Movie Review Serenity

Serenity (2019) 

Directed by Steven Knight 

Written by Steven Knight

Starring Matthew McConaughey, Jason Clarke, Anne Hathaway, Diane Lane, Djimon Hounsou 

Release Date January 25th, 2019

Published January 19th, 2019 

Serenity is a highly ambitious and deeply misbegotten attempt to make a modern film noir. Writer-Director Steven Knight has something going for him in Serenity but continues to undermine himself and his movie with bizarre choices that lead to an unsatisfying and almost laughable, laugh out loud conclusion. The film strands an incredible cast in what approximates a Shyamalan level of lunatic aspiration. 

Matthew McConaughey stars in Serenity as, no I am not making this up, Baker Dill. Baker is a fishing boat captain catering to tourists on a mysterious tropical island called Plymouth. Baker has a passion for fishing but specifically a passion for one specific fish, a giant Tuna that he has come to call Justice, and yes it is a heavily tortured metaphor. No points for guessing that as the film hammers the point into your brain pan. 

Baker is seemingly driven only by this giant tuna but lately other things have begun to permeate his consciousness. Specifically, Baker has recently been plagued by memories and visions of a son he left behind when he went to war in Iraq. Upon his return, his then girlfriend and the mother of his child, Karen (Anne Hathaway), has moved on and married another man and cut Baker out of her and her son’s life. 

Baker’s visions of his son are truly bizarre as he appears to be able to hear his son’s voice and vaguely communicate with him with some sort of water based ESP. In one of the film’s epically bizarre scenes, a naked Baker swims in the ocean with his also naked teenage son. Why? There is no good reason, it’s just something that director Steven Knight thought might communicate the strange, water based ESP thing I mentioned before. The nudity is an off-putting choice to say the least. 

Out of the water, Baker is approached by his ex-wife with a proposition. Karen wants Baker to take her husband Frank (Jason Clarke) out fishing and toss him to the fishes. In exchange, Karen is offering $10 million dollars and perhaps the chance to see his son again. Baker immediately rejects the idea despite Karen telling him that Frank has been abusive toward her and toward their son. After meeting the epically awful Frank, Baker still resists but will his psychic connection to his son change his mind. 

No, that last line is not me being snarky… well, not entirely snarky. The plot does legitimately turn on whether Baker’s fuzzy, incomplete, ESP connection to his son will cause him to accept the offer to murder Frank and it is as goofy as that sounds. There is a great deal more however to the connection between father and son including a looney final act twist that left me utterly gobsmacked. The ending of Serenity is surprising but not a good surprise, more of a WTF surprise. 

In an effort to take the classic noir thriller to a place that might appeal to the hip, modern, technically advanced older teen and twenty-something crowd, director Steven Knight has conceived a twist that is remarkably hokey and tone deaf. It’s the kind of twist that middle aged folks like myself laugh at and younger types will straight up ignore in the way you ignore grandpa’s less than helpful comments on Facebook posts. 

It’s a twist that works remarkably well at alienating audiences of all ages, uniting generations in eye-rolls of epic proportions and derisive laughter that will last till we reach the parking lot of the local theater. Honestly, I do admire the sheer madness of the twist attempted in Serenity but I can’t help but mock the result. The execution is so laughable and clumsy that jaw dropping exasperation can only evolve into giggles of sheer schadenfreude. 

I take no genuine pleasure in laughing at rather than with Serenity. These are a group of incredibly talented actors and a director I really do respect. Steven Knight directed Locke, an exceptional and experimental thriller that got the best out of the great Tom Hardy and demonstrated the talent for talking out loud to himself that would make Venom so sneakily entertaining. Knight knows how to make a movie. Serenity is merely an example of a hill too hard to climb to a destination that wasn’t worth climbing to. 

Movie Review See No Evil

See No Evil (2006) 

Directed by Gregory Dark 

Written by Dan Madigan

Starring Glenn 'Kane' Jacobs, Christina Vidal, Luke Pegler 

Release Date May 19th, 2006

Published May 20th, 2006

I have a confession to make. My name is Sean Patrick and I am a wrestling fan. Yes, every Monday night I clear the decks and watch Monday Night Raw and I love it. This is why I was more aware than most of the new horror film See No Evil. As a WWE insider, a fan who holds literal stock -one lone share of WWE stock- I was made aware early on that WWE intended to get into the movie biz and that its first venture was to be a low budget horror flick called Eye Scream Man starring WWE superstar Kane.

