Monday, December 14, 2009

OST - Fur: An Imaginary Portrait of Diane Arbus (2006)

Progressive and Unique

Kudos to Carter Burwell, who wrote the scores for Being John Malkovich and Adaptation (amongst others). An expert composer of weirdness. The score is freaky (reflecting Diane Arbus's photographic subjects). Although it stands alone as a great score, I would highly recommend the movie as well. The music is cunning, transformative, full of soul, mixture of classical and jazz. In a nutshell Carter Burwell has captured Diane Arbus in music, and Nicole Kidman does a fine acting representation of her in the movie.Recommended!

1. The Fur (03:13)
2. Tango de la Bete (01:25)
3. Scary Times (01:40)
4. Arbus Family Photo Studio (01:55)
5. My Arms Around Myself (01:56)
6. Exposure (00:59)
7. Seduction (01:11)
8. Pipes (01:38)
9. Ad Ultima Thule (03:32)
10. Call of the Wild (01:08)
11. The Tea Party (02:10)
12. Following (02:00)
13. The Run Back Home (01:18)
14. Water Dream (03:15)
15. Stepping Out (01:06)
16. Stepping Out (01:21)
17. Trap Door Party (01:15)
18. Drowning (01:38)
19. End It (01:24)
20. Transmission (02:30)
21. The Shave (05:24)
22. Into the Sea (05:05)
23. I Want to Meet Your Husband (00:53)

Carter Burwell - Biography

Nationality: American
Born: Nov 18 1955 (54 years old)

Probably one of a very few soundtrack composers to idolize Iggy Pop, Carter Burwell is best known for his work with the Coen Brothers, having scored every one of their films through the year 2009. By turns haunting and dark or quirky and experimental, Burwell's eclectic music has graced films in a wide variety of genres, and he's used the occasional big-studio project to finance his work on a number of groundbreaking independent films. Born November 18, 1955, in New York, Burwell took piano lessons as a child and learned to play blues guitar as a teenager. He studied architecture and fine arts at Harvard, but wasn't considering music as a career; upon graduating, he first worked in a biology lab, then as an animator, while playing in punk bands by night for fun.

A mutual friend referred him to the Coen Brothers, who were seeking a composer for their debut 1984 feature, Blood Simple. They all hit it off, and Burwell was employed for the Coens' next project, the kidnapping caper Raising Arizona (1987); Burwell blended samples with a variety of thematic source materials. The Coens' 1990 gangster film, Miller's Crossing, was Burwell's first fully orchestrated work, and he attracted more attention for 1991's groundbreaking Barton Fink; he composed only 20 bars of music, which were then treated with various sound effects and reshaped throughout the film by sound designer Skip Lievsay.

Burwell's workload increased steadily as the '90s progressed, and he began taking on more mainstream film projects: Doc Hollywood (1991), Wayne's World 2 (1993), and Airheads (1994), among others. He won wide acclaim for his work on 1995's Rob Roy, which kicked off the most prolific period of his career -- over 35 films in the next five years. Among the highlights were the thriller Conspiracy Theory (1997), The Jackal (1997), Gods and Monsters (1998), the fictionalized glam rock chronicle Velvet Goldmine (1998), the bizarre Being John Malkovich (1999), and the Gulf War epic Three Kings (1999). In addition to his film-scoring activities, Burwell has also played accordion and synthesizer with eclectic new age artists like Gabrielle Roth and David Hykes' Harmonic Choir.
~ Steve Huey, All Music Guide
Content provided by All Music Guide Copyright © 2008 All Media Guide, LLC

More music form Carter Burwell: BT assistent

Niko - Lentäjän poika (2008) aka The Flight Before Christmas

Good Finnish animation ... for older kids and grown-ups

English spoken - The Flight Before Christmas
Dutch spoken - Niko en de Vliegende Brigade

When this popped up on CBS TV the other night, I started watching it, and the first thing I thought was "This is not an American-made film." For one thing, it's fairly densely plotted and has a much more complex and dark storyline than a U.S. cartoon would have. Sure enough, although CBS zipped through the ending credits almost too quickly to read them, I saw that it was made in Finland. That explains it! The night I watched, it followed on the heels of the awful 1996 "The Return of Frosty" cartoon, which made the Finnish production seem that much more intelligent.

As a grown-up viewer, I thoroughly enjoyed the story -- a young reindeer searching for his father, whom he believes to be one of Santa's heroic flying squadron. The youngster is helped along his way by a fatherly, protective flying squirrel and a female ermine/weasel (?) who warbles pop tunes like an American Idol contestant. There's also a pink French poodle who appears suddenly and disappears mysteriously once her plotline is over (what becomes of her??). Yes, there are implications of reindeer one-night stands (how very Scandinavian of them!), and Niko's real dad turns out to have, shall we say, commitment issues (many kids will relate, I'm afraid). And there are some scary wolf villains -- but really, no scarier than the hyenas in "The Lion King," which this production seems to channel (one could say "copy" if one were ungenerous) more often than not. The digital character animation looks a bit clunky, with giant grinning amorphous faces that too often really look computerized -- but the backgrounds and landscapes are quite lovely. There are shots of the Scandinavian forest with the aurora borealis overhead that are very memorable. The musical score recalls Howard Shore's "Lord of the Rings" and almost seems a bit too grand for the room. But this is an hour-long cartoon that is really trying to be quite epic in its story and scope, and I think it's the first Finnish production (that I can recall, anyway) to make it to the U.S. TV market in such a big way (major network broadcast).

As for the scare factor of the big bad wolves -- really, can ANYTHING be scarier than the classic 1939 "Wizard of Oz"?? "Oz" gave me tornado and flying-monkey nightmares for years as a kid, but I loved it and watched it whenever it was on. I think a few good TV scares never hurt any child! Classic Brothers Grimm and Hans Christian Andersen fairy tales are chock-full of scary and often quite violent situations; even the best Disney films (like "Lion King") are full of scares and sadness. I give the Finns points for offering a little darkness and scare factor, and not serving up sugary holiday syrup like "Frosty Returns" (or even the original 1960s "Frosty the Snowman," which also preceded "Flight Before Christmas" the other night -- yup, it may be a beloved classic, but wow, it's so sweet it makes your teeth hurt!).

