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Overall, this is a wonderful series which combines similar ideas from other anime series' such as Guyver, Gundam, and Evangelion, as well as throwing Greek/Roman Mythology and Sci-Fi elements like those of Star Wars into the mix as well. Character designs are good, and the American voice acting is quite convincing 90% of the time.
My only complaints are that sometimes, the voice acting becomes over the top, and usually annoying. Examples include that of the Princess Dhianeila constantly crying for no reason. I mean, yes, I understood why she was crying half the time, but the rest of the time I swear, she just started crying out of no where. Other annoying voice acting complaints are for that of Dhianeila's brothers. They're convincing a lot of the time, and tend to seem quite evil, but then when things go wrong they becoming whiny and extremely irritating. Aside from some voice acting/character complaints, the only other major complaint that I have is that I counted quite a few animations that were rehashed over and over through out the series, making the animation quality seem somewhat lazy. The 3D animation of ships is nice too in most spots, and successfully makes it look hand drawn. Sometimes though, the 3D animations can seem a bit cheap, and look like something in a cell shaded anime video game (basically it just doesn't seem to mesh well with the rest of the drawn animations). Some character designs are also a bit annoying. At times some of the characters seem disturbingly skinny, as if they were all bone and had no muscle or fat. Another character flaw is that for one of the Silver Tribe leaders and that of Lt. General Nilval. Both seem to go around with with half of their boobs hanging out of their clothes, and in Nilval's case with her cape tacs (I say tacs but they look like spikes) placed awkwardly on her clothes where her nipples should be, as if trying to say "Hey, I have huge boobs, so I'll tease you and show you half of them, and make it look like I have metal spikes for nipples."
Again, overall this series is quite good, but a few reoccurring issues keep this from being as good as it could be.
Long ago, the advanced Tribe of Gold vanished from the vast universe. In the void left by their departure, the tyrannical Tribe of Silver ascended to rule, forcing mankind – the Iron Tribe – to the brink of extinction.
Now humanity wanders the cosmos in search of a savior. Prophesy has foretold of one who will labor for their freedoms, and on a planet of ruin, a champion is found. A feral boy named Age holds the destiny of their species in his hands and the untold power of the Tribe of Hero within.
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This was a good movie, wasn't so sure about it but then after watching it I really enjoyed it. My husband loves it and watches it a lot. If you are squeemish with blood though, not the movie for you.
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Talk about a movie that takes you, spins your head around in circles and dumps you all over the place the Heartbreak Kid breaks a lot of rules of film making and comedy and does it well.
It tells the story of a single guy Ben Stiller who is unable to find a woman, his sex obsessed father (played by his father Jerry) and his best pal Mac who are all looking to get him married off.
The movie starts to get you invested in his plight as he goes from embarrassment to embarrassment until he seems to come across the right girl, Lila.
In a mere 5 weeks pushed by his father and friend he marries her, and it is on the drive down to their honeymoon retreat to Mexico that things get interesting...
...that's where he meets the girl of his dreams, Miranda.
From here the plot twist and turns from disaster to disaster, in terms of the comedy the Farrellys set you up for every turn from Carlos Mencia through Miranda's family to the twins who after a brief introduction at the beginning of the film are used for great comic effect. The reaction of his father and best friends to his martial problems made me instantly think of the famous Three Stooges short The Three Stooges Collection Volume 2 Husbands Beware.
The comedy becomes so odd and the situations so ridiculous (one scene with Jerry Stiller on the phone with his son from Vegas still gives me the shudders) that you don't know what to do. The Farrellys slowly build up sympathy for Eddie as the film and then slowly bit by bit start to remove it until you wonder if you want him to get the girl of his dreams.
When you see the final scene (not counting the Easter egg with the Donkey)you realize who and what these characters are. It is a very disarming experience.
Oh and don't do what I did, I watched it directly after seeing Trade talk about getting your head and mind twisted all over the place.
This film is so not for kids it isn't funny, there are at least two sex scenes where I wonder how the actors involved managed to keep a straight face. I couldn't do it. Paradoxically it is, in many ways, a morality play, all the wrong and foolish decisions have all the consequences they should have, in at least one case tragic results. So on second thought maybe you should make your teenage daughters watch it and Learn!