The title may have changed but the inspired idea of taking the WWE's premiere 7 foot tall 300 plus pound former psychotic inmate and turning him into a horror film bad guy remained. Now under the title See No Evil, with heavy promotion on WWE TV, Kane is on the big screen and while he looks the part of the terrifying, unstoppable killer, the film is disappointingly mundane horror garbage.

Jakob Goodknight (Kane) grew up under the thumb of a fundamentalist mother who kept him in a cage as a child and drilled into his head that all women except for her were dirty and evil and needed to be punished for their sins. No shock then when Jakob grows up to be a fearsome serial killer. Early on in his psycho career Jakob survives a run in with cops by taking the head off of a nameless rookie before taking a bullet from his veteran partner, not before taking the vets hand with his ax.

Williams was that cop's name and three years after losing his hand he has no idea whatever happened to Goodknight. Now working in a juvenile detention facility Williams leads a work detail of teenage offenders assigned to clean up an old hotel which is to be converted to a home for the homeless.

Bad luck for all involved that Jakob has taken up residence in the hotel and he doesn't like visitors. With the cannon fodder cast of hot body twentysomethings, playing teens, in place Jakob can run amok plucking out eyeballs, his favorite pastime that gets little to no explanation.

I'm told in interviews with Kane and other member of the See No Evil production team that each of Jakob's modes of murder has some kind of significance, irony or hidden meaning. In the hands of former porn director Gregory Dark however, any such meaning is lost in translation, or directorial incompetence to be less colloquial about it.

Director Dark and screenwriter Dan Madigan's idea of an ironic death is a bimbo blonde who ends up eating her cellphone and a PETA member who is eaten by wild dogs. Subtlety and deep meaning, not exactly the milieu of this filmmaking duo.

Kane cuts an intimidating figure onscreen at 7 foot 300 plus pounds but unfortunately director Gregory Dark too often brings Kane down to the size of his victims through his sheer incompetence in how to shoot a movie scene. His angles and lighting make Kane look smaller and more lumbering than he is. Also where Jason had that very frightening, kee kee hah hah hah sound effect to reveal his presence on screen , Kane is stuck with the buzzing of a fly which rather than striking fear of Jakob's presence, makes you wonder if the psycho needs a shower.

The less said about the rest of the films, the better. Each is merely a placeholder for violence. Watching Kane/Jakob pick them off one by one gives no one any fear for their passing or dark pleasure in the way they are disposed of. Not one of the kids in See No Evil earns sympathy or even becomes character enough for us to quietly root for their horrifying demise.

There is a good idea in turning the hulking, intimidating presence of Kane into a horror film villain. He has played a variation of that role on WWE Raw for years to great effect. Maybe they shouldn't have left that idea in the hands of the auteur behind such cinema classics as The Devil 'IN' Miss Jones 5 and, I kid you not, Hootermania.

Movie Review Secretariat

Secretariat (2010) 

Directed by Randall Wallace

Written by Mike Rich, Sheldon Turner

Starring Diane Lane, John Malkovich, Dylan Walsh, James Cromwell, Margo Martindale

Release Date October 8th, 2010

Published October 7th, 2010

“Secretariat” is a shockingly square movie, even by the standards of the modern family movie. There is nothing remotely cool or modestly subversive about “Secretariat,” even as the film is set in 1973 the time of the Vietnam War, the beginnings of the Women's movement and the end of the Nixon Administration.

It was a time, ironically enough, when movies like “Secretariat” were rendered irrelevant by a gang of drug fueled visionaries who today craft blockbusters and award winners and have inspired a new generation of less drug fueled but equally visionary creative types who would sooner adapt videogames to the big screen than look twice at something like Secretariat.

There is nothing wrong with the story of Secretariat, the true story of Penny Tweedy and her amazing super horse which won horse racing's Triple Crown while captivating the sports world. Rather, it's an issue of style and approach, a boring, conventional approach that is crafted to be comfortable, warm and never for a moment cause the audience to do any of that awkward thinking stuff that other better movies do.

No, it's better instead to lull them into a pleasant, popcorn sated stupor than remind them of the actual history of the time in which Secretariat became a needed distraction for a weary nation. Weary of what? The filmmakers would rather you didn't ask.  