So, yes, I recommend "The Flight Before Christmas" -- a Finnish production that is a quite worthy and surprisingly intelligent entry into the annual holiday animation derby.
~ Review by Rowana


Friday, November 27, 2009

Harry Potter and the Half-Blood Prince (2009)

Harry 6

The sixth installment of the Harry Potter series begins right where The Order of the Phoenix left off. The wizarding world is rocked by the news that "He Who Must Not Be Named" has truly returned, and the audience finally knows that Harry is "the Chosen One"--the only wizard who can defeat Lord Voldemort in the end. Dark forces loom around every corner, and now regularly attempt to penetrate the protected walls of Hogwarts School. This is no longer the fun and fascinating world of magic from the first few books—it's dark, dangerous, and scary.

Harry (Daniel Radcliffe) suspects Draco Malfoy (Tom Felton) to be a new Death Eater recruit on a special mission for the Dark Lord. In the meantime, Professor Dumbledore (Michael Gambon) seems to have finally removed the shroud of secrecy from Harry about the dark path that lies ahead, and instead provides private lessons to get him prepared. It's in these intriguing scenes that the dark past of Tom Riddle (a.k.a. Voldemort) is finally revealed. The actors cast as the different young versions of Riddle (Hero Fiennes-Tiffin and Frank Dillane) do an eerily fantastic job of portraying the villain as a child. While the previous movies' many new characters could be slightly overwhelming, only one new key character is introduced this time: Professor Horace Slughorn (with a spot-on performance by Jim Broadbent). Within his mind he holds a key secret in the battle to defeat the Dark Lord, and Harry is tasked by Dumbledore to uncover a memory about Voldemort's darkest weapon--the Horcrux. Despite the long list of distractions, Harry, Ron (Rupert Grint), and Hermione (Emma Watson) still try to focus on being teenagers, and audiences will enjoy the budding awkward romances. All of the actors have developed nicely, giving their most convincing performances to date.

More dramatic and significant things go down in this movie than any of its predecessors, and the stakes are higher than ever. The creators have been tasked with a practically impossible challenge, as fans of the beloved J.K. Rowling book series desperately want the movies to capture the magic of the books as closely as possible. Alas, the point at which one accepts that these two mediums are very different is the point at which one can truly enjoy these brilliant adaptations. Harry Potter and the Half-Blood Prince is no exception: it may be the best film yet. For those who have not read the book, nail-biting entertainment is guaranteed. For those who have, the movie does it justice. The key dramatic scenes, including the cave and the shocking twist in the final chapter, are executed very well. It does a perfect job of setting up the two-part grand finale that is to follow. --Jordan Thompson

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In America (2002)

Emotion raw and beautiful

For sheer catharsis, In America beats every movie I've seen since "The Sweet Hereafter" years ago. Like that movie, it deals with the aftermath of the death of a child; unlike that movie, it comes down (after much agony) on the side of a loving family as the only thing that can heal us.

The Sullivans, a young couple with two adorable daughters, slip illegally into the U.S., moving to New York. In theory this is to help Da start his acting career; in reality, it is an attempt to escape from the sad memories of young son Frankie, recently died at 5 of a brain tumor.

The performances are all, all stunning. Samantha Morton, her hair shorn like a penitent nun's, gives a stunning performance driven by the despair in her eyes. The real-world sisters Sara and Emma Bolger seem completely transparent; they leave the impression they are not acting at all, but really living the loss of their beloved brother. The African actor Djimon Hounsou looms like a sad but powerful diety over the sorrowful family, alternatively reflecting their pain and offering them solace.

The ending will surprise you - I won't give it away here - but it is a sweet resolution. The film seems to have a basis in truth, as it is written by director Jim Sheridan and his two daughters, and dedicated at the end to the memory of Frankie Sheridan (who, as it happens, was Jim Sheridan's brother rather than his son).

Heartwarming and basically terrific.

Jim Sheridan's IN AMERICA, though you may not realize it when you watch it, is a fable about wishes, dreams, good defeating bad, families growing stronger, love outlasting all adversity and America as the land of opportunity. It's a delightful film, touching without being too cute.

One thing you must realize throughout the film, when it takes turns toward optimism when other films would grow darker, is that the story is told through the eyes of Christie, the 10-year-old daughter of an Irish immigrant family recently relocated to New York. She narrates the story. She speeds it up and slows it down as she needs to. She talks of her sister Ariel's fears, of her mother's strength and of her father's lost smile. And, most importantly, she puts a positive spin on each of her proud family's struggles.

Another director might have taken this same story and gone in a different, darker direction with it. The elements are there, certainly. The family is poor, living in a tenement alongside beggars and drug addicts. Johnny, the girls' father, is an out-of-work actor who's uprooted his family to escape sad memories of his son Frankie, who died. Mateo, the next-door neighbor, and Sarah, the mother, are both faced with life-threatening conditions.

But the atmosphere that Sheridan provides us in this film is comforting and light. The city is enchanting. The tenement is both scary and magical, depending upon the story that Christie is telling the audience. No adult problem goes unsolved for long, even ones that seem particularly bleak. Throughout these positive twists, the importance of the narrator is key. Happy endings are important to a little girl, particularly one who feels so responsible for her own family. At one point in the story, for instance, she saves the family from their latest crisis and relates to her father that she's been the family's savior for a year.

Though it focuses on her entire family, it's Christie's story. And, while she's telling it, it's really moving and uplifting.

The acting here is uniformly terrific. Paddy Considine, playing Johnny the father, is a revelation. He's attractive, strong, a little crazy and yet weighed down by grief. Samantha Morton delivers another compelling performance, yet she comes off here as sweeter and more sympathetic than she did in the disappointing MORVERN CALLAR. Djimon Honsou, best known for his work in AMISTAD, is absolutely spectacular as Mateo, the girls' doomed neighbor. And Sarah and Emma Bolger, real-life sisters playing the girls in the film, manage the difficult task of playing adorable, likable, distinct children without coming off as entirely too precious and cute.

The script is terrific, and the direction is quite good.

IN AMERICA is just lovely.

One True Thing (1998)

A movie to touch your heart

An American drama film directed by Carl Franklin. It tells the story of a woman who is forced to put her life on hold in order to care for her mother who is dying of cancer. It was adapted by Karen Croner from the novel by Anna Quindlen. It was directed by Carl Franklin. The movie stars Meryl Streep, Renée Zellweger, William Hurt, Tom Everett Scott, Lauren Graham and Nicky Katt. Bette Midler sings the lead song, "My One True Friend", over the end credits. The track was first released on Midler's 1998 album Bathhouse Betty.

