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Lowest Price on Dance of the Dead at Amazon.. Product: Dance of the Dead Average customer review: Amazon Price: Sale Price Too Low To Display Click Here To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Dance of the Listless was released by Ghost House Underground, which is sort of their buy on the 8 Films to Die For and I content the Dimension Rude ticket as well. From what I have heard Dance of the Boring was hand picked by Sam Raimi for Ghost House Underground and bottom line is this; you’ll either really appreciate Dance of the Monotonous or despise the movie, while most reviews have been more distinct this is the type of movie I can spy why many loved it and some hated it. I for one really enjoyed Dance of the Unimaginative and it was exactly what I expected.

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Dance of the Tedious however is as flawed as it is titillating and quite honestly not everything works here. There are moments where it’s too over the top and seems too forced, but other times sure aspects work and it’s highly toothsome. Despite any flaws in my idea Dance of the Stupid has far more qualified going for than against it. Reflect of this movie as a John Hughes movie meets Night of the Living Wearisome or more like The Return of the Living Tedious since Dance of the Dull has a lot more of Return of the Living Stupid rather than Night of the Living Tedious. Dance of the Unimaginative starts off as more of a teen comedy and like I said something in the style of John Hughes, but than the apprehension kicks in and it becomes something like a John Hughes movie that meets a zombie flick.

The screenplay written by Joe Ballarini and overall it was quite well done, but not everything he does works well. As stated there are moments that are too over the top and moments that seem a bit forced as if Joe Ballarini was trying a bit too hard. But once the middle sections near his script while already honorable gets better. The characters aren’t the best developed characters we’ve ever arrive across, but most of them are likeable. Honestly I actually grew fond of a few of the characters and was hoping they would survive. The characters were a lot of fun and Joe Ballarini does very well with the characters he created. Again despite any flaws with the script it does work well overall.

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Director Greg Bishop does a bang up job, but like the script there were moments in his directing where definite aspects unprejudiced didn’t work, but for the most share he does well and crafts a very luscious and amusing movie. Most of the scenes in Dance of the Dreary are played light with puny suspense, but more of a comedy. Though with that said there are some fairly suspenseful moments in Dance of the Dumb, but most of the scenes are played light and it works mammoth. The pacing is solid and there really aren’t any moments where the movie is monotonous. It delicate considerable always moves forward and always has the fun level working.

The zombies are wintry looking and this one has a mixture of running zombies and humdrum bewitching zombies. The zombies are splendid remarkable inspired by those from Return of the Living Uninteresting in many ways you can peer Dance of the Boring as a original day version of Return of the Living Unimaginative. Like I said about aspects not working one in particular was a zombie frog; it was only one brief scene, but that’s what I mean about things not working, but thankfully it was only one brief scene and that was the slay of it.

The cast was solid and all the actors set in genuine performances with the highlight for me was seeing Price Oliver as Coach Keel; Effect Oliver starred in Sleepaway Camp III: Teenage Wasteland as Tony DeRaro. Impress Oliver beautiful remarkable steals the exhibit with his intentional over the top performance as a traditional military man who goes on a zombie killing spree. James Jarrett as the Gravedigger is a brief role, but very memorable. Again as I stated before the characters were really fun and I was hoping quite a few of them would survive.

The gore level is top-notch and it’s a mixture of special create up F/X and CGI, but don’t anxiety any CGI customary looks radiant profitable. It wasn’t over stale and it was mixed with acquire up F/X so most of the time you won’t really witness the CGI and the draw it was shot and edited makes it tougher to spy. I detest CG faded in scare flicks, but if stale true it could work and it was archaic legal in Dance of the Dead

Dance of the Lifeless is a movie you’ll either adore or hate; positive aspects plunge a bit flat, but overall in my conception it was a fun lunge, but as I stated before I can easily understand why it’s also disliked by some people. But I highly enjoyed this movie and it delivered honest what I expected. Don’t go into Dance of the Boring expecting to explore something totally different; it follows the basic zombie movie formula, but smooth works well in my concept and was a fun trudge.

That title may go a bit far, but this one is a hoot. While the tongue is never even slightly out of cheek, and once quite literally, the requisite gore and shock value unbiased add to the fun.

I recommend this movie highly to newcomers and aficionados of the genre.

Two green, twitching, decaying thumbs up!
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I’ve watched “The Pianist” twice since it’s 2002 release, and felt compelled to write a review after watching it tonight. This is a well-directed Holocaust movie by Roman Polanski, and the stellar acting by Adrien Brody [who deservedly won an Oscar for his role] makes “The Pianist” a truly memorable viewing experience.

