When you think of Christian Bale what picture do you conjure up in your mind’s eye? Is it as American Psycho’s square-jawed investment banker Patrick Bateman? Or is it as the gaunt whisper of a man from The Machinist? Perhaps it’s as 3:10 to Yuma’s scruffy cowboy Dan Evans or the cowled Caped Crusader of the Batman films.
The point is Bale recreates himself from film to film. “It’s helpful not to look like yourself,” he recently told The Guardian. “If I look in the mirror and go, ‘Ah, that doesn’t look like me,’ that’s helpful.”
He could make a fortune playing superheroes in action movies but instead chooses to shake things up. Since his breakthrough performance in 1987’s Empire of the Sun, he has been a chameleon, losing 60 pounds to play the skeletal lead in The Machinist and gaining a beer gut and a combover for his role in American Hustle.
Creating the “Olympian physique” of serial killer Patrick Bateman in American Psycho took some discipline. “I’m English,” he said, “we don’t have many gyms around. We’d rather go to a pub instead.” A trainer and a protein diet took off the pounds.
As boxer and former drug addict Dicky Ecklund in The Fighter he dropped 30 pounds and used makeup and prosthetics to age himself. How did he lose the weight? “Usually I always say, ‘Oh, I do a lot of coke whenever I lose weight.’ I’m not sure if it’s so funny for this movie, to say that.” In reality he trained with the real-life Ecklund and boxed the pounds off.
In Velvet Goldmine he plays a London journalist looking into the life and faked death of glam rock singer Brian Slade (Jonathan Rhys Meyers). Once again he had to physically transform, but not in the traditional way.
When his mom saw that he was working out and running at 6 a.m. she said, “Christian, what are you doing? You’re doing a film about sex, drugs and rock ’n’ roll. Why don’t you do it the way they did it? They weren’t out running. They drank a helluva lot and lived unhealthily.” “I took that to heart,” he said.
This weekend he appears in Hostiles as the elaborately moustachioed Joseph J. Blocker, an 1892-era U.S. Army captain approaching retirement, grappling with the anguish and regret that has scarred his soul. The impressive ’stache may be his biggest physical transformation for this role — the AV Club joked “Christian Bale’s moustache is the best thing about Hostiles” — but he says the biggest change here was spiritual.
To create the character’s contemplative demeanour he spent a lot of time “sitting in a room quietly staring at a wall.” He says he likes to get as “distant as possible” from his own personality. Imagining Blocker’s life journey before filming allowed him to internalize the character and “feel like you’re trying very hard by the time you get to be working.”
Next up for Bale is the biopic Backseat. He shaved his head and packed on pounds — “I’ve just been eating a lot of pies,” he says — to play former U.S. vice-president Dick Cheney. “I’ve got to stop doing it,” says the 43-year-old actor of the extreme weight gain. “I suspect it’s going to take longer to get this off.”
Last year Liam Neeson announced his retirement from action films. “Guys I’m sixty-f******-five.’ Audiences are eventually going to go: ‘Come on!'” Then, just months later, he had a change of heart. ““It’s not true, look at me! You’re talking in the past tense. I’m going to be doing action movies until they bury me in the ground. I’m unretired.”
At an age when most action stars are staying home soaking in vats of Voltaren Neeson continues his tough guy ways in this weekend’s action thriller The Commuter. He plays an everyman caught up in a race-against-the-clock criminal conspiracy on his train trip home from work. Expect a mix of blue-collar action and Hitchcock’s Strangers on a Train.
It’s a perfect companion to the movies Neeson has made since his actionman breakout role. It all began with Taken in 2008. He played Brian Mills a former “preventer” for the US government who contained volatile situations before they got out of control. Now retired, when his seventeen-year-old daughter is kidnapped by a child slavery ring he has only 96 hours to use his “particular set of skills” to get her back.
He admits to being, “a tiny bit embarrassed by it,” but his burly build and trademarked steely glare made him an action star.
“Believe it or not, I have even had Arnold Schwarzenegger and Bruce Willis calling my agent saying, ‘How do I get these scripts?’” he said on his sixtieth birthday.
Audiences ate up his rough and tumble work. His habit of paying the rent with chest-beaters like the Taken films, Battleship, Unknown and The A-Team led one macho movie fan to post this on Facebook:
“After watching the movie The Grey, I can only come to the (very logical) conclusion that Liam Neeson should be King of the Earth. Who’s better than Liam Neeson? Nobody. That’s who. Nobody.”