Director: Carl Franklin

Cast: Meryl Streep, Renée Zellweger, William Hurt, Tom Everett Scott, Lauren Graham, Nicky Katt

One True Thing is a family drama revolving around a dying mother's final months in the care of her daughter. Ellen Gulden's father rebukes her for not caring enough about her mother to quit her job, move back home to Upstate New York, and leave her soulmate behind to fend for himself in their tidy New York apartment. But, when she succumbs under the strain of guilt and does as he asks, it appears that he is too busy to carry his part of the load. In fact, it begins to look like Ellen's father is more concerned with who is going to keep his life running smoothly than who will tend to his poor wife as she struggles with cancer. George Gulden is a gifted professor and English department head, but he is an unrealized novelist. His novel, "Come Back Inn," is still unfinished after many years of torturous self-editing and rewrites long after the advance he received from his publisher is spent. Still, he basks in the reflected glow of more famous and successful writers with whom he maintains tenuous ties. This realization humanizes him for Ellen who has always revered her father as something of a literary giant in spite of his occassional daliances with graduate students. Kate Gulden, dying of cancer at only 48, loves life, and loves her children and her husband. When her suffering finally ends from an overdose of morphine, the District Attorney suspects Ellen of having helped her mother to end her life. In the end, though, it seems to be Kate who still nurtures them, somehow even from the grave.

Shifting Perceptions Lead to a "True" Understanding
Review by cdset

"One True Thing" beautifully and poignantly demonstrates that appearances can be deceiving, and that what one sees on the surface doesn't necessarily reflect the deeper truth. In this brilliantly acted film, Zellweger (the daughter), discovers that her notions about her parents (Streep and Hurt) and about marriage in general were illusions, and, in turn, comes to a greater understanding of both her parents and the realities of marriage.

Zellweger's relationship with her mother was always strained. and she looked down upon her mother's life thinking it provincial and small. Her father, the college department head and National Book Award winner, however, was put on a pedestal, appearing larger than life to her. When Zellweger moves back home to nurse her dying mother, she painfully discovers that her father treats her accomplishments as "small" and irrelevant (comparable to her view of her mother), and that he is far removed from her idealized image of him. She, in turn, comes to a new admiration and appreciation for her mother's perserverance and wisdom about life.

Streep, one of our greatest actresses, can communicate more with a look on her expressive face than most actresses can with hours of dialogue. Zellweger, another talented performer, more than holds her own with the formidable acting talents of Streep. The two of them together create scenes of enormous power and emotional energy. They make this perceptive and absorbing film an unforgettable experience.

Thursday, November 26, 2009

BT new sources

Mininova Deletes All Infringing Torrents and Goes 'Legal'

November 26, 2009

Mininova, the largest torrent site on the Internet, has removed all torrents except those that were uploaded through its content distribution service. Mininova's founders took the drastic decision after they lost a civil dispute against Dutch anti-piracy outfit BREIN, and were ordered to remove all infringing torrents from the site.


Thanks for the good times Mininova !

A pity but let's concentrate on other sources.


TPB Magnet links


check-out these torrent databases/trackers

You can upload any torrent you want, with or without the 1337x or H33T tracker in it.

Although I think
private trackers are the best option!

The Best of Stevie Wonder - The Christmas Collection: 20th Century Masters (2004)

Christmas with little Stevie

First off, I'm not one to buy Christmas albums -- in fact, this is the first I've ever purchased -- but I am a big Stevie Wonder fan and have most of his post-1970 albums, even the not so essential ones from the 80's. The latter being true, there was almost no way I was going to be dissappointed with this, especially after hearing a track on the radio this past Christmas and really digging it.

This relatively new compilation (2004) includes 14 remastered tracks, originally recorded by Stevie back when he was "Little Stevie Wonder" and sung mostly non-originals under the direction of Motown executives. Tracks 1-12 were in fact originally issued as 'Someday at Christmas' in 1967 -- this new collection therefore trumps that album (which still shows up in the used bins) by adding two additional tracks. Still, the total playing time remains brief at 42 minutes.

The music itself is a bit dated of course -- Stevie croons in an adolescent voice, is backed by an un-funky orchestra with lush string arrangements and vocal choruses, and most of the tunes, if they ever were popular, are now obscurities. There are a some classic carols -- "Silver Bells," "The Little Drummer Boy," the classical piece "Ave Maria" (which Stevie braves in latin), and a Stevie favorite, Mel Torme's "The Christmas Song" ("Chestnuts roasting on a open fire..."). Most of the tunes are slow ballads, until the end when the tempo picks up with "What Christmas Means to Me," a number more in the trademark Motown tradition with sleighbells serving as the rhthym section, and the two concluding add-on tracks. Some of the songs border on smarmy ("Bedtime for Toys" and "Twinkle, Twinkle, Little Me" with their spoken interludes), but the opening track "Someday at Christmas," "The Day That Love Began," "The Christmas Song" and "Christmastime" are standouts with Stevie really shining -- the latter two feature a bit of Stevie on harmonica.

I saw Stevie sing a free Christmas concert in Times Square back in the 90's, making me want to hear a modern Christmas album by grown-up Stevie and all his now trademark piano and vocal pyrotechnics, but this album works for me too... as something to put in around Christmastime to break the monotony of well-tread carols on the radio, a conversation piece (peace?), and a good addition to a relatively complete Stevie collection. By Joe Pierre

The Mighty (1998)

The quest for friendship is the noblest cause of all.

Caught between the purest of intentions and unimaginative shortcuts to sentimentality, The Mighty is nevertheless rewarding enough to make it worth seeing. Kieran Culkin stars as Kevin, a terminally ill but spirited young boy who befriends a healthy but illiterate social outcast, Maxwell (Elden Henson). They realize that together they are a stronger, braver force than they are as individuals, and the various opportunities they have to confront persecutors and memories of their bad fathers are handled very effectively by director Peter Chelsom (a very original filmmaker who made the terrific Funny Bones). The curious adult casting includes Sharon Stone (a natural scene-stealer even when she doesn't intend it) as Kevin's saintly mother, and Gillian Anderson in a quite-unbelievable supporting role. Chelsom's lapses in judgment are not terribly significant (imaginary appearances by Camelot-era knights on horseback are the most annoying), though one could argue that a plot to kidnap one of the boys is a cheesy way to underscore the kids' redemptive loyalty to one another. Still, all in all, you can laugh and cry at this tale of rare friendship, and admire the sensitive performances by Chelsom's younger players. --Tom Keogh

