Telvin jefferies biography of abraham

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Terah is about 130 years old at the time of Abraham's birth.

Pleasant attempt to replicate Regency period comedies of manners—some may describe it as “Austen-lite”—as whipped up by scribe Suzanne Allain (adapting her own book). In the years after the war, he became a professional boxer and found a woman (Krieps) to love him, but the stains of his guilt won’t wash away. Battling while they travel south down the King's Highway, they end up at the southern end of the Dead Sea where they fight the kings of Sodom and Gomorrah (Genesis 14).

Since we’re privy to very little information about any non-Clade member of the Venture crew, it all comes down to drama among three generations of fathers and sons, and the messaging about parenting and choosing your own path is laid on so thick and so often, the exploration and peril/action scenes start to feel like commercial breaks in a family-oriented soap opera—“Cat’s in the Cradle” moment…check!

Contains a handful of in-jokes aimed at murder mystery enthusiasts.

52/100

Turning Red (2022)

Directed by Domee Shi. Starring (voices) Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Wai Ching Ho, Tristan Allerick Chen, Orion Lee, James Hong, Sasha Roiz. Think they’ll live to regret it?

Although it doesn’t exactly break the mold, and shows little interest in exploring the sociocultural tension that could get in the way of a happy ending, this is a charming motion picture “out and proud” about its characters’ lifestyles and its eagerness to toggle between knee-slapping raunch and gooey sweetness. As such, it’s more intellectually rousing than emotionally pandering, although this tactic causes certain scenes outside the courtroom (including an opening that that dawdles too long before getting to the meat of the matter) to drift through threadbare character definition and low-suspense threats and thematic tension.

He’s pushed around and scorned by locals (including the most unlikely character type-coordination of teenage bullies you’re likely to ever find), and not even a budding romance with a fellow damaged soul (Laurie’s granddaughter, played by Matichak) can keep the darkness away. Riseborough and debuting director Michael Morris avoid glamorizing either the addiction and the recuperation, but wouldn’t it have landed harder and more realistic if this lottery winner who squandered her good fortune didn’t find another (proverbial, this time) winning ticket?

The wit is still dry (“They’re very French, the French, aren’t they?” “I suppose they’re bound to be”), as is some of the storytelling, and even for those immersed in this world of the dying aristocracy, there are simply too many characters and frayed story threads for this “super-sized episode” to become cinematically satisfying.

Manville is a delight, and Jenny Beavan’s haute couture offers some splendid sights, but there’s hardly a speck of resonance. Chedorlaomer's forces soundly defeat the Sodom-led army, taking Lot and his family as prisoners.

Abraham gathers up his 318 male servants, along with several allies, and pursues Chedorlaomer as he travels north.

Fans of the show will find what they’re looking for, while newbies will just have to go with the flow since little effort is made to establish the main misfits from the ground up; the writers crafted a self-contained story (a murder mystery, at that), but as one would expect, narrative is less important than quirky character work and sly verbal gags, more gentle and off-kilter than its “louder,” more pop culture-fixated TV brethren.

It should be no surprise the movie works best dishing out the yuletide yuks and ultraviolence since the story doesn’t hold up to a lick of scrutiny, even after overlooking all the “Santa magic” scrubs—we never get a full, clear picture of this dysfunctional stinking-rich family or the layout of the house, and one key plot point involving the loot in the safe makes zero sense.

One refreshing touch is in the characterization of the frontman (Urrea) of a different teen band, who never becomes a rival or enemy, and doesn’t even seem like a “dark side” temptation when he offers Martell a spot in his group. Premiered at the Venice Film Festival the year before its release.

83/100

RRR (2022)

Directed by S.

S. Rajamouli. [R]

Lydia Tár is a brilliant, world-renowned conductor. [R]

Entertaining meta-action-comedy sees Nicolas Cage tackle the greatest film role of his career: Nicolas Cage (or, at least, a fictionalized version of the guy).