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The yarn is based on the real-life experiences of Jewish pianist Wladyslaw Szpilman [played by Adrien Brody] during the Nazi occupation of Warsaw in WW II. The movie follows him from his piano playing days at Polish Radio, through the restrictions imposed upon the Jews by the Nazis, the proceed by Szpilman and his family to the Warsaw ghetto,how he is saved from deportation [whilst the rest of his family gets deported to Treblinka, an extermination camp], his role in the Jewish resistance movement, and finally his struggles in hiding on the Aryan side of Warsaw till war’s slay.

The brutality of the Nazis is very effectively portrayed in this movie without being over-the-top – scenes of Nazi violence against the Jews are usually portrayed in brief but potent scenes, leaving an indelible sign in the viewer’s memory. One particular scene mild haunts me – the Nazis have selected a group of Jews for deportation [including four members of Szpilman's family] and a young woman innocently asks the SS officer in charge where they’re being taken. His response is a shot to her head – fair like that, and her only crime was to sing up. There are many poignant scenes that are heartrending in their portrayal of human suffering – a grieving young mother who is beside herself as she smothered her hold child to death to prevent the baby’s cries from being heard, bodies of Nazi victims including young children, and also one particularly disturbing scene where an aged man in a wheelchair is picked up by the Nazis [for being unable to stand up when the Nazis stomp into his family dinner] and thrown off the balcony. Though the scenes may appear random, the viewer is well aware that there was nothing random about the Nazis’ intent – that of decimating the Jews.

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Adrien Brody as the pianist Szpilman effectively portrays a man who is tortured by his circumstances, yet bears all his suffering in silence – witnessing the atrocities around him, being separated from his family and learning of their tragic fates later, and being forced to endure the agony of incessant hunger whilst trying to cease alive. His indomitable spirit shines through in many scenes, especially the scene where he is asked by a German officer to play the piano – even in the midst of vast hunger, and with fingers gnarled by sickness and starvation, Szpilman is able to play an achingly haunting section that would have done a concert pianist proud.

“The Pianist” is definitely a memorable Holocaust film – it even shows that not all Germans were monsters as exemplified by the humane German officer who helped Spzilman when he was in hiding. Though the movie evokes the horrors of the time it also captures the resilience of the human spirit under the most harrowing circumstances.

I enjoyed this movie very great, and would recommend it. also scrutinize the review and the director done a first-rate job directing the movie the map it was. I would order from the same co. again.
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Young@heart is a mixed chorus still of singers and band members 70 and above. If you consider that means explain tunes and broken-down standards, you’re inferior. Some of the songs you’ll hear covered:

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“I feel Pleasant,” James Brown

“Purple Haze,” Jimi Hendrix

“Schizophrenic,” Sonic Younth

“Fix You,” Coldplay

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“Yes we Can Can,” Allen Toussaint

“Forever Young,” Joan Baez

This is an incredible group of people. Joe, who at 86 can remember a song in one afternoon, had enough chemo to raze a person, but he was collected up on stage. Fred, who has congestive heart failure must mutter sitting down with oxygen at his side, is calm up performing. Bob, who had a heart attack, was performing his songs from his hospital bed when he had a heart attack.

Their music is in mountainous print. In order to learn their songs, many of them are using a compact disk player for the first time and literally didn’t know which side of the disk was up.

They’re consummate performers. They dance even if it hurts and they smile for the audience. Even after they’d learned a troop member died an hour before, they gave an improbable free performance at a local prison.

They’ve discovered the joy of music and they’re passing it along to audiences everywhere. I promise you will both laugh and scream in this film. You may also be moved to try some recent things. Music brings joy to many lives and it’s clearly never too tedious to bag out there and try something unusual.

Rebecca Kyle, June 2008

It would be a shame if potential viewers of this astounding movie were fooled by the cheery trailer. This is not fair a cute movie about outmoded people incongruously trying to bellow rock songs. It is about people stretching beyond their gain boundaries, and the boundaries imposed on them by the rest of us, to do results that are stirring and soulful. The “Young at Heart” Chorus is a Western Massachusetts musical phenemenon. Twenty some-odd singers, in their 70s, 80s and 90s, meet weekly or more to learn difficult and sometimes aurally painful recent music. Led by young (only 53 year extinct) director Bob Cilman, the group has performed around the world, and also in its Northhampton home. This film follows the group in the 8 weeks prior to an Easter concert.

The film is hilarious and burly of heart. There are plenty of shots of oldsters being roguish and even flirtatious. But the second half of the film achieves its depth by following feeble members who battle illness and self-doubt as they prepare for one more shot on stage. The film includes plenty of on-the-scene shots of the chorus practicing, and a few hilarious music videos of their best songs. The “Saturday Night Fever” takeoff, shot in a bowling alley, is both a titanic musical achievement by these often-ailing singers, and a terrific send-up of the new.