From The New Yorker
Peter Chelsom's movie is about two boys. One of them, the smart and inventive Kevin (Kieran Culkin), is crippled by a degenerative disease; the other, the slow and wretched Maxwell (Elden Henson), is twice Kevin's size and barely able to look the world in the face. The long and the short of it is that they join forces and make a fine team, winning respect at school and solving the perilous problem of Max's vicious father. Running through their tale is an unlikely Arthurian motif; once Max has hoisted Kevin onto his shoulders, they picture themselves as a single unit-a heroic knight on horseback. Chelsom overdoes their dream, flashing all too often, and too obviously, to shots of real knights in armor; you need the wildness of a Terry Gilliam to make this kind of conceit work. The film threatens to become heavy; what rescues it is the rough and lively performances of the kids, and of Sharon Stone, who makes the most of her supporting role as Kevin's bravely beleaguered mother. With a gonzo cast that includes Gillian Anderson and Meat Loaf. -Anthony Lane Copyright © 2006 The New Yorker

Le Huitième Jour (1996)

Le huitième jour (The Eighth Day) is a Belgian 1996 film, it tells the story of a friendship that develops between two men who meet by chance.

The film was written and directed by Jaco Van Dormael. Some scenes in the film appear as dream sequences. The music of Luis Mariano is used in these scenes, with actor Laszlo Harmati playing Luis. (Luis died in 1970.) The original music score is from Pierre Van Dormael, Jaco's brother.

Review by Daniel J. Atil

I just watched the most wonderful movie, and I must tell you about it. It's called THE EIGHTH DAY (Ale Huitieme Jour). It's French with English subtitles. But, don't let that stop you, if you're one of those who dislikes having to read the dialogue. The dialogue is easy to follow, and it's mostly a visual film, and stunning at that. The cinematography is remarkable. But, let me get back to the story, because it's important. There are two men. -- Georges (played superbly by Pascal Duquenne), a man with Down's Syndrome, living in an institution, and missing his mother (she died). He has recurring visions of her, along with visions of his favorite crooner singing his favorite song. He switches gears back and forth from being erratically boisterous and playful at times, to being somber and contemplative at other times. One day, he just walks away from the home, taking along a dog (that may or may not be his pet).

Then, there's Harry (played perfectly by Daniel Auteuil). Harry is a salesman. He's very good at his job, but fails in life. He's recently divorced, and has one last chance to see his children, before his ex-wife denies him the right. But,... One night as he's driving in the rain,... He hits a dog, then meets Georges. He takes Georges (and the dog) to the police station. But, they don't help. Unwittingly, he becomes the guardian of Georges, but in the process of trying to take him home, they become friends. Georges teaches Harry about the simpler pleasures in life. And, Harry helps Georges find a home. (His mother is dead, his sister doesn't want him.) Well... I could go on and on, but I don't want to give away the whole story. This is not just another buddy-buddy story, or another road-trip movie. It's more than that. It's about friendship, family, love, life, everything. It's sad. It's funny. It's heart-warming. It's everything that life is.

"The fifth day, He made the grass.
When you cut it, it cries."

I laughed and cried, sometimes at the same time. It's a truly wonderful movie. Too bad I can only rate it five stars, it deserves ten. END LocalWords: Huitieme Jour.

The Boat That Rocked (2009)

The Boat That Rocked (retitled Pirate Radio for US release) is an ensemble comedy film, released in the UK on 1 April 2009 and currently scheduled for a US release on November 6, 2009. Set in 1966, it tells a story about a fictitious pirate radio station broadcasting from a ship to the United Kingdom. The film was written and directed by Richard Curtis and made by Working Title Films for Universal Pictures. Principal photography started on 4 March 2008 on location off the southern English coast and ended in June 2008.

Carl (Tom Sturridge) arrives on the pirate radio ship, Radio Rock, after being sent to stay with the ship's Captain, his godfather, Quentin (Bill Nighy), to hopefully set his life on a different track after being expelled from school. Here he meets Radio Rock's crew of ramshackle disc jockeys, led by The Count (Philip Seymour Hoffman), a buoyant rock-loving American, along with the suave and bawdy Dave (Nick Frost) and the naive but good hearted Simon (Chris O'Dowd). Also filling the airwaves is self proclaimed New Zealand "nut," Angus (Rhys Darby), the mysterious Midnight Mark (Tom Wisdom) and the even more mysterious and downright disillusioned Smooth Bob (Ralph Brown). Serving as the ship's crew are the shy lesbian cook Felicity (Katherine Parkinson) and radio assistants, Harold (Ike Hamilton) and the appropriately nick-named Thick Kevin (Tom Brooke).

Dave wastes no time in introducing Carl to women, only for both of Carl's attempts to be foiled by Dave himself, including Carl's first crush, Quentin's niece, Marianne (Talulah Riley), although, by the end of the film, Carl and Marianne make up and get together. Simon also is unlucky in love, meeting and marrying the too-good-to-be-true Elenore (January Jones) only to find her affections are really placed with the returning "king of the airwaves", Gavin (Rhys Ifans). The Count objects to Gavin's antics with Elenore, leading to a clash of egos that ends in a truce after both suffer physical injuries jumping from the top of the ship's radio mast.

Radio Rock's controversial on-air antics have ruffled the feathers of a government minister, Dormandy, (Kenneth Branagh), who instructs his subordinate Twatt (Jack Davenport) to find a way to take down pirate radio, despite its popularity among the pop hungry masses. After a couple of attempts to deprive the station of advertising funding backfire, Twatt encounters a news-story of a fishing boat whose call for help failed to get through because of Radio Rock's powerful signal swamping the frequency and realises that this can be used to ban pirate radio for good. He proposes the creation of the Maritime Offences Act, which passes through Parliament without any shown opposition.

With the Act due to come into force, the crew of Radio Rock choose to defy the act, for various different personal reasons, and continue to broadcast. Twatt leads a group of boats out into the North Sea to board the pirate ship and arrest the crew, only to find a fishing vessel moored there instead. Quentin has given the order to fire up the ship's aging engines and move their position. Unfortunately, the strain proved too much for the decrepid boat, which begins to sink. The DJs broadcast their position, but Dormandy forbids Twatt from sending out rescue craft. Fortunately, many fans have also heard the broadcast and come to rescue the crew from the sinking ship.

Read more ... Factual background to the story

Wednesday, August 19, 2009

0900-nummers? ... 't kan ook gratis!