Diane Lane stars in “Secretariat” as Penny Tweedy, formerly Penny Chenery, daughter of a famed stable owning family in Virginia. Penny's mother has passed away leaving behind her ailing father (Scott Glenn) and no one to run the family's stables. Returning to Virginia with her impatient husband Jack (Dylan Walsh) and their four cute, indiscernible children, Penny reunites with Miss Hamm (Margo Martindale), her father's loyal secretary, and Eddie Sweatt (Nelson Ellis), the family's long time stable hand.

The return to Virginia finds the family finances bleeding red ink. The only hope is a rather unusual one, a coin toss. Years earlier, Penny's father made a long standing deal with the world's richest man, Ogden Phipps (James Cromwell), their prized horses would breed together and a coin toss would decide which man got his choice of the prize offspring.

Penny may have left her horse knowledge behind when she ditched Virginia for family life in Denver years ago, but her instincts remain and she knows which horse she wants and she knows she wants to lose the coin toss to get it. The scene with Lane and Cromwell is cute and effective and nicely lulls the audience into the overall feel of “Secretariat” a good natured, entirely square movie that would be boring if it weren't so pleasantly clueless.

The key for scenes like the coin toss or the obligatory celebration montages or the obligatory everybody dance and wash the horse scene or the obligatory dramatic roadblock to success scene seems to be the ability of director Randall Wallace to set these scenes without a hint of self consciousness as if no one would notice they are watching a scene of two millionaires flipping coin over who gets a horse. To his astonishing credit, no one in the audience did seem to notice or care. It was all so gentle and pleasant.

There is nary a moment of discord or discomfort in “Secretariat” as the film side steps it's true life setting in the early 1970's by quietly having Penny's daughter Kate (Amanda Mischalka) act out a play of war protest in front of an audience that seemed as passive as the one watching “Secretariat.” It's easily the most pleasant and passive war protest ever brought to the big screen.

One should see “Secretariat” if only for the shots of passive hippies, the somehow non-dope smoking types whose only connection to being a hippie is a hippie uniform, watching and loving Secretariat right alongside the proletariat parents of the film's likely target audience. It's a serene, almost Leave it to Beaver-esque pastiche of what the era would have been like had Dad and the Beav gone into the documentary film business and left out all of the supposed unpleasantness of the time.

The average episode of The Brady Bunch offers a more subversive view of the early 1970's than does “Secretariat.”

Now, before you howl that this is a horse racing movie and not a documentary about the tumultuous year of 1973, I will point out that the film itself brings up Vietnam by having the daughter be a protester, thus opening the vein for my line of criticism of the films portrayal of this actual period in our shared American history.

For the howlers, let's get into the horse racing stuff; it's not bad. Director Wallace takes us into the starting gate and puts us right in the action as the big ol' horses make their sinewy, snorting way around the track. It can come as little surprise that the audience, lulled by the pleasant passivity of the characters and the story, would be compelled to cheer the action of the horse racing scenes.

What was a little surprising was the cheering at the end of each of the races in the film, save the Wood Memorial which Secretariat lost. (If one of you mentions spoiler alert I will come through this computer screen) Secretariat lost the Wood but bounced back to win the Triple Crown in a dominant fashion that would seem to rob the final hour of real tension. Again, I have to credit director Randall Wallace for the effective staging of the racing scenes; they are compelling and even moving, even Secretariat's 30 odd length victory at the Belmont sealing his triple crown.

The racing scenes stand at odds with the rest of “Secretariat” which is depressingly square. Critic Andrew O' Hehir of Salon.com alleges an honest to god, Christian, right wing ideological conspiracy as to why “Secretariat” so blithely ignores the radical elements of its era.  O'Hehir calls the film 'a creepy American myth' and he's not far off. There is what feels like a creepy intent to all of the boring pleasantness of “Secretariat.”

I cannot truly assign any agenda to “Secretariat” however, aside from that of Disney and its desire to make a profitable sports film. “Secretariat” is merely a sports movie directly from the mold of “Miracle” and “The Rookie” and like those films, bled of all life beyond their uplifting finishes and obstacles overcome, Secretariat is a boring, well crafted machine of a sports movie fashioned from the Disney factory floor.

