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Total Recall (Blu-ray / DVD)

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Total Recall (Blu-ray / DVD)Starring Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston, John Cho, Bill Nighy, Arnold Schwarzenegger, Sharon Stone, Rachel Tic- oh shit, wait…

Directed by Len Wiseman

Distributed by Sony Pictures Home Entertainment


I remember being somewhat excited about the prospect of a Total Recall remake when it was first announced, and being more excited still when there were talks that this new incarnation wouldn’t be a straight remake of the 1990 Paul Verhoeven/Arnold Schwarzenegger actioner so much as another adaptation of sci-fi legend Phillip K. Dick’s smart source material, the 1966 short story “We Can Remember it For You Wholesale”. Well, apparently those were nothing but lies, as the resulting film is essentially a rehash of that earlier film, with no attempt made to mine the original story for anything richer than excuses to sling action setpiece after action setpiece at the audience. Pity.

Much like the Verhoeven film, this version of Total Recall concerns Douglas Quaid (Farrell), a blue-collar factory worker who seems to yearn for a more exciting life, even though he’s happily married to the beautiful Lori (Beckinsale). Quaid fills his days with work and sleep, until he catches sight of an ad promoting Rekall, a company that offers to implant false memories into customers seeking a little excitement in their otherwise humdrum lives. Of course Quaid visits, choosing to live out his dreams as a secret agent of sorts, only something goes wrong: the implantation brings out Quaid’s true memories of actually being a double agent for a corrupt federation and the resistance that fights it, a truth that had been lost (or hidden) from our hero. This revelation brings a host of would-be assassins down on Quaid’s head, including Lori (also a double agent) – all of them under the rule of the villainous Cohaagen (Cranston), a chancellor who is attempting to stamp out the resistance that Quaid has elected to fight for. Along the way, our hero attempts to recover his lost memories and former life, bringing him into contact with Melina (Biel), a former lover of Quaid’s whose father Matthias (Nighy) leads the resistance.

Gone from the previous film adaptation are Mars, Kuato, the wonky humor, and the practical special effects. In their place – loads of CG, and an onslaught of action scenes that seem meant to bludgeon the viewer into submission, or at least into some sort of stupor (maybe then, the reasoning might be, one won’t notice the film’s entire lack of a brain and soul). And before we go any further, let me get one thing perfectly clear: I’m no champion of the Schwarzenegger flick. It’s a big, dumb, otherwise well-made action flick that mostly manages to entertain (like most of Schwarzenegger’s big, dumb action flicks). Compared to Dick’s story, though, it’s a gaudy, silly, overblown mess. We are left to wonder what David Cronenberg might have made of the film, which he was once attached to in the mid-80s before producer Dino De Laurentiis decided he wanted a far more lowbrow take on the material. However, as disappointing as that original film is, it at least has a pulse, which is sorely missing from this incarnation.

It’s a shame, too. Certainly, this film had the resources. The budget was obviously huge, production designer Patrick Tatopoulos’ work is eye-popping, and the cast is filled out with more than capable actors. In fact, none of the thesps here seem to realize that they’re in a bad film. Farrell makes for a fine lead, as is mostly typical. Indeed, he’s a far better choice for everyman Quaid than Schwarzenegger ever was. Biel, Nighy, and Cranston do what the film requires of them, and with more skill and talent than was likely needed. But it’s Beckinsale who seems to be having a blast here. Her Lori is a great creation, and a better version of the character that Sharon Stone once portrayed. You can practically see the giggle in her eyes as she chews scenery and kicks ass.

Still, even with all that’s going for it, the movie is torpedoed by its lunkheaded script and unimaginative direction. Whereas the story and original film were concerned with the lead character’s existential dilemma (is his adventure real, or a creation of Rekall’s?), Recall 2012 limits its mindfucking to a single scene, keeping the film’s main conflict comfortably set to “Duck! Watch out! Jump! Bullets!”

And of course, because this is a Len Wiseman joint, the entire film has an unnatural, metallic blue sheen to it (broken up with the occasional burst of warm color and some annoying Abrams Trek lens flares), along with several expensive action sequences that are so damned monotonous they might just put you to sleep. You might remember Wiseman as the guy who gave us the Underworld franchise, or as the filmmaker who completely pussified the Die Hard series (likely for all time). Then again, you may not know him at all, and this film likely won’t change that. How Paul W.S. Anderson catches more hell than this guy, I’ll never know.

Sigh. Look, we’re moving in the wrong direction, folks. The 1990 film took a smart concept and dumbed it down into a loud action flick that was palatable to the masses. Now, twenty-two years later, we have a remake that dumbs down an already pretty stupid flick. Oh, but I fear what the next version of this story will look like a couple of decades down the line.

Still, the movie’s quality and box office failure haven’t prevented Sony from giving Total Recall a damned good release to disc. The image is as sharp as one would expect from a big budget studio flick, keeping it looking as fantastic as a dull-looking film can. Skin tones are…well, everything’s blue anyway, so it doesn’t really matter. Seriously, everyone looks like a damn sexy Smurf in the film. The audio is pretty great, too, full of the tiniest details awash in the film’s intense action.