It is slapstick, it is deep comedy, it is sexual comedy, it is mind games, it is a morality play, it is cheep bawdy humor all rolled up into one brilliant package!
I don't know if it's a keeper but it should be seen at least once. One piece of advice: When I watch Arsenic and Old Lace I always try to see it with people who never have, their reactions are priceless. This movie is no Arsenic & old Lace but I suspect the reactions would be the same.
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I can't believe how much I enjoyed You Don't Mess With the Zohan.
I went in fully expecting a typical Adam Sandler movie (you know, the kind where he just plays a stupid main character who's too goofy for his own good, which results in hit or miss comedy material).
Instead, this is quite possibly one of the best movies he ever made. I'm seriously shocked right now.
Furthermore, this movie almost has an epic feel to it. The movie is bigger, more "complex" (by comedy standards) and funnier than I EVER would've imagined.
I won't lie to you though- it might take a few minutes to warm up to Adam Sandler's character. Sometimes his accent isn't always clear, and other times it's just downright sloppy and unbelievable. Still, give the story time to develop, and you should be in for a really good time.
Probably not as good as the Waterboy though, but this movie comes OH so close to matching the greatness of that one.
Some of the scenes that brought a smile to my face, or downright made me laugh like a school girl-
- the scene where Adam's character was "feeling up" his customers at the hair salon and treating the older ladies like they were young and extremely attractive. He would constantly hit on the ladies with his inappropriate words. After that, Adam's character would take them to the back room of the salon and... you know!
- he was playing a game where he was bouncing a cat with the top of his feet, similar to things ball players tend to do while warming up, haha.
- the part where he was peeing in the litter box was golden!
- making a little child cry when he said that the boys veins would probably be accidentally cut if the boy didn't sit still for a haircut, lol
- swimming like a professional while chasing a guy on a jet ski
- playing pinball with a grenade
- constantly saying inappropriate things to Americans, and the people sort of forgiving him because of his accent and where he's from
- tying people into knots by folding their arms and legs, haha
- fighting a group of bad guys in super speed fast motion. similar to this scene would be the one where he drank a bottle of yellow liquid in a matter of two seconds after being hesitant if he should drink it or not
This was just a really funny movie. I can't believe I don't remember any advertisements running for it on television.
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OK, I haven't seen the original since it came out in theaters, way back when. That said, this stays reasonably true to its origin (as I recall it), but still offers enough newness to make remaking worthwhile.
Jaden Smith makes an exceptionally handsome young lead. Jackie Chan takes the role of Mr. Miyagi (sorry - Mr. Han) in a more serious manner than his past films might lead you to believe, and does a more than fair job of it. (He does get one lovely bit of comedic choreography, though.) Jaden's girlfriends is, of course, tweenage cuteness incarnate. China is China - majestic at times, crowded, isolated, commercial, spiritual, and all its other selves, a highly adaptable backdrop to any mood the movie might need. It's no spoiler to say that the bullied new kid wins out gloriously in the end.
My one complaint is the way he wins out. Where the heck did that move come from? No matter, it was a good one. A complaint that I expect to hear but don't share is, why was his mother just sitting there while her son was getting whomped into floorboards? If you have to ask, you probably won't understand the answer. Mothers of sons know that their sons are going to do things that get them hurt - better they get hurt under adult supervision, with a medic close at hand. And, since he's going to do wild and life-threatening things anyway, a mentor you more-or-less approve of lets you keep an eye on the craziness. In the alternative, he does crazy stuff anyway but does it with worse people and hides it from you. I don't call that bad mothering - quite the opposite. It's hard to keep rapport with tween- and teen-aged kids; you take what rapport there is where you find it.
A bit more brutal than the original, it's a product of a different decade. It's just as much of a feel-good flick or date movie as the original, though. I enjoyed The Karate Kid, again.