But there was a time when a kinder, gentler Neeson graced the screen.
His first film, 1977s Pilgrim’s Progress, was so low budget he played several characters. He’s credited as the Evangelist, a main character in John Bunyan’s Christian allegory, but can also be seen subbing in as the crucified Jesus Christ.
It was another supporting role in a movie called Shining Through that led to his breakthrough. In it he plays a Nazi party official opposite Michael Douglas. The performance so impressed Steven Spielberg he cast Neeson as Oskar Schindler in Schindler’s List, which turned him into an Oscar-nominated star.
He parlayed that fame into starring roles in period pieces like Rob Roy, Michael Collins (at the age of 43 Neeson was 12 years older than the real-life Michael Collins when he died) and Les Misérables. Then comedies Breakfast on Pluto and High Spirits showcased his more amiable side.
High on the list of his mild-mannered roles are two films with Laura Linney. He’s worked with her so often on stage and in the movies they joke they feel like “an old married couple.” They’re part of the ensemble cast of Love Actually and play husband and wife in Kinsey, about America’s leading sexologist Alfred Kinsey.
Neeson, it seems, can portray almost anything on screen but claims he doesn’t give acting much thought. “I don’t analyse it too much. It’s like a dog smelling where it’s going to do its toilet in the morning.”
Earlier this week Northern Michigan’s Lake Superior State University added the term “fake news” to its 43rd annual List of Words Banished from the Queen’s English for Misuse, Overuse and General Uselessness. According to dictionary.com those two toxic words, popularized by Donald Trump and adopted by, well, almost everyone, denote “false news stories, often of a sensational nature, created to be widely shared online for the purpose of generating ad revenue via web traffic or discrediting a public figure, political movement, company, etc.”
A new film, The Post, is a time capsule back to a time before exhortations of “fake news” created an atmosphere where the press is perceived as an enemy rather than the voice of the people.
Meryl Streep plays Katharine Graham, the first female publisher of a major American newspaper. With the paper bordering on insolvency she has tough decisions to make.
When the New York Times breaks the story of a massive cover-up and is shut down by the Nixon White House, hardnosed editor Ben Bradlee (Tom Hanks) sees an opportunity to scoop the Times and make a splash. “Are any of you tired of reading the news,” he asks his staff, “instead of reporting on it?” Trouble is, the story involves several people close to Graham, most notably former Secretary of Defense Robert McNamara (Bruce Greenwood), who prolonged the Vietnam War despite knowing it was a no-win situation.
Graham must make the decision to publish or not. Running the so-called Pentagon Papers would expose years of government secrets, make an enemy of President Nixon and could scare off the investors she’s been courting. Not reporting could endanger young the Americans who were still being drafted and sent to fight an unwinnable war. “The only way to assert the right to publish is to publish,” argues Bradley.
The Post is a historical tale that feels as timely as any front-page story in today’s paper. A high-stakes look at journalism before the age of fake news, it reminds us of the importance of objective, investigative reporting in an era of secrecy, lies, and leaks. It’s an ‘if you don’t know your past, you don’t know your future” message movie that shines a light on a watershed but mostly forgotten slice of our past.
The Pentagon Papers were a significant turning point in our recent history. They were proof of a credibility gap between what politicians say and what they are doing. For Bradlee, publishing these documents sent a message that the White House had no influence on what stories made the front page and which don’t. “The press must serve the governed not the governors.”
Combined, all these elements add up to a movie that aims to make a statement while avoiding preaching to its audience. Director Steven Spielberg and stars Hanks and Streep are entertainers first and foremost, and they do entertain here, but they also portray a period whose reverberations in the time of fake news are being felt stronger than ever.
The air of paranoia that hung over All the President’s Men, another movie centered on the investigative reporting of The Washington Post, is missing in The Post. Instead, Spielberg film’s is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times.
Here’s what my crystal ball predicts for 2018 at the movies.
More Nicolas Cage films you won’t go see: The “Nouveau Shamanic” actor has no fewer than three films scheduled.
