infiltrating a Hydra base. Watching Thor and Cap bouncing their abilities off each other, along with Barton and Romanoff kicking ass on the ground is just fun to watch.

Avengers: Age of Ultron isn't as fresh as it was the first time. There's too much character-stuffing, and as a result, they feel like extended cameos, playing as reminders that they'l have more to do in the future. There's several plot threads vying for attention that it makes the film feel bloated, despite the shorter runtime. And the last third of the movie feels very much been-there, done-than with the first Avengers outing, as well as with other films in the MCU. But there's more-than enough thrills and solid writing from Whedon, as well as the advancement of our favorite characters to make us enjoy this blockbuster behemoth, warts and all. And given that later on, audiences would be treated to crap like the previously-reviewed Fantastic Four and Terminator Genysis, along with Adam Sandler's Pixels and my next review of my recap of summer flicks in the form of Pitch Perfect 2; sometimes, the best you can is good enough.

*** stars out of ****

Sunday, August 16, 2015

A Fantastic Piece of Shit, Part II

Dumbasses In Space!
When we last left our foolishly stupid twats heroes, Reed Richards, Johnny Storm and Victor von Doom were convincing Reed's nonexistent friend for most of the 1st Act Ben Grimm to take a little joyride through another dimension, break every protocol in the book and possibly get themselves killed because they want to stick it to 'the Man' and not get left behind in history, despite the fact that engineers are just as renowned in the scientific community as the explorers who launch off into space. Of course Ben agrees and they set off for Tacky CGI Effect #573....I mean, the Negative Zone. Victor sees a terrible green slime effect and attempt to collect it for future study, but this causes the ground beneath them to collapse, as Victor falls into said terrible slime effect, presumably to his death. The remaining trio have to hi-tail it out of there with the help of Sue Storm, and return to Earth, but not before the machine blows up and destroys the laboratory. So, to recap - Reed and company decide to take an unauthorized journey into an unstable and dangerous dimension, lose one of the own colleagues, destroy a billion-dollar, game-changing transporter machine that took years to develop, trash the entire center, and exposed himself, and his friends, to substances that could harm them and those around them. Say what you will about Zack Snyder's version of Superman in Man of Steel,  at least Kal El saved millions of lives from General Zod. Reed damn near got everyone killed for being a dumbass.

Before I go on, let me say this about the visual effects; primarily that they're bloody terrible. Good to great visual effects enhance the story and the environment the characters are in, as well as not call attention to itself. The effects in this movie look so cheap and stick out so much that it borders on insulting. Trank, in order to save money on the effects budget, went with an unknown effects company, Otoy, who specialize in developing complex 3D graphics and effects by moving it on the Cloud format. I don't have a problem going with this sort of technology, if you're making a smaller film, but this is a superhero movie. There's no excuse for shabby effects, especially when you're making a big budget film of this nature!

We cut to the part where the film was clearly reworked and reshot, I mean, one year later, where Sue, Johnny and Ben, now dubbed, "The Thing", are learning to harness their newly-acquired powers through government help; in exchange they are trained to become military assets in hotspots around the world. I'll be honest and say that this section, as it's set up, is actually the best part of the whole film, because it takes a very interesting and believable turn. Ben is the most-used asset at their disposal, with Johnny volunteering next. Reed himself is absent, primarily because he escaped captivity and left his friends to their own devices, including Ben himself, who now harbors animosity towards his sudden departure. Papa Storm asks Sue to find him in order to help rebuild the inter-dimensional transporter device he destroyed because he's the only one who can do it, or some nonsense Simon Kinberg and Trank threw in there to explain why they don't use the combined notes of Richards and von Doom the pair probably left behind before the incident. That's not the only glaring plothole in this second act, mainly: why didn't the government try to locate Richards before? I know it's difficult because now he can change his facial appearance at will (and yes, that effect is just as bad as every other one in this clusterfuck), but Sue studies pattern recognition; she probably could have located the guy months ago if they asked her, and they're only now getting around to it!