-- wiredweird
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I laughed hysterically in some parts. Mostly laughing at myself. I am a person with Chronic Fatigue Syndrome (not DPD!) and totally relate to Matthew Perry's character in the movie. Although CFS is very different and not what this guy in the movie has, I relate to that he seems intent on figuring out what is going on with him and to find some one who knows what he is talking about (so funny in the movie), people running away from him and his problem, including his family's negative reaction to him and his problem (again, some hysterically funny parts). Doctor's not knowing his condition. His feeling of being used by the medical profession (more sarcastic humor). His experience of ending up with unsuitable girlfriends who try help him (I've got tears from laugher by now). Even his compulsive shoplifting (which I doubt is part and parcel of DPD and certainly not part of CFS). I relate even to his business success despite his problem, and even his business partner, who is nice enough but there's no real communication, no real connection to nourish his soul in the one "normal" relationship he has. He's alone with his problem. There are many things that are different between CFS and this guy's disorder, but his experience is part of my experience in this society and my family with an unpopular, often derided, health problem, that is not properly understood. The movie gives important glimpses into the overall angst of the condition as well as the sufferer's desperate efforts to resume a "normal" life. Yet the movie is absolutely comical and a pleasant watch! Well, and a tear jerker for me (because it's a mirror of my life!).
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NOTICE!!! This movie should not be watched with children around or by those that are easily offended by bizarre sexual behavior.
No empire can live under the rule of a maniac and that is exactly what Caesar Caligula is. Raised knowing he would inherit the known world yet slave to his impulsive behaviors, and when the death of his sister-lover pushes him over the brink of insanity the world becomes a playground for his uncontrolled passions.
I liked this movie when it first came out and enjoy it still. Helen Mirren I've always seen as one hot maneater and she plays it for all she's got here. Peter O'Toole is one dangerous force as Emperor and Uncle to Caligula.
And the sets are magnificient! Caligula (The Unrated Edition)
Caligula is also a career curiosity for author Gore Vidal, who wrote the original screenplay, but later demanded his name be removed from the credits, and venerable actors Peter O'Toole, appearing briefly as the syphilitic Emperor Tiberius Caesar, and John Gielgud as Nerva, a Senator who'd rather take his own life than "live with this reptile." This controversial film's tortured history is untangled in a very helpful booklet that is packaged along with this set's three discs. One is hard-pressed to think of a more reviled film graced with such a gala presentation, but Caligula's defenders and the curious will be amply rewarded with both the original uncut theatrical version of the film and a re-edited alternate version. Supplementary material includes an hour of deleted footage, a pretentious "making of" documentary made during the film's production and a new interview with director Tinto Brass, whose softcore tendencies clashed with Guccioni's more extreme vision (Brass did not have final cut, allowing Guccione to insert more explicit footage into the film). McDowell contributes his own lively audio commentary. "God help us," he groans as the film begins, but by its bloody conclusion, he proclaims he has "no regrets at all" about making the film. Caligula, Mirren maintains, is "an irresistible mix of art and genitals." And you've got to hand it to Guccione. Especially in these politically correct times, it is still strong and scandalous stuff. --Donald Liebenson
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A Charlie Brown Thanksgiving is twenty-five minutes long and was originally aired on November 20, 1973. This was the third holiday special with A Charlie Brown Christmas being the first and It's The Great Pumpkin Charlie Brown being second. With the exception of the football scene where Lucy pulls the football away from Charlie Brown, Lucy is not featured in the rest of the special. The main story is that Peppermint Patty has invited herself, Marcie, and Franklin to Chuck's house for Thanksgiving Dinner and Charlie Brown and Sally will be at their grandmother's condo that day. Linus comes up with the idea of having two Thanksgiving Dinners; one for Peppermint Patty, Marcie, Franklin, and the other at his grandmother's place. The plan goes into full effect and the two recruit Snoopy to help set up the table chairs and make dinner. The two funny scenes are when Snoopy gets into a fight with a folding deckchair that comes to life and the kitchen scene where Woodstock accidently put butter on Snoopy's ear. The gang arrives and is escorted to the backyard to be seated for dinner. Look for chair that disappears and reappears next to Franklin whenever the scene cuts back and forth. In the end Charlie Brown's grandmother invites Peppermint Patty, Marcie, Franklin, and Linus over to her place and Charlie Brown emerges as the hero at the end. Not quite up to par with the first two, but still a good Peanuts special. A Charlie Brown Thanksgiving gets an AAA+++.
