Monthly Archives: April 2016


you don’t know what hit you
that all someone needed to do
was to ask: ‘how are you, sweetheart?’
It’s like someone threw a bullseye dart
into your board of Zen
you can’t breath, not even count to ten
you’re incapable of thinking
your mind feels like a ship that’s sinking
no way of getting out, the sorrow that goes in waves,
have hit you and there’s a storm out. No caves
to hide in, just you and the feelings
you haven’t bared in a while, squirming out like eelings
shocking, hurting, slapping you around
you feel like you’re about to be drowned
except that isn’t true
it’s the lack of a sensible life to pursue
you feel like shit has just hit the fence
and it’s only a dude asking for a pence
outside the supermarket where you just did shopping
man, you have some issues with your cropping
(of feelings, that is!
It’s not a game of Tetris,
you have to actually deal with it once in a while
and if not, find yourself a proper phone to dial
the number of 0900-FIND-ME-A-THERAPIST
’cause this ain’t going nowhere, period!)

Yes, so it doesn’t rhyme. Or float well. Whatever
Bite me, endeavour.

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Posted by on April 30, 2016 in Poems



Some movies get made with very good actors that make you wonder if they even read the script before saying ‘yes’ to it, or were they just drunk when that happened?
There’s a few pretty good actors in this film, such as Keira Knightley, Sam Rockwell, Chloë Grace Moretz. Unfortunately the story of a young woman Megan (Keira Knightley) who has just been proposed to at the wedding of one of her best friends and gets so shaken up about it that she spends the night with a couple of teens, just doesn’t cling on. Annika being one of those kids (Chloë Grace Moretz) does make it a bit better, but not much. Megan still is, at most, the big sister of the group who gets accepted everywhere but has no direction for herself.
It’s like being stuck in a piece of art you have no idea how to look at. There’s no straight line in the story, except you know that at some point Megan will have to go back to her other life.
Craig, Annika’s single dad, played by Sam Rockwell, is about as louzy played as the rest of them.
I don’t blame the actors though, I truly blame the story and the script. OK, Keira Knightley using an accent that I last heard her use in A Dangerous Method, where it made a) more sense, b) sounded far more convincing c) was a better film altogether, it was a move she shouldn’t have done here. Probably was forced though.

Anyway, not a film I’d quickly tell you to bother yourself with. A midlife crise ten to twenty years too early, depicted as a wobbly hiccup in a silly madness of two nutcases who shouldn’t have together in the first place. Because the magic between Megan and her fiancée is not exactly convincing either.

But no worries, all of these actors have made far better films than this one.

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Posted by on April 29, 2016 in Films, Opinion, Uncategorized


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The Missing

With James Nesbitt, Frances O’Connor, Tcéky Karyo, Emilie Dequenne.
The nightmare of any parent: your child goes missing while you’re on a holiday. It’s bad at all times, but being in a country you don’t properly speak the language of, it’s a total disaster.

This series gives you a kick in the nuts or uterus at times. The games played by several included parties are so cruel, you do hope that not all of it happens on a daily base. While you very well know this is probably the case. It makes you wonder about Maddie McCann, but that’s really just one of many. On the other hand, people do still say it’s the McCann’s own fault it happened, while in the story of the Hughes (portrayed by James Nesbitt and Frances O’Connor) is clearly of a different kind.

But the story starts at the moment that Tony Hughes (excellently played by James Nesbitt) has returned for mission number a zillion to find their son.
Jean Baptiste (awesome play of Tcéky Karyo), the policeman who was involved in the search back then, hears Tony Hughes is back and decides to visit him. Somehow Tony Hughes convinces Jean Baptiste that he has found a new lead in the search for their son. And so the journey begins. Loads of flashbacks, though not all that obviously. Only Frances O’Connor has been through enough changes in make up and hairdos to clearly see the difference between ‘years back/now’.
The story shows how a relationship moves, changes and develops when a huge tragedy occurs.
Another great thing is seeing a peadophile truly struggling with his sexual orientation. Wanting to get rid of it, going to the doctor to get ‘fixed’, having major trouble in work because of it and so on. The struggle of someone truly fighting it, that is. Because, let’s face it, not every paedosexual does as s/he feels.

How journalists care more about their wallets being filled and how to do that. It reminds scarily much about how Piers Morgan got sacked. The sleezy way that journalists use to get any information as long as they get the assignment.
‘The worst day of the Hughes was my best one ever’.
The Hughes could be any family. You do wonder how come this journalist hates his subjects quite so thoroughly. ‘You catch more flies with honey than with vinegar’, somehow never got through to this journalist. You never see him treating his subject of interview nice. Not ever. He solely blackmails.

The ending is excellent, as far as that’s possible within these circumstances. It really is. And James Nesbitt gives such an amazing piece of acting there. Not many actors can say so much without saying anything. You see his struggle, his face really shows the rollercoaster of emotions going on inside there.

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Posted by on April 26, 2016 in Opinion, series


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The Village & Doubt

Two films that seem very different, but actually have quite a lot in common.

The Village is about a small community -they clearly used the Amish as an example- that lives on fear. The children are being brought up with fear that if they do anything around the borders of the village, it will be at great costs. They should just follow the rules, and as soon as someone does something that the elderly have warned them about, terrible things happen. It isn’t a real horror film, so not THAT drastic, but pretty bad anyway.

Doubt is about a convent/school, ran by nuns and priests. This is immediately one of the similarities with The Village: based on faith and the fear that is used for making children do what is believed to be ‘right’. Anyway. One of the nuns notices some odd behaviour with one of the pupils and reports this. This leads to further investigation and nicely stirs up an otherwise so calm and nice atmosphere within the walls of the school.

