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31-Dec-2020 11:35

His discussion of Hall Bartlett’s 1973 adaptation of Richard Bach’s 1970 philosophical novella Jonathan Livingston Seagull begins tomorrow. I saw it last night, and think this film will generate some fascinating discussion on nature, religion, and the hippie ethos—and that’s just for starters.

Port Manteaux churns out silly new words when you feed it an idea or two.

Now you can strain him through a sieve;” “We don’t like it when innocent people are blown to jelly in our town.” And running underneath, seething racism, all of it subtle. The slow show of Quinlan’s dark deeds often stirs Vargas into sanctimonious diatribes. Save your tears for them.” In fact, the greatest fault of the film is that it allows Vargas, the mouthpiece for glib, nickel-plated platitudes, to finally elude the moral griminess of the real world.

Vargas’s newlywed wife, embarking toward an American motel while Vargas diverts back into Mexico to investigate the explosion: “I’m just going to an American motel for comfort… To Quinlan: “In any free country a policeman is supposed to enforce the law, and the law protects the guilty as well as the innocent… Though he is touched by evil (or rather, it is his wife who is groped by evil, and he is only threatened by the possibility of being forever associated with evil), he is never fully in its grasp, never made to suffer the crush of evil, the kind of evil that creates the Quinlans of the world.

An interesting, if easily unrecognized, thing happens when viewing today.

A story of a dirty cop planting evidence in an assumed guilty party’s home and behaving with the cavalier assumption that the act is justified based on intuition of guilt is one that seems tailored to rouse an audience trying to live beyond the Administration that authored the war in Iraq.

Enter "south america" and "chess" and you'll get back words like "checkuador". It uses the Datamuse API to find related words, and then finds combinations of these words that pair well together phonetically.

Note: The algorithm tries reconstruct a spelling for the new word after generating its pronunciation, and sometimes this spelling isn't quite right.

But Welles does it all with incredible style, upgrading what is, as he even called it, a B-movie into that which cannot be ignored for its visual power and its ever-resonating thematic punch. MENZIES: …Faking evidence – QUINLAN: Aiding justice, partner.

The melodrama is as corpulent and sweaty as Quinlan, so thoroughly shot through with dread and dirt, it renders even more disturbing the already blunt dialogue: “An hour ago [he] had this town in his pocket… Evil there, but with good in the balance: the borderline self-righteousness of Vargas. ” And to Quinlan’s partner, laying it on thick: “What about all the people [Quinlan] put in the death house.

A story of a dirty cop planting evidence in an assumed guilty party’s home and behaving with the cavalier assumption that the act is justified based on intuition of guilt is one that seems tailored to rouse an audience trying to live beyond the Administration that authored the war in Iraq.

Enter "south america" and "chess" and you'll get back words like "checkuador". It uses the Datamuse API to find related words, and then finds combinations of these words that pair well together phonetically.

Note: The algorithm tries reconstruct a spelling for the new word after generating its pronunciation, and sometimes this spelling isn't quite right.

But Welles does it all with incredible style, upgrading what is, as he even called it, a B-movie into that which cannot be ignored for its visual power and its ever-resonating thematic punch. MENZIES: …Faking evidence – QUINLAN: Aiding justice, partner.

The melodrama is as corpulent and sweaty as Quinlan, so thoroughly shot through with dread and dirt, it renders even more disturbing the already blunt dialogue: “An hour ago [he] had this town in his pocket… Evil there, but with good in the balance: the borderline self-righteousness of Vargas. ” And to Quinlan’s partner, laying it on thick: “What about all the people [Quinlan] put in the death house.

Mike Vargas is a Mexican drug enforcement officer riding his career on the momentum of his perceived integrity.