More men in tights: Look for spandex-clad superheroes in Black Panther, Avengers: Infinity Wars, Ant-Man and the Wasp, and Aquaman to name just a few. There’s even some super duper animation coming in the form of The Incredibles 2.
More movies directed by women: The Kindergarten Teacher from Sara Colangelo, Jane Fonda in Five Acts by documentarian Susan Lacy and Desiree Akhavan’s The Miseducation of Cameron Post are just three of the 16 female-led films screening at Sundance this year.
More of the Netflix logo: The streaming service will release more movies than almost all of the other major studios combined. Investing heavily in the theatrical productions, they will release upwards of 80 movies in 2018 at the cost of a whopping $8 billion.
A year of reckoning for Johnny Depp: With three films set for release and several others in production audiences will make it known whether or not they still care about the quirky movie king.
A new catchphrase: “Hugs not drugs,” from the movie Deadpool 2 will become 2018’s “Sorry not sorry!”
Of course, then there are the movies themselves.
Depending on your point of view, Fifty Shades Freed will either make you want to gag or want to wear a gag.
Fifteen years after Angelina Jolie hung up her Lara Croft combat boots, Tomb Raider returns with Alicia Vikander in the character’s trademarked tank top and ponytail. That’s great news for fans of the Swedish actress, less so for fans of new, original ideas.
How the Grinch Stole Christmas, a remake of a remake, comes to screens courtesy of Illumination Entertainment, the masterminds behind the Despicable Me movies. Does that mean the Whos of Whoville will be played by the jellybean-shaped Minions?
We’ll have to wait for breakout director Jordan Peele to step behind the camera again, but in 2018 he’s producing the Spike Lee-helmed Black Klansman and lending his voice to the puppet thriller Abruptio.
Ex Machina director Alex Garland returns to the big screen with the genre-twisting science/fantasy/action/horror film Annihilation based on a book by Jeff Vandermeer. The author is impressed by Garland’s work. “It was so tense our bodies felt sore and beat up afterwards,” he said. Sounds good to me.
Bradley Cooper will write, direct and star in the fourth remake of A Star is Born. Lady Gaga, who will be credited by her given name, Stefani Germanotta, sits in for Barbra Streisand, who sat in for Judy Garland who took over from the character’s originator, Janet Gaynor.
Don’t mind subtitles? Check out Loveless, a film from Leviathan director Andrey Zvyagintsev. Russia’s official submission for the Best Foreign Language Film Oscar is the tale of a divorcing couple whose son disappears during one of their knock-down-drag-out arguments.
Want to take the kids to the flicks? Ralph Breaks the Internet: Wreck-It Ralph 2 is an animated movie that is the first feature to include all four of Disney’s major brands, Disney Animation, Pixar, Marvel and Lucasfilm. Look for cameos from princesses Cinderella and Moana as well as C-3PO, Yoda and Iron Man.
Director Guillermo del Toro sings the praises of Jessica Chastain, saying she brings authenticity to everything she does and is “interested in being chameleonic.”
Indeed. Earlier this year the two-time Oscar nominated actor played World War II Warsaw human rights activist Antonina Zabinski in The Zookeeper’s Wife. Soon we’ll see her as 1890s era portrait painter Catherine Weldon, as screen legend Ingrid Bergman and as a mysterious alien with shape-shifting abilities in X-Men: Dark Phoenix.
This weekend in Molly’s Game, she is Molly Bloom, an Olympic-class skier who also ran the world’s most exclusive high-stakes poker game.
She is the very definition of versatile, a performer who is hard to pin down.
“I feel like the bigger risks I take, the more I learn,” she says. “I know I learn more from my failures than successes.”
From big films like Interstellar and The Martian, to small ones like A Most Violent Year and Miss Julie she is always distinctive and always interesting.
For instance contrast her work in two recent films, Miss Sloan and Crimson Peak.
In Miss Sloane she plays Elizabeth Sloane, a sleep-deprived D.C. lobbyist “at the forefront of a business with a terrible reputation.”
She’ll represent anyone, it seems, except the gun lobby, who offer her a lucrative contract, only to be laughed at and rejected. Soon after she leaves her firm—one of the biggest in the country—to join a small, scrappy group who aim to whip up support for a bill that will demand background checks for all gun owners.
Zippy dialogue flies off the screen probably easier than it would actually fly off the tongue, giving voice to colourful characters who say mostly interesting things.