“Young at Heart” is amusing, beefy of respectable pathos and a crowd pleaser. How many concert movies have the audience cheering and applauding a successful performance? Bring the whole family for a mountainous time.
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Buy Lovers of the Arctic Circle DVD at Amazon.. Product: Lovers of the Arctic Circle Average customer review: Amazon Price: Sale Price Too Low To Display Click Here To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Am I delighted I decided to rent this movie! Like the theme of this movie, it was a edifying twist of fate that I got it.

I don’t know how to establish the brilliance of this movie into words. In the vein of “Pulp Fiction”, “Accelerate Lola Hurry”, and “Before the Rain”, “Lovers of the Arctic Circle” is a complex movie that dares to defy conventions of storytelling–using multi-perspectives, circular storylines, coincidences. This is not for everyone, since some people unbiased like their stories to be flung onto their plates, challenges aside.

The tale penetrates into the psyche by not telling it through one person’s eyes–but both–the two lovers, Ana and Otto. This draw of storytelling heightens our perspectives and increases the depth of emotion and opinion. The record tells how Ana and Otto tumble in cherish as children, and how their savor only grows stronger throughout the years, despite trials and tribulations. Both perspectives weave in and out, combine once–and split at the very raze. One ending is jubilant, the other is tragic–one is Ana’s, the other is Otto’s.

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This movie will haunt you for days afterward. It will force you to consider about appreciate, life, coincidences, fate, destiny, the current twists and turns that life gives us, and the beauty of it all . . .

Of all the movies I’ve seen in a lifetime, and that’s a lot for the average human being, this is one of the most profoundly current I’ve ever seen.

It is an unexpectated stroke of brilliance.

That’s what young Otto’s father asks him in Julio Medem’s Los Amantes del Circulo Polar, and quite frankly, something I’d like to ask all of you. The two were having a conversation on one of the philosophical aspects of life. “Everything needs to be cyclic. Everything begins and ends.” “That’s life,” according to the father. “Contented and unlit. Everything expires over time.”

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The fable concerns Otto and Ana, two children who met when they were eight, and whose lives become entwined further when Otto’s father and Ana’s mother marry. However, the beginning shows Otto as a pilot delivering long distance air-mail and flashes relieve and forth to his childhood and adolescent years. As for Ana, we hear her narrate over a cinematically pleasing scene of a lake reflecting the salmon-coloured sky, as if it were a lake of pink lemonade, the sun dipping down lower until looping support up in time-lapse photography. She says she could suppose the sage of her life through coincidences, and is waiting for the biggest one of all.

The action cuts between Otto’s POV and Ana’s, so positive scenes are repeated, but we hear both character’s thoughts, which provide insight into their characters. Both children have experienced losses. Otto’s parents have split up, and Otto was closer to his mother. His mother is similarly counsels him on the impermanence of things. “Life’s tribulations have to be taken with humour because they advance and go. They don’t last forever.”

Ana lost her father in a car accident and sees Otto as a reincarnation of her father, a note from her father for having died early.

The anecdote of how Otto got his name, when his grandfather rescued a German pilot named Otto who was shot down over Guernica, plays a key role in this memoir of coincidences.

As time goes on, Otto and Ana plunge for each other, and Otto even moves in with his father unbiased to inspect Ana everyday. Despite not being biological siblings, they have to veil their appreciate from their respective parents. However, the tide turns when Otto’s mother dies, and a suicide attempt reveals the guilt Otto feels in giving too grand attention to Ana, thus separating the two.

The two leads also appeared in Alejandro Amenebar’s Abre Los Ojos, Fele Martinez as Pelayo and Najwa Nimri as Nuria. As Otto and Ana, Martinez and Nimri pull reliable performances, exuding individuals going through their pained lives.

One series of shots of Otto and Ana being at the same square, but at different tables, barely missing each other, is engrossing. Otto is seen to the left, reading the want ads, and to his true but farther support, we inspect Ana, her relieve to him. It’s one of those heartwrenching moments when I want to leap in and say, “Leisurely you!!”

The employ of palindromic names, Otto and Ana symbolize the circular and eternal qualities of esteem. And check out the director’s last name–Medem. And the Arctic Circle, beyond which the sun never sets in midsummer, also represents that eternal flame of appreciate.