These movies are made with the intent to offend no one and somehow entertain all. They are meant as all things to all audiences and no one can really complain aside from whiny film critics who decry anything that isn’t some challenging drama or quirky indie romance. Hey, wait a minute!

To be serious for a moment; someone at Disney clearly believes that movies can be made that will sell to every possible audience, from red state to blue state. The conventions of the sports movie provide a safe place to try to find that all encompassing audience and with a horse story you can even appeal to women. “Secretariat” even has a female protagonist, a mother of four, women, family audiences, sports fans and kids! Kids like horses and their parents who are tired of cartoons will be able to drag them to the horse movie. Throw in John Malkovich as a clown and you have a movie with the potential to please all.

Sure, all of this market sensitivity makes my soul hurt but Disney is a business not a movie company. One can only guess that if “Secretariat” somehow fails, they will move on to the next soul crunching market driven bit of saccharine sports movie. For now, at least “Secretariat” is pleasant and hey, who needs to think.

Movie Review Season of the Witch

Season of the Witch (2011) 

Directed by Dominic Sena 

Written by Bragi F. Schut

Starring Nicolas Cage, Ron Perlman, Claire Foy, Stephen Graham, Christopher Lee

Release Date January 7th, 2011 

Published January 7th, 2011 

Nicolas Cage has made some seriously awful movies, like Fire Birds, Bangkok Dangerous or Knowing. Despite the quality of his films though, Nicholas Cage has never been boring, until now. Season of the Witch is Nicolas Cage being boring. As a noble, god fearing Knight on a quest to save a village from an allegedly plague inducing witch, Nicolas Cage offers a stalwart hero so tediously heroic that nothing stands out about him.

Behman (Cage) and his loyal pal Felson (Ron Perlman, Hellboy) have been fighting on behalf of the church in the crusades for more than a decade when suddenly killing the innocent loses its taste. Abandoning their duty, the two set off for freedom but are waylaid at a village overcome by the plague. Found guilty of desertion, Behman and Felson are offered a choice; death by hanging or a Knightly quest. Not hard to guess that choice.

The quest has the Knights, along with a priest, a con man, a teenager and a widower, transporting ‘The Girl’ (Claire Foy), who is suspected of being a Witch, to a monastery where she is to be executed. Behman however, pledges that ‘The Girl’ will not be harmed unless she actually is a Witch, something that the priest, the Widower and the Con Man, simply cannot abide. In short order they will try to kill the Witch and face a dastardly fate. But, is it Witchcraft or worse?

The idea of Nicolas Cage, underneath yet another one of his famously odd hairdos, playing a 13th century Knight battling a Witch and a corrupt Church would seem to have potential for some classic Nicolas Cage weirdness yet somehow it never comes. Sure, Cage and Ron Perlman‘s casting alone, along with Dominic Sena‘s ludicrous modern action beats against a 13th Century background, are odd in their own right but Cage plays Behman with such stalwart, heroic intensity that he seems stunningly normal under the circumstances.

Cage plays Behman just as any other actor without Cage’s flair might have played him. Viggo Mortenson or Keanu Reeves could have played Behman and given just the same stolid yet gallant performance. Where is the weirdness? Where is that extra something behind the eye that makes Nicholas Cage unique? It’s shocking and disappointing to watch Nicolas Cage play a hero whose eyes aren’t bugged out and ready to leap from his fiery skull and instead are sleepily focused and determined.

If Season of the Witch wanted to be just another action movie the makers could have hired any other actor. They hired Nicolas Cage to bring the weird. It’s fair, in fact, to wonder if director Dominic Sena, who watched Cage bring the weird to his car junkie action flick Gone in Sixty Seconds, was also waiting for his star to emerge and thus ended up making a dull, straight arrow action movie when he had hoped he was making a Nicholas Cage movie.

Would weirdo Nicolas Cage make Season of the Witch a good movie? Likely not but, Nicolas Cage in a bad movie is at the very least always interesting. There is always so much to see when Nicolas Cage finds that odd beat he wants to play. In Peggy Sue Got Married Cage adopted a voice he compared to Gumby’s pal Pokey and nearly got himself fired because he wouldn’t drop the voice. In other films he channels Elvis Presley for reasons only he understands.