They find Richards hiding out in Central America, where he and Grimm have a 30-second scuffle before the latter knocks out the former cold and takes him back to Area 57, because Roswell withheld the naming rights to the filmmakers. Did I mention that almost a hour into this movie, and that the fight between Mister Fantastic and The Thing is the first action sequence we've seen? Richards agrees to rebuild the portal, and trained soldiers voyage to the Negative Zone, only to find Victor, who has inexplicably survived, and is taken back to Earth for observation. If you guessed that this was all an elaborate ruse to return and exact revenge on the people who left him to die, you're completely on the nose!

By the way - this is what our villain looks like: a living, breathing candy skull for Dia de los Muertos. Victor kills just about everyone in Area 57, including Dr. Storm. Why does he do this? Because he's the villain, and he has to do villainous things to show how much his character has changed. That, and the writers have pretty much fucked up everything about Doom, from him being a pretentious hipster/computer genius to now being a generic antagonist. What's really sad is that Tony Kebbell played such a complex and sympathetic bad guy last summer as vengeful ape Koba in Dawn of the Planet of the Apes, who's motivation was strung out of hatred and anger towards the humans for torturing and experimenting on him before the Simian Flu drove his captors to the edge of extinction. Back to his grand scheme: He wants to build a portal from the Negative Zone and use it to suck up Earth's resources in order to grow the new world, which brings up a few questions:

1.) Why did he have to wait for Area 57 to build another portal to get him off-planet if he had the means to transport himself back this whole time?
2.) How the hell is that even possible?! Once he does open the portal from his end, and it does begin to suck up everything from the base of operations to trees and other items, The Negative Zone doesn't begin to flourish, or even change from it's Dark World-like setting. And
3.) Where the hell did this sudden transformation come from? I know he's evil, but please - elaborate, movie! Has he been harboring a deep animosity towards the human race for years? This feels extremely contrived, as if the writers didn't know ow to fully flesh out the primary antagonist, which really wouldn't surprise me if that were the case. At least with Michael Shannon's General Zod, you understood his position about being bred to protect Krypton and save his people, regardless of whatever means he needed to take to accomplish those ends. Here, Doom is just acting evil because the plot says so.

Reed, Sue, Johnny and Ben somehow follow Victor to the Negative Zone, despite taking the transporter with him when he escaped, know what? I don't care at this point. The final showdown consists of dodgy visuals and an uninteresting confrontation because we know hardly anything about these characters, what motivates them and why they're trying to stop their former colleague from destroying the world, making the final battle a boring affair. The foursome defeat Doom, save the Earth from annihilation, and are given a base of operations by the government to continue their research.  Yep - no oversight of any kind, just say yes to all of our demands!

If the ending to this review sounds rushed, it's because that's how the ending to Fantastic Four feels: rushed and in a hurry to salvage a shitty movie brought about by poor writing, atrocious dialogue, lazy characterization, and wooden acting by everyone involved. The young core of Teller, Jordan, Mara, Bell and Kebbell are all proven and capable of giving solid performances, but Kinberg and Trank give them little to work with. I get the director's approach - crafting a character-driven, gritty popcorn flick, but the execution is so poorly done that you can see just how in over his head Trank really was with the project. The visual effects look cheap and don't blend into the rest of the picture, the action scenes are just tedious and boring to look at, mostly because the film doesn't really give the actors room to play with their given abilities, and the overall look of the film, with it's brooding color palette, takes itself so damn seriously that there's not much fun or enjoyment to be had.

There's plenty of finger pointing about what went wrong with this reboot, with articles and articles discussing the film's troubled production timeline, ranging from how Trank himself acted unprofessional and openly hostile towards the crew, to how Fox hated the original cut and all-but booted him from reshoots and post-production, in addition how the studio allegedly changed the script before production began. How much of this bears truth is probably somewhere down the middle, but one thing can't be denied: it's perhaps the worst superhero movie since...well Fox's own X-Men Origins: Wolverine and Joel Schumacher's infamous Batman & Robin and a disjointed mess that makes me rethink some of my harsh criticisms hurled towards Terminator Genysis, namely that it was the worst summer movie I've seen and the worst movie I'd seen in 2015.

Zero stars out of ****