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54 reviews in total 
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6 out of 14 people found the following review useful:
Vintage Dudley, 24 July 2003

The Hound of the Baskervilles is never realises its comedy potential as a vehicle for Dudley Moore and Peter Cook. However, it is an hillarious little piece in the Carry On mode, and that is its blessing and its curse. When its bad its awful, but it still has the ability to milk one or two belly laughs. Fans of Sherlock Holmes and Arthur Conan Doyle will probably love it because it both sends up Doyles Holmes and Watson and is an affectionate tribute to their worlds. Were the movie falls flat is that the too many ideas are rather lacklusterly handled by Andy Warhol veteren Paul Morrissey. You rather wish the film had been directed by a heavy weight like Richard Lester or Blake Edwards or Cook and Moore themselves. At times the movie doesn't know whether it wants to be Monty Python smart or Carry On Corny, and so alot of the ideas that worked brilliantly on Cook and Moores Behind/Beyond the Fringe Days and Not Only But Also dont work here. What is fairly noticeable about this film is the growing talent and enthusiasm of Dudley Moore as a screen prescence. He has at this point broke free the comedy chains enforced by Peter Cooks talent and his confidence dances off the screen. His silent movie/Chaplin/Laurel and Hardy/Keaton tribute usical score is wondeful too. He is genuinely hillarious with his over the top welsh accent as Watson and cripplingly funny playing Holmes's mother. In all honesty it is Dudley who makes the film work. Dudley holds his own against British comedy greats such as Kenneth Williams(brilliant in the film), Terry-Thomas and Spike Milligan. Peter Cook is quite good as Sherlock Holmes, certainly looks the part and given the chance would have made a very good Holmes in a better movie. But it's Dudleys film, he is the one who makes it work, and things where abi=out to get very interesting for him over the next decade.

Foul Play (1978)
2 out of 2 people found the following review useful:
Ready to take a chance?, 24 July 2003

I love Foul Play because as it is a brilliant little Comedy Mystery Adventure that uses every availible elemnts to make itself work. The casting is spot on. As the female lead we have the never sexier bubblier or cookier Goldie Hawn as our heroine. There is just something about Hawn that we are able to project ourselves into her bumbling predicaments. Hawn is at a carrer high ponit with this film wich is one of her finest. There is also Chevy Chase as the dorky inevitable love interest who works so fantastic with Hawn and the two make a fantastic double act. On the support front there is also the ever green ever reliable and loveable Burgess Meredith, fresh from success with Rocky under his belt, and Brian Denehey who shows up as a kind of Cheif Wiggum from the Simpsons Police officer.

The best of the support players is Dudley Moore. Moore plays Stanley Tibbetts, an accident sittuation prone English Orchestra conducter living in San Francisco. Dudley's chemistry with Goldie is so rich that he very nearly acts Goldie off the screen. The movies funniest moments involve Dudley as sex mad Stanley. The first being were Goldie asks him to take her home. Mistaking this as a once in a life time call for a one night stand, Stanley dances around in his under wear to the strains of the BeeGees Staying Alive, sex toys at the ready and blow up dolls in mid flight and Porno films in mid climax - all while Goldie isn't watching. You can imagine her shock and horror when she turns around! Goldie later encounters Dudley at a massage parlour, much to his anxiety. This role is very typical of the confidence in Dudley Moore at the time (1978), and he is as every bit as good in this small part as he was in the likes of 10 and Arthur and very worthy of his Golden Globe for best newcomer.

Foul Play is an affectionate send up of Murder mysteries and crime capers and as an adventure comedy movie it has every thing. Car chases, albino eyed villains, intrigue a great musical score and lavish direction from writer director Colin Higgins.

A Must see 10/10

Dr. Strange (1978) (TV)
16 out of 19 people found the following review useful:
The Geatest Superhero TV Series never made?, 10 July 2003

Dr.Strange carries forward the legacy initiated by Kenneth Johnson on The Incredible Hulk Television Series and Pilot Movies. It takes a serious approach to the superhero genre, and reconstructs it for television. So with Dr.Strange, Writer/Director Philip De Guerre dispenses with alot of the important elements that made Stan Lee's/Steve Ditko's original Strange Tales Dr.Strange comic book stories so unique and exciting for a whole generation of readers, and comes up with a fresh approach for the times {1970's} and the climate {Network Television}. What is so amazing is that it works on almost every level.