Het komt tegenwoordig steeds vaker voor dat bedrijven voor de consument alleen bereikbaar zijn via een 0900-telefoonnummer. Deze nummers kunnen erg duur zijn, 70 cent per minuut is tegenwoordig niets bijzonders meer. En hoe duurder het bellen van zo'n nummer is, hoe langer het duurt voor u de juiste persoon aan de lijn heeft. Vaak krijgt u, voor u het keuzemenu eerst ook nog eens een reclameverhaaltje van het bedrijf te horen.

Zo hangt u tijden aan de telefoon, gedwongen om eerst te luisteren naar de reclame van het bedrijf, daarna komt er een traag keuzemenu, en daarna zijn alle medewerkers in gesprek. Voor je er erg in hebt zijn er tien minuten voorbij, voor eigen rekening, voor 70 cent per minuut of meer.

Klantonvriendelijke gedrag
het wordt hoog tijd om eens tegengas te geven met betrekking tot dit uiterst klantonvriendelijke gedrag. Want als wij als samenleving, accepteren dat een bedrijf dat een fout maakt waardoor de klant genoodzaakt is te bellen, dik verdient aan die klacht via een 0900 nummer dan moeten wij niet verbaasd zijn als wij steeds minder service krijgen, want wij onderwijzen dat wij dit toestaan.

Bedrijf achter 0900-nummer opvragen
Bij de Opta is via het gratis nummer 0800-0223122 na te vragen welk bedrijf er schuilgaat achter een 0900-nummer.
Volgens de OPTA is dit gratis nummer alleen voor de zakelijke wereld en niet voor de consument, maar dat is wettelijk gezien niet zo. Met deze keuze kiest de OPTA dus duidelijk partij voor de zakelijke wereld, de Nederlandse consument speelt geen enkele rol bij deze dienst. De OPTA behaagt alleen de zakelijke wereld ten koste van de Nederlandse consument. De OPTA heeft haar onschuldige masker verloren. Het gratis nummer is ook voor de Nederlandse consument, wettelijk gezien heeft de consument evenveel recht op deze informatie als een bedrijf. Dat de OPTA hierin onderscheid maakt staat los van de wetgeving, dit heeft te maken met haar eigen belang.

OPTA speelt een dubbelrol
Toen CorCom bij het schrijven van dit artikel de heer Brummelkamp jurist bij de OPTA ( toestel nummer 070-3159225) telefonisch benaderde inzake waarom er geen paal en perk wordt gesteld aan die dure 0900 nummers verdedigde de jurist het corrupte 0900 nummers beleid van de OPTA met hand en tand, om vervolgens de zwarte piet neer te leggen bij het Ministerie van Economische Zaken. Als de OPTA aangesteld is om toezicht te houden op de naleving van de wet en regelgeving op het gebied van post en elektronische communicatiediensten en door deze dienst toch niet wordt ingegrepen bij dure 0900 nummers welk voordeel heeft dan de Nederlandse consument bij de OPTA, op deze vraag kon de heer Brummelkamp van de OPTA geen antwoord geven ? CorCom kan de bestolen consument en 0900 nummer slachtoffer 's wel deze vraag beantwoorden namelijk, dat de Nederlandse consument geen enkel voordeel heeft van de werkzaamheden die de OPTA verricht. Nederland is een van de duurste landen ter wereld als het gaat om internet, vaste en mobiele telefonie, en het wordt nog duurder dankzij de OPTA. Deze zogenaamde waakhond bijt naar onschuldige consumenten.

De OPTA is mede verantwoordelijk
De OPTA ( Onafhankelijke Post en Telecommunicatie Autoriteit ) is verantwoordelijk voor het toezicht op de naleving van de wet en regelgeving op het gebied van post en elektronische communicatiediensten. De OPTA speelt hierin een dubbelrol want zij blijft in gebreke om bedrijven tot de orde te roepen inzake de dure 0900 nummers. Dat de Nederlandse consument duur betaald voor het bellen naar 0900-nummers is mede de schuld van de OPTA, zij geeft niet alleen de dure 0900 nummers uit, maar blijft ook in gebreke om de comerciële diefstal waarvan de consument de dupe is aan te pakken.

Wij hebben een alternatief voor deze dure 0900-nummers gevonden
Namelijk het originele telefoonnummer van het bedrijf. U belt gewoon het alternatief nummer dat geplaatst is achter het dure 0900 nummer en u heeft meteen contact met het bedrijf of de instelling. Ieder 0900-nummer is gekoppeld aan een gewoon vast nummer. Als u dat vaste nummer belt dan komt u bij het zelfde callcenter terecht. Punt is dat u wel moet weten naar welk nummer een 0900-nummer dan verwijst. Klik op Read more voor de alternatieve nummers»

Bij de Opta is via het gratis nummer 0800-0223122 na te vragen welk bedrijf er schuilgaat achter een 0900-nummer.

Met dank aan

Saturday, August 15, 2009

December Bride (1991)

Winner of 14 International Film Awards

A woman in 19th-century dress stands on a hill, her back to the camera, looking toward the gorgeously photographed sea. She brings to mind many other enigmatic heroines in movies and novels, from "The French Lieutenant's Woman" to "The Piano." Like them, Sarah, the title character of "December Bride," embodies the flip side of Victorian repression. She is a sexual rebel, a servant in turn-of-the-century Ireland who moves into the house of two brothers, becomes pregnant, and defies anyone in their narrow community of Ulster Presbyterians to make her reveal which of the men is the child's father.

What sets this 1990 Irish film apart from others of the enigmatic-heroine school is that Sarah (Saskia Reeves) seems more willful than sensuous, her rebellion one of class at least as much as passion. She insists that her son have her name, and his existence elevates her status in the household.

Thaddeus O'Sullivan, a cinematographer directing his first feature, has smoothly overcome a thorny problem here. "December Bride" is a passionate film about people who seem uncomfortable with sex, an eloquent film about inarticulate characters.

The older brother, Hamilton (Donal McCann, best known for his role in John Huston's final film, "The Dead"), is well into middle age, and full of emotional warmth and responsibility. He is willing to marry Sarah, but she refuses.

His younger brother, Frank (Ciaran Hinds), is the handsome one. He is also the selfish one, who yells at Sarah's mother, "Remember that you are a servant in this house!" That line is among his longer speeches, and it sends the old woman packing, while Sarah remains behind with the brothers. Faced with a neat split between Frank's sexual attractiveness and Hamilton's affection, Sarah chooses both.