On the bonus features side, we have Total Recall with Insight, a neat feature that allows viewers to check out the film with some cool behind-the-scenes info courtesy of director Wiseman. We also have a gag reel, which is about as funny as most gag reels, and two featurettes on the film’s sci-fi elements and “The Fall”, the film’s huge (and quite improbable) subway that runs through the Earth’s core. Bonus features exclusive to Blu include a commentary by Wiseman, along with two additional featurettes covering the film’s stuntwork and action sequences. The extended cut of the film, running twelve minutes longer than the theatrical cut, is a Blu-only feature as well, and is the version of the film reviewed above. I would’ve watched the theatrical cut to compare the two versions and list the differences…but I didn’t want to. This movie has claimed enough of my life. It gets no more.

If you’re a sci-fi fan jonesing for a hit of something shiny, look past this empty action flick for your fix. There are far better, far smarter films both new and old awaiting you out there. And for fans of the original film or story, don’t let your curiosity get the better of you. Be content with the memories you already have, and don’t bother replacing them with this junk.

Special Features
Disc 1: Blu-ray feature film

  • Extended Director’s Cut
  • Commentary on Extended Director’s Cut
  • Total Recall Insight Mode

    Disc 2: Blu-ray

  • Gag Reel
  • Science Fiction vs. Science Fact featurette
  • Designing the Fall featurette

    Blu-ray Exclusives

  • 7 Total Action featurettes
  • Stepping into Recall Pre-visualization sequences
  • “God of War: Ascension” PlayStation®3 Playable Game Demo

    Disc 3: DVD feature film

  • Total Recall Insight Mode
  • Gag reel
  • Science Fiction vs. Science Fact featurette
  • Designing the Fall featurette

    Film:

    1 1/2 out of 5

    Special Features:

    3 1/2 out of 5

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    Hell Night Blu-ray Review – Mischief & Mayhem At Mongoloid Manor

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    Starring Linda Blair, Peter Barton, Suki Goodwin, Vincent Van Patten

    Directed by Tom DeSimone

    Distributed by Scream Factory


    1981. Prime time for the slasher film, when studios were more than content to pump out one after another since production cost was often so low. The downside, though, was that many wound up being formulaic and, eventually, forgotten. Time has allowed the cream to rise to the top of that crop and while Hell Night (1981) isn’t among the best it does stand out due to some novel choices made by director Tom DeSimone and executive producer Chuck Russell, the man responsible for some of the most consistently entertaining horror films of the ‘80s. A dilapidated mansion, oozing with gothic atmosphere, stands in place of a college campus or generic forest setting. Characters are dressed in formal costume; a stark departure from typical ‘80s teen garb. The film is half haunted house, half crazed killer and there is a not-entirely-unexpected-but-definitely-welcome twist at the end providing a solid jolt to a beleaguered climax. Fans are rightly excited to see Hell Night makes its debut in HD, though the final product is still compromised despite Scream Factory’s best efforts.

    It’s Hell Night, every fraternity brother’s favorite evening; when new recruits are tormented in hazing rituals from, well, Hell. Peter (Kevin Brophy), president of the vaunted Alpha Sigma Rho house, comes up with the brilliant idea to have four pledges – Marti (Linda Blair), Jeff (Peter Barton), Denise (Suki Goodwin), and Seth (Vincent Van Patten) – spend the night in a decaying mansion. But this isn’t just any old house, as Peter regales a rapt audience – this is where former owner Raymond Garth killed his wife and three malformed children before hanging himself, sparing only the life of his son, Andrew, who was rumored to reside within the place after the murders. The pledges enter Garth Manor and quickly pair off, with Marti and Jeff getting intellectual while Denise and Seth take a more physical path.

    A few hours pass and Peter returns with some of his bros, planning to initiate a few good scare pranks they set up earlier that week. The chuckles don’t last long, though, because Jeff and Seth quickly find the shoddy wiring and poorly placed speakers rigged upstairs. What they don’t know is that there is an actual killer on the loose, and he just decapitated one of the girls. Leaving the labyrinthine home proves difficult, with Marti & Jeff getting lost within the catacombs beneath the estate, evading their mongoloid menace however possible. Seth, meanwhile, has to scale a massive spiked fence if they hope to get any help way out here. Wait, didn’t Peter mention something about Andrew having a sibling?

    The production team on this picture was a beast, and I’m convinced that’s the chief reason why it came out any good at all; specifically, the involvement of Chuck Russell and Irwin Yablans. I give a bit less credit to director Tom DeSimone, who up to that point (and after it) filled his filmography with lots and lots of gay porn; storyline and direction are usually secondary in that market. Hell, they even had Frank Darabont running around set as a P.A. which is just a cool fact because nobody listens to P.A.s on a film set. Music is just as important, too, and composer Dan Wyman is a synth master who worked with John Carpenter on his early films. His score here is reminiscent of those lo-fi masterpieces.