Gone from the TV version of Dr Stephen Strange, is the arrogant, haunted persona so familiar with readers of Marvel comics. In its place is a man with a destiny to encompass the mystic arts. Perhaps a forerunner to the Highlander Movies, TV series and cartoons? What we have is a sincere, likeable sweet lead character akin more to Bill Bixby's performance of Dr David Banner. Strange is superbly played and realised by Peter Hooten. Hootens performance is refreshing with what was the norm on TV at the time. Hooten is ably backed up by the sinister Jessica Walter as Morgan Le Fay, and the evergreen John Mills as Thomas Lindmer {replacing the character of the Great One from the Marvel series}. Lindmer is a character reminiscent to Sean Connery's Ramirez in the aforementioned Highlander movies. Hooten and Mills share some genuine screen chemistry together and this movie serves as a fascinating glimpse as to what could have been had a series been commisioned.

The transfer from comics to TV is quite well realised despite the obvious limits of a TV budget. The production design, especially of those of the nightmare realms and Lindmers Castle are very efficient as is the near perfect realisation of Dr. Stranges costume from the comics pages {i actually prefer the TV Movie version}. On the down side the plot is a little cumbersome and slow burning. There doesn't seem to be too much movement, and the plot isn't too involving. It would perhaps have been a better idea to have incorporated more elements from the comics into a pliot movie of Strange's exploits.I think a good example of how fantasy can work on TV is Bill Bixby's The Magician TV series and pilot movie. Also, the special effects at times do look cheesy.Despite this, Wes Craven's A Nightmare on Elm Street seems to have incorporated alot of this movies elements into its screenplay, IE, people being haunted, killed or possesed from within a dream state, and a saviour entering that realm.

Having watched the movie again recently, it was nice to see the innocence in the movie. I can see how the occult theme may have been offensive at the time. But with the spot on performances, tight direction and nicely toned humour,{watch out for a neat cameo by Magician Larry Anderson at the end of the film} watching the film again only serves to re-emphersise my opinion that Dr.Strange was the greatest superhero TV Series NEVER made.

54 (1998)
0 out of 1 people found the following review useful:
Knock on Wood, 26 February 2003

54 is a great movie for nostalgia pundits such as myself. It is an affectionately made journey through the looking glass to back to the late 70's and early 80's. It has a great soundtrack and enjoyable performances by Ryan Philippe, Selma Hyack and the like. Of course the man who steals the show is Mike Myers who is hillarious as Steve Rubell. The Script centres alot of the attention on Myers and Rubell, because he is quite simply the most interesting of the ensemble characters in the movie. I dont know too much about Rubell but Myers manages to make him a likeable character despite being nothing short of a bastard. Where the movie lets it's self down is that there is practically no style to the direction or even the script, so we dont see anything we havent seen before. Philippe's opening narration goes for a Goodfella's style feel, while the movie tries mercifully to drag it's self out of the shadow of Boogie Nights. Director Mark Christopher seems to be trying to hold back the feeling of excess instead of succumbing to what is natural. This is a pity because the movie could have benefited alot more from doing just that. Overall though, as it stands 54 is an enjoyable, watchable -Grade Mike Myers showcase with some great tracks {Knock on Wood for one} and some solid performances.

8 out of 8 people found the following review useful:
PLEASE! Do Not Adjust Your Sets;, 18 June 2002

Will this post make it to the internet by 2035?!

The Kenny Everett Video Show, lays down the blueprints for the zany comics later and more influential Television show, but in its own right is as funny, innovative and as welcome as anything Cuddly Ken had ever created on the airwaves or the tube. Although Everett had flirted with the medium before, most notably on TV Sketch Series like The Kenny Everett Explosion, Making Whoopee and Ev, it was only by 1978, that the technological advances of Television had found its way up to his unique level. This may sound a little too strong, but in all honesty, Everett was to Radio what the Beatles were to British music. Suddenly in 1978 it was easy for Everett to transfer the wonderous miracles he was capable of making from sound to vision. And armed with top comedy writers Barry Cryer and Ray Cameron he was able to express himself as a Grade A Comedian with a series of hilarious sketches acting as fillers to the Music acts wich ranged from the likes of Freddie Mercury, Rod Stewart, Kate Bush and Elvis Costello to David Essex and Bill Wyman. The almost campy dance act Hot Gossip provided an erotically charged yet eye candy backdrop, because as this was early days in Ev's comedy cavalcade, the shows format was really just that of a DJ's music half hour with funny links in between acts. The impact of the series was so strong from the public, and the viewing figures so great that Everett was blasted in to Superstardom, and the outcome of wich was the later and better Television Series.