Yes, the ending is a bummer, but not so considerable. However, I’d distinct like to know what put a question to Otto wrote on that paper airplane. And maybe someone else who has seen this movie can yelp me if there is something that lasts forever.
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Buy Icons of Screwball Comedy, Vol. 1 At Amazon!. Product: Icons of Screwball Comedy, Vol. 1 Average customer review: Amazon Price: Sale Price Too Low To Display Click Here To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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This area includes four films:

If You Could Only Cook (1935),

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Too Many Husbands (1940),

My Sister Eileen (1942),

She Wouldn’t Say Yes (1945)

All of these were made after the pre-code era ended, and they’re magnificent hard to win or sight unless you have Turner Classic Movies, which has had access to the “Columbia B’s” since 2007. In fact, that’s the design I was able to look two of the four.

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“Too Many Husbands” – directed by Wesley Ruggles – is reminiscent of “My Celebrated Wife”, except this time it is the husband that was shipwrecked and presumed expressionless. Jean Arthur is the wife, Fred McMurray plays husband number one, and Melvyn Douglas plays husband number two. Another departure is that here the wife has been remarried for a year versus “My Approved Wife” where the second marriage has barely started.

“If You Could Only Cook” has Herbert Marshall playing an automobile executive who is bored with his life. While sitting on a park bench one day he is erroneous by a cook as one of the many unemployed. She wants to apply for a different job, but that job require a cook/butler husband/wife team. She asks Marshall’s character to apply for the job with her and pose as her husband. He decides this is impartial the change of chase he is looking for. The scrape is they are not married and they are required to portion a room with one double bed.

“My Sister Eileen” stars Rosalind Russell as an aspiring writer who moves from Ohio to Unique York to pursue her dream. She takes along her younger and very dazzling sister, and the two wind up sharing a basement apartment where they are subjected to a parade of the friends and clients of ex-tenants and a less than impartial landlord. If you liked Rosalind in her other screwball comedy roles you’ll like this film.

“She Wouldn’t Say Yes” also stars Rosalind Russell and is probably the least of the lot. Russell plays an army psychiatrist in this one and – if memory serves me correctly – she keeps denying that shell shock even exists. The rest of the cast is aesthetic mighty anonymous except Percy Kilbride as a believe, doing a heavenly job as always.

There is also a 1946 Columbia short included entitled “Ain’t Like Cuckoo” directed by Jules White, who directed all of the Columbia shorts in the 1940’s, including those of the Three Stooges. You may, or may not, deem this an extra feature.

The prints I saw of these looked fair excellent when they were aired, so I choose the quality will be salubrious on this DVD region too. You have to be careful with Sony. Sometimes they do out a astronomical quality area like with the Three Stooges sets and the Cary Grant boxed space, and sometimes their DVDs examine like VHS transfers.

In my earlier review of the color musical remake of “My Sister Eileen” My Sister Eileen I discussed at some length the many capable charms of the (then) unavailable Rosalind Russell version of “My Sister Eileen”, and complained of its absence from DVD. Well at last the outstanding 1942 “My Sister Eileen” with Rosalind Russell in absolute top design is available on DVD. Following sensational roles in 1939’s “The Women”, and 1940’s “His Girl Friday”, Russell’s hilarious performance as the no-nonsense mammoth sister of resplendent Eileen earned Russell her first (of four) Oscar nominations. Not until Auntie Mame would she again touch such comedic heights. If you appreciate Russell in any of those films you’re in for a treat here.

“If You Could Only Cook”, a 1935 Jean Arthur feature, is the charming runner-up in this four film status. A very brief film, even for the age of double features, the film premiered as an ‘A’ at Christmas in 1935 and won apt notices. A classic thirties Cinderella yarn, with Arthur as struggling shop girl, the film’s delights are nicely divided between the irrepressibly ravishing Arthur, and the rest of a exiguous and graceful cast. Herbert Marshall plays an automobile tycoon, who meets and his charmed by the resplendent Jean while cooling his heels in the park following an argument with his board of directors. Intriqued by the penniless Arthur’s determination to fetch a job, he keeps his occupy residence a secret, and when she mistakes him for a fellow down and out, he goes along. The only possible job offering Arthur can obtain calls for a couple, a cook and butler, and when Marshall decides to designate along of course things go from there. The too often stolid Marshall plays with powerful of the liveliness of in his earlier scrumptious work in Lubitsch’s “Peril in Paradise” – one of the most stylish films ever made – Disaster in Paradise – Criterion Collection.