The secret of which brother she loves, and when, is kept from the movie audience almost as thoroughly as it is from the community. Keeping things mysterious makes sense; though her affections seem to sway from one brother to the other, the three are profoundly linked. Eventually the brothers battle each other, yet the menage a trois stands united against a scandalized neighborhood.

Bruno de Keyzer's rich photography makes the seaside landscape look varied and stunning, from a wild storm at sea to a peaceful church garden and whitewashed thatched cottages with dim interiors. But the emotional tone of "December Bride," which opens today at the Quad Cinema, is as harsh and complicated as the lives of its characters.

The main actors are exceptional at suggesting, through looks and gestures, the complications beneath their arrangement. Ms. Reeves's stern face and manner suit Sarah's willfulness; even at her youngest and prettiest there is nothing soft about her. Mr. McCann makes Hamilton just alluring enough to entice Sarah, though his natural personality seems as dull as their old wooden table. Mr. Hinds even creates sympathy for Frank, a man whose idea of courtship is to grab Sarah without a word.

A chorus of minor characters, all acted with great impact, define the narrow world that has provoked Sarah. Early in the film, Frank and Hamilton's father (Geoffrey Golden) makes a dramatic gesture that ends his own life and influences Sarah's. Brenda Bruce, as Sarah's mother, reveals her character's sincerity even when she is maddening, trying to hector everyone back to religion. And as the minister who tries to urge Sarah and the brothers to make things right, Patrick Malahide is a sad vision: thin-lipped, self-righteousness yet astute. "When the community are offended these are a people with hard hearts," he tells Hamilton.

Hard though she seems on the surface, Sarah's heart turns out to be soft after all. At the end, the film jumps ahead 18 years. Sarah makes a grand concession to society, but she keeps more than one secret.

DECEMBER BRIDE Directed by Thaddeus O'Sullivan; screenplay by David Rudkin, from the novel by Sam Hanna Bell; photography by Bruno de Keyzer; music by Jurgen Knieper; produced by Jonathan Cavendish. At the Quad Cinema, 13th Street west of Fifth Avenue, Greenwich Village. Running time: 85 minutes. This film has no rating. WITH: Saskia Reeves (Sarah), Donal McCann (Hamilton), Ciaran Hinds (Frank), Patrick Malahide (Sorleyson), Brenda Bruce (Martha) and Geoffrey Golden (Father).


Tuesday, August 11, 2009

Meet Firefox 3.5

A quick overview of what makes Mozilla's latest browser so great.

Duration: 1:33

What’s New in Firefox 3.5:

Firefox 3.5 makes surfing the Web easier and more enjoyable with exciting new features and platform updates that allow Web developers to create the next generation of Web content. Native support for open video and audio, private browsing, and support for the newest Web technologies will enable richer, more interactive online experiences.


Firefox 3.5 includes the powerful new TraceMonkey JavaScript engine, which delivers unprecedented performance with today’s complex Web applications. Firefox 3.5 is more than two times faster than Firefox 3 and ten times faster than Firefox 2.

Open Video and Audio. (See the video above)

Enjoy video and audio content from within your browser, without the need for plugins. Video is a vital part of the modern Web, whether it’s used to communicate, educate, or entertain. Firefox 3.5 delivers the first native integration of audio and video directly into the browser. Now everyone can easily watch open format Ogg Theora videos.

Web developers can use these technologies to design pages that interact with video content in new and exciting ways, offering richer interactive experiences beyond controlling playback and volume.

Privacy Controls.

Firefox 3.5 includes features designed to protect your privacy online and provide greater control over your personal data.

While using the new Private Browsing mode in Firefox 3.5, nothing you encounter on the Web will be stored from that moment on during your browsing session. Unique to Firefox 3.5, the new Forget this Site feature can remove every trace of a site from your browser. If you want to remove all private data or activity from the past few hours, Clear Recent History, another Firefox-only feature, gives you full control over what stays and what goes.

Location Aware Browsing.

Location Aware Browsing saves you time by allowing websites to ask you where you are located. If you choose to share your location with a website, it can use that information to find nearby points of interest and return additional, useful data like maps of your area. It’s all optional – Firefox doesn’t share your location without your permission.

How to get Mozilla Firefox 3.5:

Mozilla Firefox 3.5 is available now for Windows, Linux, and Mac OS X operating systems as a free download from It is also available in more than 70 languages at:

EDITOR’S NOTE: For screenshots and videos, visit

For more information about Mozilla Firefox 3.5 and how it provides a better and faster online experience, visit

Sunday, August 9, 2009

The Frighteners (1996)

Wicked fun

Just before doing "Lord of the Rings," director Peter Jackson (who can be seen in a cameo as "Man with Piercings") made an off-kilter horror/comedy movie called "The Frighteners," the tale of the undead and the guy who makes a living off of them. Though "Frighteners" was barely in theaters at all, this cult flick is funny, creepy, well-acted and wonderfully directed.

Frank Bannister (Michael J. Fox) has seen spirits and apparitions ever since the car crash that killed his wife. Now he operates an amateur "ghostbusting" operation that is supposed to exorcise ghosts from people's houses -- the problem is that the ghosts who haunt those houses are in league with him (Chi McBride as the opinioated afro-ed Cyrus, Jim Fyfe as the nerdy Stuart, and most of John Astin as what is left of The Judge).

Frank's business certainly isn't hurt by the fact that for years after a serial killer's murderous spree, people have died mysteriously of heart attacks. Then Frank starts seeing fiery numbers emblazoned on the foreheads of people who will die, including the husband of doctor Lucy Lynskey (Trini Alvarado). As if trying to stop a specter of death weren't hard enough, crazed FBI agent Milton Dammers (Jeffrey Combs) believes that Frank is the one murdering people. But the evil specter is still killing -- and Lucy is the next victim.

Peter Jackson once said that he has a "moronic" sense of humor, and it shows up in all its glory here -- from bug spray dissolving a ghost's face to a piece of talking oily sludge to a drill sargeant ghost with submachine guns, this is weird and absolutely hilarious. It's the perfect blend of comedy and horror.

But he's also good during the more serious moments, such as Bannister's flashbacks to his wife's death, or the eerie sight of homicidal young lovers dancing with a gun. The opening shot is pure Jackson, with the camera swooping through a window, past fluttering curtains, and though a hole in the attic floor to a screaming woman below.

Jackson also takes the opportunity to poke a bit of fun at more conventional ghost movies: the big Gothic house, crazy old lady, ghost in '70s clothes, and Fox's hilarious turn as a ghostbuster. Nothing horrific is sacred. "There ain't nothing worse than a bunch of pissed-off brothers... that's ALREADY DEAD!" Cyrus yells at one point.