The Video Show is packed with wonderfully innovative visuals wich may look crude or cheap by todays standards were truly groundbreaking in the late 1970's early 1980's. All the laughter comes from the crews behind the cameras as studio audiences were not being used for an Everett show as yet. The best and funniest characters were the giant handed gospel minister Brother Lee Love, the greaser biker Sid Snot, who Freddie Mercury jump on in one sketch and the animated space looney Captain Kremmen, who was a cartoon character voiced by Everett who also voiced the Captains Busty sidekick Carla. The Kremmen adventures added to the pop culture look of the show and were animated by Cosgrove Hall Animation production who later released the Animated Captain Kremmen The Movie wich starred Everett.

The Video Show is pure fun and shouldn't be overlooked. Although, it does seem as though Kenny was saving the best for The Kenny Everett Television Show, which i have also reviewed. No honestly ,i have. Seriously. Youve Gotta believe me. Go and have a look for yourself. I'll wait here while your gone.

I here you brothers.

Starman (1984)
5 out of 7 people found the following review useful:
As Perfect a Movie You Will See., 26 April 2002

In my opinion, this movie represents a point in Hollywood history where all the best possible elements came together to make a classic film. Starman is not only one of the best movies of the 1980's but it holds its own against any other classic movie from the corridoors of Time in Movieland.

Iam not as such a fan of John Carpenter, but i will admit that he has a talent, and with talent must come the ability to control this. With Starman he does just that. He avoids any moves of vanity on his own behalf, wich he so often fell into in the past, and finds a style that is moving warm and even beautiful. It is worthy of note that this is a rare example of Carpenter having no involvement in the producing, Writing or Musical duties, so what he brings to the table is perhaps what the script might of been missing, and what makes Starman The Movie so great. At the core ofthe movie is the excellent overall story and well developed characters presented to us by the writers Bruce A Evans and Raynold Gideon. This is well in tune with the leisurely and even Alien direction from Caprenter wich moves at such a heavenly place its like picturesque music without sound. Carpenter does express his shock tactics and trick photography he employed on classics like Halloween, The Fog and The Thing, and even though Starman isn't a horror movie, these tactics seem more suitable to this Sci-Fi/Romance.

The two vital components in making Starman work are Jeff Bridges and Karen Allen. As Starman Bridges is so convincing in an almost retarded role that when you see the images of the life the Alien has assumed, Scot Hayden [Bridges]It is easy to believe that these are two different actors. Bridges gets to grips with the Alien he is playing but plays it so gentle and mesmeric that when the love affair between Starman and Jenny Hayden [Karen Allen] blossoms, you are at once cheering it on. Karen Allen is the real revelation to the film, she is us watching Starman's progression through his human life, and is just as amazed and in awe of what she see's as we are. Bridges and Allen make a very believable screen couple as both Scot and Jenny Hayden and Starman and Jenny Hayden, and it is beautiful to watch them on screen together.

The one slightly disapointing aspect of the movie is that it falls into a conventional and predictable trap of Romance movies at it's Climax when Starman has to leave. O.K., so this is the whole point of the movie's kinetics, but it seems to resemble too much, Spielbergs E.T. The Extra Terestrial. This is not to compare it too much to that film, because a piece of Starman stays behind in this movie [See for yourself], and i might annoy some people by saying that Starman is more profesionally and gracefully made than Spielbergs 1982 classic.

All the elemnts work,from the special effects, to the make up and costume, and even the point of the movie being a road film, because you are so engaged by the developement between the Starman and Jenny Hayden Characters. And other than that minor quibble, I can't find anything else to fault with this movie. It is well made and acted, boast a fine Jack Nitzche musical score and is beautifully photographed by Donald M Morgan.