Also included in this DVD is the The Mayflower Voyagers. The Mayflower Voyagers is twenty-four minutes and originally aired on October 21, 1988. The Mayflower Voyagers was the first of an eight part special called This is America, Charlie Brown. The bulk of the Mayflower Voyagers is done in narration by Charlie Brown. There are a few dialogues done by Lucy, Linus, Sally, Peppermint Patty, and Marcie. Also included in this special are adults, in full view, with actually speaking parts and not the blah, blah we usually hear on other specials. This was something of a rarity in the Peanuts specials. Basically The Mayflower Voyagers tells the story of the Pilgrims journey to the new world, their hardships, and the meetings of friendly Indians. This would be a good lesson for pre-school kids. The Mayflower Voyagers gets an AAA+++.
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Translation of the title: the older we get in this finite world, the more conscious we become of our mortality and death. Some of us pretend we can beat it, most of us see it as irrational and unfair, practically all of us avoid or at least postpone thoughts about the subject, instead preferring to wait around and see what happens. What might strike some as odd is that so few of us bother to question the meaning of life and death--or even of "faith." Suppose Christ on the Cross did not say "Forgive them Father, for they know not what they do," but instead uttered: "Forgive them Father, for they know not what they think." Would such a pronouncement be further proof of God's unbounded love--or, since he created human beings to think, to examine, to learn, to grow mentally and spiritually as well as physically, would it amount to a confession of failure on God's part? Or, worse, an acknowledgement that he botched the job, creating a species capable of seeking after knowledge but preferring not to do so? Perhaps it's just as effective--certainly a lot easier--to simply regard the Creator as a dependable, supportive and understanding sort of "buddy"--a "personal" savior.
Tommy Lee Jones relates in the latter stages of the story that he's quitting as sheriff. He had expected "God to somehow come into his life" but is now too fully aware that God much less he himself is over-matched. The film's nemesis is a merciless "executioner" with less conscience than The Terminator and sufficient inscrutability to make even Woody Harrelson's perceptive diagnosis of him (as a psychopathic killer with principles, albeit devoid of "morality") inadequate. In short, the film is a version of an Ingmar Bergman film like "Through a Glass Darkly" or perhaps an earlier film like Bergman's "The Seventh Seal"--the primary difference being that the Coen Brothers' filmic and narrating style is more apt to catch the attention of a larger, even mass, audience. It's doubtful many of those who see the film will be satisfied with the conclusion. In fact, there is no closure, thus breaking an unwritten rule of all cinema. Recall how Hitchock has a shrink appear at the end of "Psycho" to explain in logical terms the character of Norman Bates and the whole narrative for us. And when the 1919 German expressionistic film, "The Cabinet of Dr. Caligari," played before American audiences, an actor was hired to appear on stage at the end of the movie to assure us that the monstrous killer-psychopath was now completely cured (no need to worry about a Hitler or Nazi movement). And so we would all like to believe--about extended life-spans, the "cures" of medicine, the progress of science. But the older you get--and the more inquisitive--the more you realize that the advertisers-promoters-money-hungry pharmaceutical companies, cosmetic surgeons, "powerful" positive thinkers--have sold us all a bill of goods. Like the characters in the film, we walk around saying we don't know what's going to happen next, pretending that life is an open and free proposition and that we could be one of the "lucky ones," awaiting the equivalent of personal fame and fortune if not immortality.