Does it have a flaw? Yes -- the opening scene doesn't seem to make much sense later on in the movie. But Jackson makes up for that with a surprisingly tight, coherent plot, and a satisfying finale that makes more sense than most other horror movies do.

The cast is brilliant, whether it's the twitchy, wild-eyed FBI agent, or the three weird ghosts. Michael J. Fox does an excellent job as Frank, with the right combination of cockiness and pathos, while Alvarado is solid as the idealistic young doctor. But the scenes are reallystolen by Dee Wallace-Stone and freaky-eyed Jake Busey, as homicidal young lovers.

"Frighteners" might not make you believe in ghosts, but it will make you laugh, shiver, and maybe even shed a tear or two. Wildly funny, weird, gross, and sometimes really peculiar, this is Jackson's splatter-gore at its best. By E. A Solinas

The Frighteners

Movie Trailer

Thursday, August 6, 2009

Äideistä parhain (2005) aka Mother of Mine

Powerful, touching and affecting

Äideistä parhain (English title Mother of Mine) is a Finnish film released in 2005. It was directed by Klaus Härö. The film received good reviews from the Finnish press, and was selected to be Finland's nominee for Academy Award for Best Foreign Language Film at the 78th Academy Awards. The film is based on a novel by Heikki Hietamies.

1943: Nine-year-old Eero whose father is killed during the war is brought to Sweden to foster parents to his protection like thousands of other Finnish children. Eero feels lost, particularly as his foster mother Signe behaves very unfriendly. She was expecting a little girl and still mourns for her daughter who drowned in the sea. The situation changes when Eero's mother tells with a letter that she wants to go with her lover to Germany and Eero should remain with his foster mother. Thus Eero becomes Signe's son. Now she cares lovingly for him. Eero makes friends with the little girl Siv and enjoys childhood for a while. However, after the end of the war the boy has to go back to Finland against his will where his mother waits for him. Never again he will be able to trust her, since she has disappointed him too often. 60 years later, invited to Signe's burial, he will understand while reading all letters that both women only wanted the best for him.

(Pictures form another source)

Tuesday, August 4, 2009

Gandhi (1982)

His Triumph Changed The World Forever.

Gandhi is a 1982 biographical film about Mohandas (Mahatma) Gandhi, who led the nonviolent resistance movement against British colonial rule in India during the first half of the 20th century. The film was directed by Richard Attenborough and stars Ben Kingsley as Gandhi; both won Academy Awards for their work on the film. The film was also given the Academy Award for Best Picture and won eight Academy Awards in total.

It was an international co-production between production companies in India and the UK. The film premiered in New Delhi on November 30, 1982.

The film opens with a statement from the filmmakers explaining their approach to the problem of filming Gandhi's complex life story:

No man's life can be encompassed in one telling... least of all Gandhi's, whose passage through life was so entwined with his nation's struggle for freedom. There is no way to give each event its allotted weight, to recount the deeds and sacrifices of all the great men and women to whom he and India owe such immense debts. What can be done is to be faithful in spirit to the record of his journey, and to try to find one's way to the heart of the man...
Read more ...

Review by Barron Laycock

This movie was the realization of a lifetime dream for Sir Richard Attenborough, who finally succeeded in bringing this incredible spectacular to theatrical release in 1982. I was living outside London working for the American Forces in the greater London area at the time, so was thrilled to have the privilege to see this movie in its limited initial release in Britain, and was amazed by its scope, accuracy and integrity in bringing the quite controversial facts surrounding Gandhi's life and politically-motivated assassination to the screen. Ben Kingsley is simply magnificent as the diminutive, principled, and indefatiguable lawyer, humanitarian, and citizen of the world with an uncannily prescient feel for what was possible for a determined and energetic person as well as how to achieve his lofty otherworldly goals right here on earth.

Based on his appraoch here, Attenborough seems to have learned much from such masterful British film-makers as David Lean, for the use of scenery, topography, and natural surrounding of the characters as they wind through the more than 40 years of story line is breath-taking. His methods owe much to the kind of subtle insinuation of the local environment David Lean in particular used so memorably in movies like "Bridge Over The River Kwai" and "Lawrence of Arabia" (see my reviews) in making the scenery more than an incidental player in the storyline. Seeing Gandhi immersed in the incredible multidimensional diversities that were (and are) India helps the viewer as we begin to understand just how incredible his efforts were to unite the country with his strange yet irresistible moral authority, an authority that all of the various factions recognized and respected as the authentic thing.

There is, of course, an immensely talented cast, including Martin Sheen as an American newspaper correspondent who becomes intrigued by Gandhi's profound and surprisingly effective non-violent approach to social change. Gandhi's approach to using reason and morality to approach issues and perspectives, and these methods become the real star of the film as it builds slowly over the scope of this very literate and intelligent script. This is a wonderful motion picture experience for anyone willing to sit through the more than three hour extravaganza, one that guarantees Attenborough's prominent place in film history, and one that leaves this reviewer smacking his lips in anticipation of whatever other wonderful effort such as this may someday appear based on Attenborough's talents, visions, and moral sensibilities. Enjoy!

Filesoup site owner (Geeker) arrested & on Bail

Arrested, now on bail... guilty until I prove I'm innocent.

Monday 27th July @ 9:05am

Police raid on my home, Warrant to enter and search premises issued on 16/7/09 @12:25

For issue of warrant under:
Section 109 Copyright Designs and Patents Act 1988

Identify, so far as possible, the articles or persons to be sought and search for:
Evidence in relation to the illegal distribution or illegal filesharing of copyrighted films however held, whether electronically or otherwise. Also any evidence in relation to payments received relating to the illegal distribution or illegal filesharing of copyrighted films held whether electronically or otherwise.

Specify person or persons: AUTHORITY is hereby given for any constable (accompanied by):
Neil Gardner, an officer of the Federation Against Copyright Theft (F.A.C.T.)

I was arrested, and taken to the local police station, on the way I asked and was told that it would take about a couple of hours, when I arrived, the booking-in charge was entered as:
Suspicion of downloading copyrighted movies

I asked them while still at home if I could contact a member of my family so that someone could come and make sure my dog was catered for, they said that I couldn't. On the way to the police station I asked if they could contact someone to take care of the dog or if I could make a phone call, they again said I could not.