“When this town guts you like a trout and chokes you with the entrails don’t come snivelling to me,” snarls Sloane.
It’s a catchy line and Chastain spits it out with conviction and often transcends the rat-a-tat dialogue by bringing some actual humanity to a character largely made up of bon mots and a bad attitude. It’s a struggle for Chastain to grow Elizabeth Sloane as a character but in her rare quiet moments, when she isn’t mouthing Jonathan Perera’s carefully crafted words, she finds warmth and vulnerability in a person described as the “personification of an ice cube.”
In Crimson Peak she is Lucille Sharpe who, along with her brother Thomas (Tom Hiddleston), is British gentry in America to raise money to perfect and build a machine to mine the rich red clay that lies under Crimson Peak, their family estate.
The movie is love letter to both V.C. Andrews and Edgar Allen Poe. Madness and murder are front and center, coupled with Chastain’s arch performance that embodies the Hammer Horror style of wild-eye-acting. To play Lucille she worked with a dialect coach to perfect her English accent, learned to play piano and, most unsettlingly, never blinks. “Lucille not blinking is her trying to say, ‘Look at me, I’m normal. Everything is fine.’ And there’s effort in that,” she said.
As the scoundrel of the piece the versatile actress is a commanding presence, one who drips with evil.
“My God, she creates one of the truly scary villains I have seen, so dark,” says Guillermo del Toro. “Jessica took this to 11. She went full Spinal Tap here.”
One of the most enduring children’s tales of the 20th century was written in a single afternoon in 1936. Author Munro Leaf says it only took “25 minutes on a rainy Saturday” to pen The Story of Ferdinand, which he planned as a make-work project for his friend, illustrator Robert Lawson.
This weekend John Cena, Kate McKinnon and Bobby Canavale lend their voices to the animated Ferdinand.
The story about a big bull with an even bigger heart has been popular with readers for generations. In 1938 Life magazine raved, “Ferdinand is the greatest juvenile classic since Winnie the Pooh” and urged adults to “buy the book largely for their own pleasure and amusement.”
The success of the book took people by surprise, including Leaf’s widow who told Publisher’s Weekly, “What happened with Ferdinand is still a mystery. After Christmas, sales increased every week, and within 13 months, eight editions had been published. Ferdinand appeared as a giant balloon in the Macy’s Thanksgiving Day Parade; a Ferdinand song made the hit parade; and in December of 1938, The Story of Ferdinand nudged Gone with the Wind off the top of the bestseller lists.”
The book has never gone out of print and has been translated into more than 60 foreign languages, including a Latin version called Ferdinandus Taurus. Luminaries like H. G. Wells, Gandhi and Franklin Roosevelt approved of the book’s story of a bull that prefers smelling flowers to bullfighting and it was the only American children’s book available in Stalin-era Poland, but it wasn’t universally loved.
Released nine months before the outbreak of the Spanish Civil War, supporters of Francisco Franco thought it promoted dangerous pacifist ideas. As a result it was banned in Spain and remained so until 1975. Others suggested the book promoted fascism, anarchism and communism. The Cleveland Plain Dealer even ranted that the book was “corrupting the youth of America.” The New York Times, however, rejected the political metaphors, praising the book’s message of being true to oneself.
Adolf Hitler called it “degenerate democratic propaganda” and ordered all copies burned. In reaction, at the end of the Second World War, 30,000 copies were rushed into print and distributed to Germany’s children as a symbol of peace.
Walt Disney loved the story and commissioned a short film, Ferdinand the Bull, in 1938. In addition to producing the movie, Disney supplied the voice of Ferdinand’s mother and was the model for the Matador character. The short was a big hit, winning the Oscar for Best Short Subject. The film is particularly popular in Sweden where it has aired every Christmas Eve since 1959 as a segment on the annual Disney show Donald Duck and His Friends Wish You a Merry Christmas. In 1982 the Christmas tradition was broken when Ferdinand the Bull was replaced with The Ugly Duckling on the annual broadcast. The switch caused collective national Yuletide outrage and Ferdinand was returned to the show the next year where he has remained ever since.
No one is exactly sure why Ferdinand has had such a long-lasting impact, although one scholar suggests it’s because it crosses gender lines, offering up a character that appeals to boys and girls.