    Solid atmosphere and rounded characters make all the difference. Instead of a roster of stereotypical sophomoric faces the bulk of the film focuses on four individuals with personality and a bit of depth. Blair makes a good turn as the bookish good girl type, while Barton is a charming match for her mentally, showing interest in more than just a drunken hookup. Denise and Seth are both superficial, and their interactions inject the most humor into the film. Denise continually calling Seth “Wes” is one example. A good horror film gets the audience invested in who lives and dies, and while I won’t go so far as to say these are exemplary characters the script does make them three-dimensional and not so paper thin.

    The 1.85:1 1080p image is sourced from a 4K restoration of an archival 35mm print with standard definition inserts. This is a step up from Anchor Bay’s old DVD but not by leaps and bounds. Colors attain greater saturation and definition is tightened but the picture looks awfully soft too often and the jump between HD and SD footage is plain as day. The print displays vertical scratches and white flecks. Black levels are decent but there is clear room for improvement across the board. To their credit this is the best image Scream Factory was able to produce but fans should temper expectations going in because this is not a pristine picture by any means.

    There is nothing wrong to be found with the English DTS-HD Master Audio 2.0 mono track, which does a fine job of carrying the dialogue alongside Dan Wyman’s sinister synth soundtrack. Direction is limited and the presentation is routine, but no problems were detected and the track capably supports the feature. Subtitles are available in English.

    Here is where Scream Factory does their best to make up for the shortcomings of the a/v presentation: a ton of extra features.

    An audio commentary track features actress Linda Blair, director Tom DeSimone, and producers Irwin Yablans & Bruce Cohn Curtis.

    “Linda Blair: The Beauty of Horror” – This is a recent discussion with the actress, who covers her run in the genre in addition to diving deep into this film’s difficult production.

    “Hell Nights with Tom DeSimone” – Shot on location at the Garth Manor (actually Kimberly Crest Estate in Redlands, CA), DeSimone reflects back on shooting the film there over 35 years ago.

    “Peter Barton: Facing Fear” – The actor offers up expected discussion, covering his career in horror and navigating the Hollywood scene.

    “Producing Hell with Bruce Cohn Curtis” – This covers more of the behind-the-scenes work that went into making the movie.

    “Writing Hell” – Screenwriter Randy Feldman offers up some insight into his process for creating the story and writing the script.

    “Vincent Van Patten & Suki Goodwin in Conversation” – The two actors, who have not seen each other in quite some time, sit down together for a back-and-forth discussion.

    “Kevin Brophy & Jenny Neumann in Conversation” – This is another chat conducted the same way as Van Patten & Goodwin.

    “Gothic Design in Hell Night” – Art director Steven Legler talks about his process for turning Garth Manor into how it is seen on film; evoking the right chilling atmosphere.

    “Anatomy of the Death Scenes” – Pam Peitzman, make-up artist, and John Eggett, special effects, scrutinize each of the film’s kill scenes and discuss what went into achieving them.

    “On Location at Kimberly Crest” – DeSimone guides viewers on a tour of the “Garth Manor” as it can be seen today.

    A theatrical trailer, two TV spots, a radio spot, and a photo gallery are the remaining features.

    Special Features:

    • NEW 4K Scan of the film taken from the best surviving archival print
    • NEW interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann
    • Audio Commentary with Linda Blair, Tom DeSimone, Irwin Yablans and Bruce Cohn Curtis
    • Original Theatrical Trailer & TV spots
    • Blu-ray Disc Exclusives:
      • NEW interview with Director Tom DeSimone
      • NEW interview with Producer Bruce Cohn Curtis
      • NEW interview with Writer Randolph Feldman
      • NEW – Anatomy of the Death Scenes with Tom DeSimone, Randolph Feldman, Make-up artist Pam Peitzman, Art Director Steven G. Legler and Special Effects artist John Eggett
      • NEW – On Location at the Kimberly Crest House with Tom DeSimone
      • NEW – Gothic Design in Hell Night with Steven G. Legler
      • Original Radio spot
      • Photo Gallery featuring rare, never-before-seen stills
    • Hell Night
    • Special Features
    4.0

    Summary

    “Hell Night” overcomes being lumped in with standard slasher fare thanks to dripping atmosphere, unique production design, and characters that elicit some empathy. The a/v presentation leaves much to be desired but a plethora of bonus features softens that blow.

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    The Open House Review – Abandon Hope All Ye Who Enter Here

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    Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

    Written by Matt Angel and Suzanne Coote

    Directed by Matt Angel and Suzanne Coote


    Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

    Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

    To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

    This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

    Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

    If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

    Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

    • The Open House
    1.0

    Summary

    Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

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    Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI

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    Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis

    Written by George Edwards and Barry Schneider

    Directed by Curtis Harrington

    Distributed by VCI Entertainment


    Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.

    Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.

    The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.

    What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.

    Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.

    This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.

    An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.

    There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.

    The film’s original trailer is included in HD.

    Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.

    Special Features:

    • NEW 2K RESTORATION from the original camera negative
    • Original theatrical trailer
    • Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
    • New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
    • Two Interviews with Curtis Harrington by Film Critic David Del Valle
    • Photo Gallery
    • Optional English SDH subtitles
    • Ruby
    • Special Features
    2.3

    Summary

    A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.

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