Before being put in a cell, I was given a Notice Of Entitlements sheet. On this sheet it clearly stated under HOW YOU SHOULD BE CARED FOR. Keeping in touch:
As well as talking to a solicitor and having a person told about your arrest you will usually be allowed to make one phone call. Ask the police if you would like to make a phone call. You can also ask for a pen and paper. You may be able to have visitors but the custody officer can refuse to allow that.

I asked again as I was put in the cell, if I could contact someone or make a phone call, I was told no I couldn't do that, I asked why and was told that the Inspector had put a block on any and all communication from me to anyone.

I was checked on approximately every 30 minutes, each time I asked if they could please contact someone to inform them that I had been arrested and that I wanted to make a telephone call to arrange for a solicitor, every time I was told that they would check into it, see what they could do, ask a superior etc etc, but I wasn't allowed to do either for the whole duration of me being in the cell, which was around 7.5 hours.

After a few hours, I was visited by two Independent Custody Visitors, who asked if I was being treated well and if there was anything I wanted or needed, I told them that I had asked several times already, that I wanted someone contacted to let them know that I'd been arrested and that I wanted to make a phone call, but both had been refused, they appeared surprised and said they would look into it for me, but that was obviously a worthless statement from them, because in the hours that follwed, I still wasn't allowed to do either.

I did get something which resembled an all day breakfast meal, but the taste was so awful, I only had a couple of spoons of it, I had several cups of water and a cup of coffee, I also asked for and got a blanket when I got a bit cold, police cells aren't the warmest of places I now know!

I'm guessing that around about 4:45pm a policeman who I'd not seen before, came into the cell with some paperwork, it was a 12 page list of items they had seized from my house, he asked me to sign a document to confirm that the items listed were mine, after looking at the first few pages, I told him that there were no specific identifiable details for any of the items they had seized and listed, no manufacturers, no model numbers, no serial numbers, for anything and that because this important information had not been detailed, I was not going to sign anything stating that I owned any of it, not without first visually confirming that all the listed items were actually my propety, here's the list of items they say they seized:

01. Nokia mobile phone
02. Large brown package containing several large padded envelopes
03. Western digital hard drive
03. Realistic telephone answering machine
04. 18 mini discs
05. Sharp video camera in grey carry case
06. 8 blank cd's
07. Tandy laptop & bag
08. Black media device
09. Grey mitac laptop computer
10. 10 mini discs
11. eMechanics computer hard drive
12. Box containing venus hard drives
13. 10 blank jvc cd's
14. Memory stick from rear of eMachines computer tower
15. Box containing 10 traxdata cd's
16. Box containing 10 samsung cd's
17. Large computer tower
18. 2 cd's 1 floppy disc and misc papers containing invoices
19. Advent computer tower and external drives
20. Wharfdale rewritable dvd player
21. 5 x hard drives
22. Grey phillips receiver
23. 3 x memory sticks
24. Misc cd's and mini discs
25. Hard drives
26. 1 x hard drive
27. Various cd's & dvd's
28. Computer base unit
29. Computer drive & lead
30. Asda bag containing computer drive & discs
31. Sat nav in black case
32. Paperwork containg details of addresses in Scotland
33. Documents seized from desk

What do they take me for, a complete idiot! one in their right mind would have signed to say any of these items were their property, especially if they'd not been there when it was seized!
Anyway, he got extremely pissed off, insisted I signed it, I refused and he said something to the effect of "fine, then don't sign it" and stormed off out of the cell.

At 5pm a solicitor arrived and I was put in an interview room to speak with him and his assistant, I said that with my limited knowledge, as far as I was aware, downloading of something which had copyright, was a civil offence and not a criminal one and I asked him why the police were involved in this case, he told me that under Section 109 of the Copyright Designs and Patents Act of 1988, the downloading of any copyrighted item, without the owners consent, was a crimnal offence and not a civil one ...first I knew of it!

I was then interviewed by two police officers and it was recorded on tape, they asked loads of questions about all sorts of things to do with Filesoup, I had to correct and explain things to them several times, in very simple terms, a lot of the misconceptions or misunderstandings they had about the way BitTorrent works, how servers and hosts operate, how the internet works, what a domain name was, what a URL was, to name but a few things! The tape machine beeped and kept stopping part way through the interview, it appeared that they knew it was a "bit faulty" at times, but fiddled with it and carried on regardless, eventually, the interview was finished.

My solicitor and I asked them if they would very kindly drive me back home again, he did agree, but he first had to complete some paperwork, he said he'd be as quick as he could and put me back in the cell again to wait for him. Quite some time later, he returned and took me back to the booking desk.

I was given a multi-paged document entitled:
Notice of Excercise of Additional Powers of Seizure under Sections 50 or 51 of the Criminal Justice and Police Act 2001, which listed the same items as above. It gave this information for anyone wishing to make an application for the return of seized property in this case or an application to attend examination of seized property, should apply to:
Neil Gardner
Senior Invesigator
Federation Against Copyright Theft
Europa House
Church Street
Old Isleworth

On returning my personal effects, the officer noticed the Filesoup credit card which they had overlooked when I was being booked in, he confiscated the card and gave me a receipt for it.
I was released on police bail with the alleged offence(s) stated as being:
Distribute Article Infringing Copyright

I must surrender to the local police station on 02/10/2009 at 5:00 pm

I asked the officers why everyone had continually refused all day to contact someone to inform them of my arrest and why I'd been refused to make a phone call, they told me that the Inspector had lifted the "block" at around 2:30pm and that they didn't know why the officers on duty at the station hadn't been informed of this fact.

Time of release from police custody was 19:42

I got back home just before 8pm to find my belongings had been turned upside down, the dining room was a like a whirlwind had gone through, I'm not the tidiest of people as it is, but at least I knew where everything was, but after they had been there going through everything, they'd turfed out all the drawers of the desk, chucked back what was of no interest to them, left a pile of paperwork scattered across my desk and table with wires everywhere, talk about a nightmare!. My dog was extremely traumatised, he'd been barking almost non-stop all day long the neighbour told my Dad when he went over at about 6:30pm to feed the dog as I hadn't got back yet. My dog rarely barks at anything, now he barks at the least little thing, I am SO annoyed that they have done this to him!

Well that's it, lock, stock and barrel... how can anyone have any faith in our current justice system ...what the hell happened to the old belief "innocent until proven guilty"? Gits!

Link to thread if you wish to comment or read the replies:

Please tell everyone you know about this fiasco, the more people who know about it and talk about it, the better chance I will have of getting the media attention this kind of injustice deserves.

Thank you all for your continued support.

Kind regards

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