Both films strongly thrive on the fear that is created within the faith they believe. It connects, but also leads to the road that is believed to be the only right one.

Both films have very strong leader characters. In The Village it’s Joaquin Phoenix, Bryce Dallas Howard, Adrien Brody, Sigourney Weaver and William Hurt, in Doubt it’s Meryl Streep, Amy Adams, Philip Seymour Hoffman, Viola Davis and Alice Drummond. Both films deliver a classact when it comes to showing the fear, and both films disappoint in showing what the fear is all about.
Meryl Streep does best, which is not that surprising, by being a steadfast tin soldier, in a way. Very convinced at first about what is the right thing to do, then, as the title says, doubts.

The costumes are very much in touch with the community the storylines were based upon, though Amy Adams and Meryl Streep do look a bit like walking-around-lampposts, but still.

I’m someone who likes to see a thrill being fullfilled and neither film does that, but the acting, especially in Doubt, is a joy to watch. And yet, both films make you feel like you’ve just lost sensable time watching Jaws only being a goldfish with attitude.

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Posted by on April 19, 2016 in Films, Opinion


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Walt before Mickey

A film that is supposed to show how incredibly hard the life of Walt Disney was before he was actually successful. Unfortunately most of the acting by Thomas Ian Nicholas just doesn’t convince you of that. The fact that Jodie Sweetin is part of the cast, should tell you enough.
I skiphopped here and there, as it really didn’t get better in any way. It’s basically a waste of an hour and a half. And Mickey doesn’t show up until the last 6 or 7 minutes of the film.
If you do like to see someone struggle through money and acting incredibly bad, go ahead.

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Posted by on April 14, 2016 in Films, Opinion, Uncategorized


The Courageous Heart of Irena Sendler

This film on Netflix gives a powerful portrait of a heroin during the Second World War. Irena Sendler, who has as a Social Worker access to the Jewish getto in Poland, finds the team she works with without supplies to do what she originally intended: to prevent the typhus from spreading.
She sees the miserable circumstances that are brought on daily base to these Jews by the Germans, and can’t help thinking: there should be more I could do.
One evening she is being phoned quite late by people she knows. They have taken a Jewish child into their care, but no longer dare due to the Germans becoming more strict every day. Irena agrees to take the child with her, lets the girl stay the night with herself.
The next day, she tries to find a Polish family who will take the girl in. This is where the adventure starts. Because if she can find a family for one girl, surely it must be possible to do this for more children?
Aside the fact that it’s highly dangerous what she’s attempting, there’s also the highly emotional side of the story: she will guide the children to a safe place to stay, but will the children ever be reunited with their families? Also, Irena teaches the children to speak Polish instead of Jiddish, as their background cannot be revealed in case Germans would ever hear them. Some Jewish parents have problems with this.
Then again, it’s a war, and children should have a chance to a future.

The acting is incredibly powerful. It’s too bad it’s an American production, which leads to most of the actors talking English while the movie clearly plays in Poland, surrounded by Germans. Bit weird that bit, but OK. Anna Paquin does an excellent job at the weird accent, helped by Goran Visjnic who is Stefan, the man in the house of Janusz Korczak. If you ever did a Pedagogical study, his name should ring a bell, given that he setup his own Pedagogical views in the home for children that he had setup. Stefan is one of the workers in his house and he gives Irena directions as to where she should go to route- and planwise.
Excellent parts of Marcia Gay Harden (Irena’s mother), Steve Speirs (Piotr, the chauffeur) and Ruby Bentall (Stefania, one of Irena’s colleagues).
Piotr especially captures your heart immediately.

Watching a film like this at the current state of the world also makes you realise: in a way, things never changed. People are still able to blame a whole group of other people for doing wrong, while others don’t investigate before they believe this to be true.

The only thing that’s missing from this film, is the information that after the war, indeed efforts were made to reunite the children with the families they came from. It’s obvious that this wasn’t successfull in all cases.

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Posted by on April 6, 2016 in Films, Opinion, Uncategorized


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Apps and their use

Quite regularly I’m being asked by relatives: do you have this or that app? Nine out of ten times, my answer is ‘no’. I do have a few apps on my phone, don’t get me wrong, but I don’t see the use of all of them.

It started with Facebook. When that was the sole one on the market, it was working quite well. People you didn’t want in your circles simply didn’t pop up, it was possible to block idiots and the advertisers weren’t stalking you. There was WhatsApp for sending text and pictures in messages for free, unlike the max on your phone.

Now you have a zillion versions of Facebook and WhatsApp. Because, seriously, none of the new apps available do much else than what was offered originally.
I threw both Facebook and WhatsApp off as soon as I discovered that not only was my privacy not intended for me (according to the companies behind them), they weren’t even trying to conceil they actually did exchange all your contacts, whereabouts and what you were sending to someone else.
I do like to have some sort of control. So I threw those apps off, chose new ones with a little better agreements. A little better, since companies do truly believe they own you. Through your own device, yes, but still.

Also, I don’t get the fuzz about most apps. Instagram was declared completely hot. I have it and I really don’t get it. Why is it being praised so much? It’s nothing short of facebook. People sharing pics with, sometimes, a load of text and hashtags. I rather use twitter, my only true addiction. I do get happy exchanging jokes on my screen, an occasional picture flying about and that sort. And twitter provides you with the chance of truly interacting with your idols.

So no, I won’t be installing Snapchat, FaceTime or any other app that might come available to promise me that this ‘will REALLY get me in touch with those I want’. I already have that, it’s on my phone aswell. It’s called ‘phoning’….

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Posted by on April 6, 2016 in Daily life, Opinion, Uncategorized


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