Josh Brolin appears to be the sympathetic "hero"--flawed by greed and, like the characters of "Treasure of the Sierra Madre," making what could be a fatal mistake. Yet he has a John Wayne-like rugged individualism, a knack for survival, and commands instant respect from those around him once they learn of his service in "Nam"--but that won't get you diddly in the relentless, fatalistic, flip-of-a-coin determinism that, in the Coen Brothers' view of modern existence, controls our lives. Brolin's conscience requires him to return to the scene of a crime with water for the survivor of a drug deal gone terribly bad, yet he can dismiss his wife's concerns for her mother. And in this instance we as the audience can afford to dismiss them as well. By this time we're conditioned to expect such a remark to be followed by the Executioner's (Javier Bardem--looking like a smaller but more chilling version of Schwarznegger or Andre the Giant) quick extermination of the person so named via his powerful weapon with its menacing silencer. But that would follow a certain pattern of logic--instead she dies of cancer. And when our leading contender for hero is momentarily distracted by a sunbathing babe in long shot, there's no need any longer to even play out the executions. We're not permitted the privilege of seeing him bravely succumb to the enemy: after all this, he's instant "dead meat" floating on a motel swimming pool (motels outnumber "homes" by a considerable margin in this movie--after all, who among us can claim NOT to be a transient).
Brolin's wife suddenly becomes a central figure, but only briefly. She at least has no illusions about getting a lucky roll of the dice. Her fate, like that of all mortals, is preordained, and she refuses to play the Executioner's coin-flip game, calling it more accurately: "It's not me or the coin that decides what happens to me. It's you." But in this circular question about free will and the meaning of life, Bardem answers her back: "You're wrong. That's how I got here." Each of us could not have been born had the slightest circumstance been changed on the night (or whenever) we were conceived. And who knows why we were born as human beings and not cats? It's all a game of chance, and there's isn't even an authentic card dealer. (The viewer can only speculate why the Executioner sees his own dicy birth as license to reverse the process--serving as the agent of hastening death for all. Is he sparing his victims Kierkegaard's "sickness onto death"--a charitable interpretation, yet his actions practically resist characterization as "evil" due to their inexorable and mechanical necessity). His presence might be interpreted as the embodiment of a cynic's message: Stop scapegoating, shut up you tea partiers and birthers and deathers. Stop pretending that life would be peachy if we could be good Americans and get rid of all those terrorists out there, not to mention illegal aliens. Because of him, the movie destroys all of our self-illusions and ultimately goes after the most hideous sin of all--which even after the Bible, the great tragedians, all the world's important literature and religions, we still can't seem to learn: pride, hubris, appropriating God's prerogatives. When will we learn? Why can't we? Why must we be so prideful in the face of so much evidence to the contrary?
But therein lies the film's admission of Aristotle's "fatal flaw," and along with it the small ray of light in the film (along with some moments of humor, which even the critics seem to have missed). Brolin, after all, did make a mistake and had the arrogance to think he could get away with his theft of the drug money intended for someone else. And for a moment, he let carnal desire distract him from the real threat. Moreover, he took his own life more seriously than that of his wife or mother-in-law, assuming that the Nemesis-Executioner was interested only in him. And the Executioner passes up an opportunity to snuff out the sheriff, Tommy Lee Jones (the closest thing to an authentic hero). Not being detected could be a motive, but is it possible he senses in the sheriff greater realism and honesty than in any of the other characters?
The last two scenes do nothing to prepare the spectator for an end, but they do "require" interpretation. Those viewers who simply refuse to discuss, think about, or interpret a movie are basically told by this movie to shape up or ship out. The Executioner (quite vulnerable himself, by the way, but a better survivor than Harrelson or Brolin) walks away. Behind him he leaves the seeds of greed (and of fatal pride) in a young boy who took money (from the Nemesis, naturally) in exchange for what was supposed to be a Good Samaritan act. Before the recovered Executioner, who ambles off into a typical American neighborhood out of the "narrative frame" of David Lynch's "Blue Velvet," lies what--who knows what? Another victim? The sheriff? His are the last words as he reports a dream about meeting his father (who did not die an old man), and then says: "I woke up." That awakening is what this movie is all about. The screen goes black waiting for the spectator's inner light to come on. It's time to wake up--perhaps now more than ever. There may be a future, but there will be no lottery tickets--even to those who win them. It's we who must act to make the best of that mortally-defined fateful span of existence that lies before us. We can't know if our efforts will bear positive fruit, but we can know that "good" isn't simply going to happen by wishing and waiting for it. And we can also know that our prideful moments can only bring more misery. And if you don't know this now, you most certainly will either know it, or feel the effect, when you're older.