A Highly Recommended winner........................................................................ 10/10

33 out of 34 people found the following review useful:
Wise and Wonderful, 24 April 2002

All Creatures Great and Small, is one of those rare, timeless and charming BBC Productions that never seems to age and which can still be enjoyed all these years after its production finished. I think the key for this is the belief that the producers, writers and directors installed into the series to make it real. The charm comes from the fact that it is set a long time ago, in a more gentle and picturesque time when life was easy as could be imagined, before the ravages of World War II left its scars upon the nation. This is a brighter, happier time.The Vetenary work place is of no particular interest to me, but I think that because of the setting of the 1930's it makes everything seem all the more like a fantasy. The other major reason for its success is that it has an absolute solid gold cast in the trio of principles leads. Christopher Timothy as lead Vet James Herriot is basically a good person who loves his job, but who is kind and tries his best with people to be of good nature. He is excellently portrayed by the under-rated Timothy. Second to the success of the series is Robert Hardy as Sigfried Farnon. Hardy is one of the finest television presences, and as the senior Farnon delivers his lines with alot of believable conviction and commands the screen, his character is of the old guard, an even older time when people were strict and strong. You never once doubt that Hardy is a Vet. Completing the trio is the ever suffering Tristan Farnon, perhaps the series most beloved character. Tristan provides the light relief for the series, and is constantly on the bitter end of Sigfrieds wrath. Again the character is excellently played by The Fifth Doctor Who Peter Davison, who exudes public school boyish charms here.He dithers and bumbles his way throughout the series, while at the core being an essential and perhaps strong character, he means well but never quite gets it. Davison is one of Britains finest character actors, again under-rated but looking now as if he will hit the big time after the success of At Home With the Braithwaites. All Creatures Great and Small also has the benefit of some of the finest writers and directors having worked on the show, such as Terence Dudley and Peter Moffet, as well as the multi talanted and consistant head writer Johnny Byrne. It is beautiful to look at from its period setting to the Yorkshire scenery. Defenitley on of the BBC's finest series, and one that shouldn't be overlooked. A fantastic production.

Chaplin (1992)
32 out of 40 people found the following review useful:
Solid Gold Biopic, 24 April 2002