It’s weird and it can ruin a movie but it’s always intriguing as we search Cage’s face and manner for that little inflection, that idea that struck only him and reveals his fascination with a role. Sadly, in Season of the Witch that little flavor of Nicholas Cage, that revealing little tick or inflection, that idea that is solely his never emerges and instead we have a bored Nicolas Cage delivering a boring performance in a boring movie.

Movie Review Searching

Searching (2018)

Directed by Aneesh Chaganty

Written by Sev Ohanion, Aneesh Chaganty

Starring John Cho, Debra Messng 

Release Date August 31st, 2018

Published August 30th, 2018

2018 has seen some remarkable experiments in form. Steven Soderbergh’s ingenious thriller Unsane was filmed on multiple IPhones and crafted one of the most exciting and suspenseful movies of the year. And, the movie we’re talking about today, Searching, from director Aneesh Chaganty, ranks right alongside Unsane as a terrific experiment in form and as a thriller. The film was shot entirely from the perspective of a computer monitor. That sounds as if it would be a tough watch but Searching is so much better than you think it is.

Searching stars John Cho as David Kim, a devoted father and a recent widower. David dotes on his daughter, Margo (Michelle La), mostly via video chat and social media messenger. Margot is an overachiever, or at least that’s what David believes. Soon he will come to find he doesn’t know his daughter as well as he thought he did. Searching is not just an experiment in form, it’s a challenging subject for parents who might want to take a closer look at their kids on social media.

After some mundane exchanges about taking out the garbage and money set aside for piano lessons we get to the meat of the plot. Margot is supposed to be studying late with friends but then, she doesn’t come home. We see, in the middle of the night, David gets a pair of skype calls from Margot but he misses them, he’s asleep. When he wakes and calls Margot, she doesn’t answer and when he finds she’s not at school, he calls the police.

So much of Searching is just John Cho’s worried face and it is a testament to his charisma and star power that Searching is so compelling. Cho’s frantic expression is engrossing and his search for clues is our search for clues. Instead of being over his shoulder as he searches, we’re in his computer following the evidence that he gathers via Margot’s computer, her social media, her bank account and her phone.

The mystery of Margot’s whereabouts is riveting and the shooting style, that inside the computer screen looking out of perspective, feels urgent and exhilarating. It’s exactly what you and I would be doing in the same situation. Scouring social media, opening our kids computers and digging through their email for any digital trail they may have left. What David finds is what any of us might find if we investigated a typical teenager and the mystery of whether Margot ran away or was kidnapped raises the stakes throughout the story as evidence tips one way and then the other.

Searching is one of the least talked about success stories of 2018. The film was made for a budget of $1 million dollars and the film grossed over $70 million dollars, making it one of the best return on investment movies of the year. That the film also happens to be a tremendous work of art makes Searching truly admirable. And, now that the film is available on Blu-Ray and DVD it should only become more successful.

Indeed, television may add a dimension to the movie in some ways, making the experience more intimate, like looking at your own computer. The theatrical experience of Searching worked but this is one of the rare movies where home video may enhance the experience. That’s saying something considering Searching is already a really great movie. I can’t recommend it enough for the high level mystery and John Cho’s brilliant performance.

Searching should inspire modern filmmakers to take more chances with form. This film and Unsane are rare among modern movies, taking advantage of modern tech to create a whole new genre of movies that I expect is still in infancy and will only become a bigger genre over time. Unsane will likely be the more influential of these movies but Searching demonstrates boundaries in form that can be pushed and that will undoubtedly have a legacy.

Movie Review Scream 4

Scream 4 (2011) 

Directed by Wes Craven

Written by Kevin Williamson

Starring Neve Campbell, David Arquette, Courtney Cox, Emma Roberts, Hayden Panettiere

Release Date April 15th, 2011

Published April 14th, 2011 

The original "Scream" in 1996 transformed a moribund genre. Horror had grown stale and predictable when "Scream" arrived and with its mix of horror movie inside jokes, ironic asides and better than average scares reinvented horror movies; giving the genre back the edge it lost with the 5th or 6th time Jason Voorhees came back from the dead and then went to space.

"Scream 2" had similar juice as the first; cleverly twisting the conventions of goofy horror sequels and using them to create laughs before dousing the humor with blood and screams. The third film lost the thread by going so far inside itself that neither the laughs nor the scares could escape.