Set in Cold War-era Baltimore, The Shape of Water sees Sally Hawkins as Elisa, a woman rendered mute by childhood abuse. A cleaner in a military laboratory and storage facility, she communicates through sign language with co-worker Zelda (Octavia Spencer) and best friend and neighbour Giles (Richard Jenkins). When a mysterious Gill Man, held captive in a giant water-filled iron lung, is brought in the cleaners are told to keep their distance.
Elisa, however, bonds with the beast. After hours, when everyone else has gone home, she stays behind, playing music for the creature, performing dance moves learned from old movies and feeding him her special hard-boiled eggs. They click. She relates to him being unable to speak. “He doesn’t know what I lack,” she signs to Giles. “He sees me for what I am. As I am. He’s happy to see me.” He responds to her gentle nature.
His captors feel differently. They see him — “The Asset” they call him — as a case study, ripe for vivisection so they can discover how he can breathe on land and underwater. Everyone except for Elisa, it seems, wants The Asset dead.
When Elisa discovers a hard-nosed coiled-ball-of-rage named Colonel Strickland (Michael Shannon) is torturing the beast, she hatches a catch-and-release plan. Steal the creature, hide him until the next rainstorm fills a nearby canal and set him free.
The tale of intrigue takes a romantic turn when Elisa begins to regard The Asset as more man than monster.
The Shape of Water is a dreamy slice of pure cinema. Director Guillermo del Toro uses the stark Cold War backdrop as a canvas to draw warm and vivid portraits of his characters. Elisa and Giles are an unconventional family, outsiders in a world that values conformity.
Zelda is a feisty and funny presence — “I can handle pee,” she says, mop in hand cleaning up one of The Asset’s messes. “I can handle poo. But blood? That does something awful to me.” — while the creature is an empathic being with soulful eyes who glows with blue light when he is happy.
The combination of characters and del Toro’s flights of fancy is not only a love letter to the movies — Giles and Elisa live above a movie theatre, watch old musicals on TV and there’s even an Old Hollywood fantasy sequence inside the story — but a Valentine to why we fell in love with the movies in the first place. It’s a feast for the eyes and the heart.
At the centre of it all are Hawkins and Doug Jones as The Asset. Both, one nakedly emotional, the other hidden away under layers of makeup, wouldn’t be out of place in a silent movie. The fantasy elements of the story swirl around but Hawkins’ delicate but steely presence (aided by Jenkins’ heartfelt and occasionally heartbreaking loyalty) grounds the story in reality. Jones, though covered in scales and gills, uses his physicality to project the character’s power and vulnerability.
In the story’s thriller section, Shannon provides a villain whose gangrenous fingers are a metaphor for the rot in his soul. In the actor’s hands, Strickland is as cold as the blood that runs through the creature’s veins.
Wound tightly together these elements combine to form a beautiful creature-feature ripe with romance, thrills and, above all, empathy for all.
The Disaster Artist details a filmmaker whose artistic ambitions outweigh his talent. Tommy Wiseau, the writer, director, producer and star of The Room, is the title character, a man who miraculously and unwittingly turns disaster into triumph.
The key to telling the story of the making of the worst film ever is not recreating The Room beat for beat — it’s actually about treating Wiseau as a person and not an object of fun. He’s an outrageous character and James Franco commits to it 100 per cent. From the marble-mouthed speech pattern that’s part Valley Girl and part Beaker from The Muppets, to the wild clothes and stringy hair, he’s equal parts creepy and lovable. But underneath his bravado are real human frailties. Depending on your point of view, he’s either delusional or aspirational, but in Franco’s hands he’s also never less than memorable.
Wiseau is undeniably a terrible filmmaker and actor. The Room is an incomprehensible mess, a movie so misguided it starts off bad, gets worse and keeps going, through sheer force of will to become enjoyable. It’s a film so awful audiences can’t take their eyes off it, like a car crash.
In that sense Wiseau reminds me of Ed D. Wood Jr., another filmmaker whose name has been synonymous with failure and ridicule. The 1980 book The Golden Turkey Awards singled out Wood’s movie Plan 9 from Outer Space in the Worst Movie Ever Made category while also hanging the title of Worst Director around his neck.