The problem with "Forgive them for they know not what they do" is that pride, the worst of the deadly sins, exists within spiritual, religious contexts as well as profane, "worldly" ones. History has show us time and again that there are no shortage of "righteous" religious followers who, given the chance, will "take one for the Big Gipper in the sky." Isn't that, after all what Jesus would do? So why not have a few crosses of our own--"stars in my crown" that can be displayed on Judgment Day. But if God had uttered: "Forgive them for they know not what they think," he would in effect be admitting failure or, worse, condemning his own creation--distinguished from all other creatures by their ability to question, to examine, and to know. A God capable of making such a concession would be a God beyond human comprehension. But we can have faith that there is such a God.
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When all is said and done, the Hannah Montana television series may go down as the best/most popular in Disney Channel history. After watching this corresponding film installment, I can confidently say that its legacy will also live on via the big screen.
Basically, all you need to know about the showing going in is the basic premise behind everything: Hannah Montana is an incredibly popular pop singer, but only plays the role when not being a "normal girl" as Miley Stewart, never to divulge her secret identity to the world.
In this movie, Miley goes (or, rather, is forced) back to her Tennessee roots when her Hannah persona gets a little too "big for its britches" out in Hollywood. While down South, Miley starts to remember what made her create Hannah in the first place, and is forced to make a difficult decisions that will affect the rest of her Hollywood career.
What really sets this show apart from other Disney fare is that the characters age/grow right along with the show. By the time this movie came out, Miley Cyrus is playing almost a completely different character than she did at the show's inception. Unlike some shows that re-tread the same basic scenarios time after time regardless of character age, Hannah Montana advances the characters, storylines, and subject matter appropriately, including in this film.
In terms of casting, all the "usual suspects" from the series are back, including guest appearances from celebrities like Taylor Swift and Rascal Flatts. Some may argue whether Cyrus has the acting chops to become a true big screen star, but there is no doubt that she shines in this duel-personality role.
Thus, this is a family-friendly film that I can easily recommend to watch with your younger siblings/friends. At first, you may feel uncomfortable watching such supposedly "silly" fare, but in short order you'll realize you're just watching an effective family film.
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I just totally love this movie...As a photographer I am thrilled with this movie for all the different medias used, aspects of cinemaphotgraphy and overall production. It's a classic in my opinion, a bit violent, but a movie with the title, Natural Born Killers it should be. It has a great storyline and I love how they really expose the media for what it really does - famous for making something out of nothing. The first time I saw this movie was in the theatre and I came out just awe struck. Now it is on Blue Ray and I can see it over and over in High Def and everytime I watch it, I see or learn, some new little detail that adds to the plot and storyline. If you like action packed movies with big name actors (Woody Harelson, Tommy Lee Jones, Robert Downey Jr. and more), and you like to see films that are a quite artistic and a little different, then this is a must for your Blue Ray collection. Also, using Nine Inch Nails as the main musical artist for this film is perfect - Treant Raznor is a genius. Definately a Oliver Stone masterpiece!
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This is a fantastic Christmas DVD! I have loved this film since it first was produced on a DVD. But I have enjoyed it even more since it has been reproduced on a blu-ray mode. I would reco9mmend this dvd to anyone who loves the old fashion memories of Christmas and children growing up!
an initiate to brakhage by every means, only because of criterion have i heard of this and waited for the two volume set to actually start watching. some of the shorts have proven to be a bit elusive in meaning so i've been watching the interviews to get a sense of what brakhage was trying to get at. the supplements are just as mind blowing as the films they are about.
i've been one to put on music while watching movies, with the volume down(pink floyd and wizard of oz is purely coincidental). this collection of mostly silent films has practically provoked me to do so. i've been playing autechre's oversteps,delirium cordia from fantomas, secret chiefs 3's satellite supersonicI, and mike ladd's bedford park while watching. further combinations are imminent... or impending.
i had no idea people would like stuff like this, much less make an abundance of material like this. i know how i ended up "like this" but how deep it relates to these meanings is slightly beyond reach-partially unattainable. i understand this review may not be very helpful, so teh more teh no votes teh better teh troll me with. atleast i waited till i had it in my hands and had seen the actual product you pre-release review-crybabies. TROLL RIGHT!!!
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