Chaplin works on many levels, because on the one hand it packs an entertaining epic in to two hours and thirty minutes, but doesn't fail to keep up your interest and comes over as being very enjoyable. Perhaps the problem is that, Chaplins life might not be the most suitable for a MOVIE,purely because his life was so eventful, and might have translated itself better as a TV Mini Series, but for getting the best out of what screen time available and still coming up with some very credible work, you must hand it over to Richard Attenborough and everyone at Carolco. For starters, the movie is simply beautiful to look at. The production design by Stuart Craig [these days of Harry Potter fame] is well tuned with the simply fantastic Cinematography by Sven Nykvist, and this is why the movie works so well, because at the more tedious intermissions the movie has to offer [and there are only a few], the movie is still interesting and prestine to watch. Just as good are Ellen Mirojnick and John Mollo's costumes designs, in fact, Chaplin offers a production so rich that at once i forgot that this was a period film, and felt transported back to the various different time zones the movie had to offer, and this is a good sign of a genius at work. Richard Attenborough did similar wonders with his Ghandi [1982], in my opinion he does it far more interestingly here. The real revelation of the movie is Robert Downey JR as Chaplin. I remember reading in a book entitled The Chaplin Encyclopedia, that hearts sank when an American assumed the role. Well, i cant really understand the kinetics behind this seeing that Chaplin spent 85% of his life away from England and was more of a worldwide Icon than a British spearhead, plus the fact that Americans ARE Good Actors, and Downey JR is one of the very finest. Charlie Chaplin himself was a couple of years before my time, but Downey JR is so fantastic, so realistic in the role that i didn't for one minute doubt the genius of the REAL Chaplin and in fact only became a fan of the little tramp after seeing this Biopic, as though the missing pieces of Chaplins life had come together to complete the jigsaw. Downey JR carries the movie, it is hard to imagine anyone else in the role, he is the right build, height and of simmilar looks and even nails the accent down. He even does The Little Tramp so covincingly that i think that Chaplin himself would have been forced to admit how good he is. This could prove to be Downey JR's best work on screen, but i hope like many other of his admirers that things do go right for him,and he gets on the right track and he is good to himself in future. On a side note i definitely think that Robert was worthy of the Academy Award for best actor for this, but the BAFTA is more than Justified. Hopefully his role in the adaption of Denis Potter's The Singing Detective will be good enough for him to be recognised by the Academy. The only down side to the characterisation awarded to Robert Downey JR in the title role is that the other characters pale in significance. Admitedly it is nice to see the famous faces such as Kevin Kline as Douglas Fairbanks, Diane Lane, Penelope Anne Miller and the Late great John Thaw in a heart rendering cameo as Chaplins great influence Fred Karno. But their characters are so limited that the come a cross as essential but perhaps slightly surplus. More impressive and important are the likes of Dan Ackroyd in an hillarious cameo as Mack Sennet, and the interstingly cast Geraldine Chaplin as her own grandmother Hanna. The fact that Hannah Caplin was mentally ill and the effects it had on Charlie Chaplin are nicely hinted at but in large glossed over. Anthony Hopkins is, it must be said, wasted as the fictional George Hayden. It is however reassuring to see Hopkins, and he himself 15 or so years earlier might have made a good Chaplin himself. Paul Rhys, too is kept in the dark, wich is unfortunate because the character he plays, Chaplins brother sid, was quite a big cog in the Chaplin works [see Modern Times-joke]. The nicest other part is that of Hetty Kelly/Oona Chaplin, Chaplins first and last loves, played by Moira Kelly. Kelly's presence adds a nice touch of grace and gentleness to the movie. Perhaps the real failing of the movie is, like this review, it tries to pack to much in, and like i said this would have been better done as a TV Mini series, or even two movies. These minor quibbles asides, Chaplin boasts an enjoyably epic screenplay by Diana Hawkins, William Boyd, Bryan Forbes and the Legendary William Goldman, based on David Robinsons Chaplin-His Life and Art and My Autobiography by Chaplin Himself. The movie is tightly directed and edited, includes nice trick photography and is very professionaly and well acted, particularly y Robert Downey JR but everyone ivolved does well, no matter the merits of the characterisations. It also has one of the most beautiful, moving musical scores by John Barry, perhaps his best, sadly over looked of scores. If you havent seen the movie, i hope this review helps whet your appetite, because it is a very worthwhile worth seeing movie..........

The Shadow (1994)
1 out of 5 people found the following review useful:
Boo!, 27 March 2002

There seems to have been a rare thing of getting all the elements to work on Superhero movies in the 1990's. You would think that with a skilled and stylish director in Russel Mulcahy and Handsome screen prescence and strong lead in Alec Baldwin, that The Shadow would be a classic of the genre. In fact it is hard to see just why The Shadow fails. But fails it does, and in spectacular fashion. It seemed to me that Universal Pictures viewed the success of the first two Batman movies and ploughed all the strength and time needed in to making The Shadow into the next big franchise. That was before i got to see the film. The Shadow is a rushed, lukewarm 100 or so minutes and this can only be seen as a real shame. What could have turned out to be an exercise in the darkness of the skills of Frank Miller or Tod McFarlane,and an all round enjoyable and exciting adventure, comes over as rather juvenile and pathetic. Really a movie with the demands of The Shadow, the constraints of a 1930's settings and all the trappings that the styles and characteristics befalls this,needs something groundbreaking and fresh to offer the audience, and it is here The Shadow really fails. It comes over as dull and boring and resembles the worst moments from the Indiana Jones movies and the first two Batman movies. Russel Mulcahy is actually a good choice to direct this kind of period adventure,because he proved with Highlander [1986] he could take several time periods and blend them in together with a feel for a mid 1980's audience, while supporting flashy and interesting visuals. Mulcahy does quite a good job here, and actually milks the best from the script, wich is the real let down. David Koepps screenplay is waifer thin and doesn't require much from the actors, and you get the impression that the radio serials from the 1930's-1940's had more atmosphere to them. You can only wish and pray that Koepp's screenplay for this years Spider-Man is a billion lightyears better. Carrying the movie is Alec Baldwin as The Shadow. Baldwin is an excellent choice for a superhero and would have made a good Superman or Batman. He looks the part but cant do much for the script. Just as good is future Magneto in Bryan Singers X-men [2000]and Gandalf in Lord of the Rings [2001],Ian McKellan, who strangles the best with what little material he is given. Tim Curry over acts as the second fiddle villain to John Lone [Who is plain embarissing]. Curry would have been much better as the central heavy. Also disopointing is Penelope Anne Miller, who comes across as Kim Bassinger on a bad day. Despite all this The Shadow is worth watching and is an O.K. bit of fun. Bob Ringwoods costumes are once again sumptious, and beautiful and perhaps the real star of the show. The special effects for the time and the budget of the movie are mind bogglingly excellent, and there are one or two good action set pieces, but this is conter balanced by bad performances, naff dialogue and stupid ideas. And Jerry Goldsmith's musical themes are once again on the mark, inspired by Danny Elfman yes, but with good cause because The Shadow is really, in all honesty, a rather cold carbon copy of Batman [1989].