Now we have "Scream 4" which picks up the action 10 years after the story of "Scream 3" and you have to wonder why Sidney Prescott (Neve Campbell) would ever go back to Woodsboro. Sure, she still has family there, her Aunt Kate (Mary McDonnell) and teenage cousin Jill (Emma Roberts) but still, going back to so much history and on the anniversary of the original killings no less, seems like a really bad idea.

Indeed, it is a bad idea as just before Sidney arrives two Woodsboro teens are killed while watching the movie 'Stab 7' based on the books by Gale Weathers (Courtney Cox) on the Woodsboro killings. Well, to be fair, as one of the soon to be murdered teens points out, the first three 'Stab' movies were based on the books; the next 4 were pale imitations of the first that even had Ghostface as a time traveler.

Back to Sidney, she has written a self help book based on her recovery from the trauma of surviving three separate mass murders. She has come back to Woodsboro at the behest of her publicist (Alison Brie) who can't wait to call the publishing company to tell them about the murders that she knows will spike sales of Sidney's book. Her bloodthirstiness is more of a commentary on modern marketing practice than any kind of clue to her being more of a character in this movie. 

Find my full length review at Horror.Media

Movie Review Sanctum

Sanctum (2011) 

Directed by Alister Grierson 

Written by Andrew Wright

Starring Richard Roxburgh, Rhys Wakefield, Ioan Gruffudd

Release Date February 4th, 2011 

Published February 4th, 2011

A group of angry, bitter and hateful characters stock the foreground of “Sanctum,” the James Cameron produced 3D thriller about cave diving that while visually impressive is too ugly and stupid in character and plot to succeed in any way even if the visuals are stunning and inventive.

Richard Roxburgh is Frank, the driven and angry leader of a cave diving team somewhere in New Guinea. With his benefactor, Carl (Ioan Gruffaud) soon to arrive, Frank has a new discovery to show off, a possible link between an ancient cave and the ocean, a sight no one may have ever seen before.

Unfortunately, Carl's arrival is met with the accidental death of one of the divers. With a storm coming and  a body that needs to be moved, the exploration should be on hold but Frank refuses. Carl is his willing accomplice, admonishing any worry warts that with speed the expedition can be done before the storm arrives.

Oh, how wrong he was. Carl, with his new girlfriend Victoria (Alice Parkinson) and Frank's son Josh (Rhys Wakefield) arrives in the cave just in time for the storm to hit, stranding them all thousands of feet below the surface. With the caves filling with rain water, the only escape may be Frank's theoretical passage to the ocean but to get there will require remarkable diving skills, something Victoria does not have.

Naturally, the crew is as short on supplies as Frank is short on patience. They move forward into the water but not before idiot characters make idiot decisions based on stupid notions. I don't want to spoil things for those determined to see “Sanctum” but one character makes a decision so wholly idiotic that the groans from the audience lasted almost until the character's inevitable fate. 

”Sanctum” is based on the real life experience of producer and co-writer Andrew Wight, a protégée of James Cameron and an experienced diver and underwater filmmaker who had a very similar experience trapped in an underwater cave during a storm. Wight and his party survived and he felt there was a good idea for a movie in the experience. 

Wight is right, there is a good movie to be made of his experience but “Sanctum” is not it. Rather, this plodding exercise in thriller genre clichés reveals the true intent behind “Sanctum” which is merely an excuse to show off the 3D technology that Cameron has been pushing as the future of movies.

Stupid, ugly, moronic characters with vague and even moronic motivations stumble through “Sanctum” merely as clotheslines to carry us from one awesome visual to the next. Unfortunately, so execrable and irritating are these characters that even the stunning 3D technology on display cannot distract wholly from how awful they are.

The only reason “Sanctum” is not a documentary featuring real divers exploring real caves in search of visuals never before seen is that the viewing public tends to see such documentaries as boring or too much like going to school. A documentary simply doesn't draw an audience the way any boring old mainstream thriller does.

James Cameron was looking for a way to demonstrate his technology and its potential outside his own work and a documentary playing on the IMAX screen simply wouldn't cut it. He needed to show 3D working in a genre movie to demonstrate how it could be the future of movies going as he sees it.

Boy, did he hook his wagon to the wrong horse. “Sanctum” may be a triumph of 3D technology but the thriller stuff, the characters, they are so bad that this reviewer, and indeed many others simply cannot recommend it. Better luck next time King of the World.