To be sure Mr. Wood was no Cecil B. DeMille, but he doesn’t deserve the critical sneers levelled at his work. Certainly movies like Glen or Glenda and Jail Bait were restricted by their über-low budgets and appear hopelessly amateurish, littered by ridiculous special effects and melodramatic acting, but they are entertaining and isn’t that what it’s all about? Many directors have spent a lot more money and not come close to delivering the same kind of giddy fun that The Sinister Urge pulsates with.
Take Michael Bay for instance. His movies make loads of money at the box office, but never fail to put me to sleep. Visually his films are spectacular feasts for the eyes. The former commercial director has a knack for making everything look shiny but having great taste doesn’t make a great film director any more than great taste makes a Snickers bar a gourmet meal.
To my mind the difference between awful auteurs Wiseau and Wood and Hollywood hit-maker Bay is simple. Wiseau and Wood’s films are inexpertly but lovingly made by someone desperate to share their vision. Bay’s big glitzy movies feel like cynical money grabs more concerned with the bottom line than personal expression. I’m quite sure that if Bay had to undergo the trials and tribulations Wood had to suffer to get his movies made he would run to the hills, or maybe just back to his big house in the Hollywood Hills.
The Disaster Artist is a love letter to the movies and how they are the stuff dreams are made of. As for the success of Wiseau’s dream? It’s like what Adam Scott says about The Room in one of the film’s celebrity testimonials, “Who watches the best picture from a decade ago? But people are still watching The Room.”
Hollywood is in a tizzy. Oscar magnet Harvey Weinstein has been kicked out of the Academy, Kevin Spacey’s performance in All the Money in the World, once heralded as a for-sure Oscar nod, has been edited out of the film, replaced in spirit and on-screen by Christopher Plummer. Louis CK’s movie I Love You Daddy will likely never see the light of day.
It’s the beginning of awards season. And while the Oscars, Golden Globes and others are meant to applaud the best of filmed entertainment, is a celebration even in order in a news cycle dominated by scandals, sexual predators and transgressions?
One writer suggested, “Instead of holding the Oscars, Hollywood should declare March 4, 2018, a day of atonement.” It’s not a bad idea but appropriate or not, award season will happen, because nobody likes celebrating Hollywood more than Hollywood itself. Are awards shows over the top? Yes. Is there an unnecessary amount of backslapping? Yes, of course there is.
History tells us the Oscars have only been postponed — never cancelled — three times, first because of record-breaking rainfall in Los Angeles, next in the aftermath of the assassination of Rev. Martin Luther King Jr. and again following the 1981 assassination attempt on president Ronald Reagan. In each case, the ceremonies were rescheduled within days so don’t expect the Academy to suddenly take the moral high ground and cancel their big night.
Industry insiders point out that only a small percentage of industry folks have been accused of sexual harassment and assault. So in the spirit of keeping the flame of the creativity alive, why not hand out awards to the 99.99 per cent of the industry who haven’t been accused of sexual crimes or outed for engaging in misconduct?
With that in mind, here’s a look at some upcoming movies that deserve a look — and an award or two — in spite of the uneasy state of the industry.
In a tour-de-force performance, Darkest Hour stars Gary Oldman as Winston Churchill in a movie that would make a great double bill with Christopher Nolan’s Dunkirk. Atonement director Joe Wright’s film is a spirited — and funnier than you’d imagine — retelling of the machinations behind the Second World War’s Operation Dynamo.
I, Tonya sees Tonya Harding as a rising star in the U.S. Figure Skating Championships, until her future in the sport is thrown into doubt by her husband’s nefarious plan. There’s big Oscar buzz around Margot Robbie’s performance as Harding even though she didn’t know who Harding was when she took the role. “I think I was about four years old when the incident took place,” she said. “I was in Australia and totally unaware of the whole incident and the crazy controversy.”
With his latest, The Shape of Water, director Guillermo del Toro redefines the age-old maxim that beauty is not skin deep for a new generation and will likely earn an Academy Award nomination in the process. The film mixes and matches the best of Beauty and the Beast and Creature from the Black Lagoon in a story about love and appearances. It’s King Kong and Edward Scissorhands. It’s E.T. and The Hunchback of Notre Dame. After seeing the trailer, director Kevin Smith tweeted: “Seeing something as beautiful as this makes me feel stupid for ever calling myself a ‘Director.’”
By Richard Crouse – Metro In Focus