Red Sonja (1985)
2 out of 4 people found the following review useful:
All style and no substance, 26 March 2002

I am quite fond of this movie, because, like Conan The Barbarian and Conan The Destroyer, it was one of a handfull of Schwarzenegger movies i used to watch when i was was growing up. Like both the Conan Movies, and later films like Masters of the Universe [1987], it has just about the right blend of adventure and fantasy, not to mention the odd racy sword play action, but iam afraid that Red Sonja is a classic example of all style and no substance, and unfortunately, as i watch it now as an adult, iam forced to admit that it doesn't bear to well with repeated viewings, let alone close scruitiny. The main problem is the direction. Richard Fliescher's direction is usually reasonable, and at the very least watchable, but as the director of Red Sonja, he has on his hands one of the worst and most embarrising leading ladies ever in Brigitte Nielsen, who cant have been the easiest person to work with. You would think that with Fleischer's experience he would have at least have been able to get something good from Nielsen onto the screen, he fails. Wich raises the question, why was Nielsen chosen in the first place. Maybe Sylvester Stallone's star power led her to it, maybe she managed to get round the producers herself. Either way she is the major flaw, and the final nail in the coffin of a little, but well meaning Adventure fantasy movie. Richard Fleisher, who streched things a little in Conan The Destroyer, comes up with even worse scenarios here, such as Sonja's Sister dying, cue "She's dead" from Kalidor [Ah-Nold]. Some action set pieces, such as the young prince being roasted by thugs, or Sonja's and Kalidor's exhaustion after a fake duel, are plain embara ssing. Equally baffling is the casting choice of Sandhal Bergman, Conan's dommed lover in Conan The Barbarian, to play the villainess here. Bergman is a strong actor, and a beautiful prescence but can't come to grips with the demands of a screen heavy. Maybe it is that i cant see her as anything other than a hero, Bergman, though would have made a far stronger Red Sonja than Brigitte Nielsen did. You would be forgiven for expecting too much from the screenplay by future Poirot writer Clive Exton and Octopussy [1983] scribe George MacDonald Fraser. The sad thing about the script is that ther is actually a good story hidden away beneath the tragedy of Red Sonja, and you get the impression that it was written in either a rush or chopped and changed in pre-production. On a better note the costumes and sets by Donello Doneti, a Dino De Laurentiis regular, are beautiful, with the most impressive being the red gartments worn by Kalidor, Sonja's armour [well filled by Nielsen it has to be said] The Swords and Weapons, and on the set stakes the impressive torch lit palaces and watery grave of sankes at the movies climax. Ennio Morricone's score is quite impressive too. Perhaps not in the league of the mighty and thunderous Basil Poledouris Conan scores wich would have enhanced Red Sonja immensly, but quite good in their own right. In the end though, there is only one thing that makes Red Sonja work and his name is Arnold Schwarzenegger. Arnold manages to bring a light of touch and humour to the role of Kalidor,in what little material he is given, an obvious Conan clone, and is once again impressive in the action scenes and sword play, and does well to carry Nielsen through the movie. It is a pitty that De Laurentiis didn't just comision another Conan movie instead, the legacy of wich is that John Milius is returning to direct King Conan : Crown of Iron, with Scwarzenegger and The Matrix Maestro's Andy and Larry Wachowski. Red Sonja though is in another world and rating that both old and new Conan movies and can only be seen as a fairly enjoyable and at times exciting waste of time.

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