Stealing scenes are Leo Carrillo, a pig in clover as retired Italian gangster Mike Rossini, who now lives for gourmet food. His auditioning scene for aspiring applicants for the status of cook is as light as a souffle. Impressed with Arthur’s gastronomic reserve with garlic, he immediately hires the ‘couple’ to be his fresh cook/maid and butler, and the two strangers suddenly obtain themselves shacked up together in a little servants quarters! Carrillo’s sidekick, “Flash”, a wonderfully cynical and down to earth Lionel Stander, is everything you could ask for in a character actor, and delivers his many tall lines with absolute perfection. a amazing share, superbly played! The romance between Arthur and Marshall’s characters sputters here and there as the region creaks it design along, but the film as a whole is quite charming. The wild ending certainly is terrific!

Jean Arthur fans should absolutely not miss an even better one of these somewhat lesser known Arthur films, this time with a trustworthy script by Preston Sturges, “Easy Living”. Easy Living (Universal Cinema Classics)

Having said nice things about these two films I’ll occupy that record advice given to all youngsters about noting saying anything at all if you haven’t anything nice to say and refrain from adding anything about the other two features. Suffice it to say you should capture this station for these two films!

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Here’s a movie for dog lovers, the elderly, children of divorce, FOBs (Friends of Birds), passe Boy Scouts, people yearning for adventure, and anyone who has ever loved… and lost. Up is for everyone. It made me laugh out loud, and it made me wail.

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I opinion it would be tough for Up to match the emotional power of Wall-E. The two Pixar films are similar in their lack of dialogue in the first act, which helps deepen the emotional impact. Up begins with Carl, a disturbed young boy star-struck by a distinguished explorer; and kookie Ellie, who has a similar obsession. The two kids become speedy friends, and explain to one day fade to Venezuela’s Paradise Falls. After getting married, they acquire their dream home and fix it up, hoping to enjoy it with children. Carl and Ellie’s life together from childhood through stale age is depicted, silently, with delicacy and subtlety. The first 15 minutes is like a celebration of a ecstatic marriage, and you truly feel Carl’s damage when he is left alone. He sits slumped in his chair, talking to the house as if it is the missing Ellie.

When developers conclude in on Carl’s beloved home, he decides to fulfill his promise to Ellie and disappear to Paradise Falls. A mature balloon vendor, Carl lifts his home with hundreds of luminous balloons. Stowing away on the porch is Russell, a tubby, daring kid trying to salvage a scouting badge.

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After landing in Paradise Falls, the ancient man and the diminutive boy are joined by a golden retriever named Dug who can talk with his collar, and a big rare bird that bonds with Russell (he names her “Kevin”) . Dug is priceless: spot-on for every dog that ever lived, including an obsession with squirrels. Through a series of halt calls and adventures, the quartet vanquishes a villain, saving the day. And Russell earns his scouting badge.

In the process, Carl learns to let go of his dusky mourning for Ellie, and live life again. When this happens, a truly magical thing happens. Before, Carl’s craggy face is gray and monochromatic. At the moment of his transformation, Carl’s face is awash in color, and he is surrounded by glorious hues. It reminded me of The Wizard of Oz, when Dorothy steps out of her gray world and into a candy-colored Munchkinland. Carl, too, enters a whole current world.

Up is a deeply emotional film, fleshy of truth. It’s the year’s best film. Derive another triumph for Pixar.

Someday, Pixar is going to do it — they’re going to make an emotionally uninspiring, lackluster titillating movie. But in the meantime, they’re level-headed putting out savory though-provoking movies like “Up,” which defies the usual kid-movie conventions by starring a crotchety weak man. It’s a charming, fun cramped adventure yarn with flying dogs and balloon-powered houses, but underlying it is a bittersweet exiguous account about loss and care for.

As a child, the shrinking Carl Fredricksen bonded with the oddball Ellie over their shared worship of adventure, the explorer Charles Muntz, and Paradise Falls. They later married, fade into their “clubhouse” together, and lived a long, sadly childless life together. When Ellie died, she had never fulfilled her dream of going to Paradise Falls.

Now crotchety, alone and harassed by a precise estate developer, Carl (Ed Asner) is finally ordered to a retirement home. But he isn’t going quietly — instead he attaches thousands of balloons to his house and floats it away toward South America. But he accidentally takes an interested, naive Wilderness Explorer (a thinly-veiled Boy Scout) named Russell (Jordan Nagai) along for the inch. Bad kid was unbiased trying to fetch an “assisting the elderly” badge.

And the jungle streak to Paradise Falls turns out to have some surprising obstacles: a tall emulike bird that Russell names Kevin, a talking dog named Dug (”I am jumping on you, bird!”), and a mysterious stale man who lives deep in the heart of the jungle. Turns out the stale guy is very familiar to Carl — and to rob Kevin, he’s willing to sacrifice Carl and Russell.

Industry experts were babbling about how “Up” wouldn’t be as favorite as the previous Pixar movies, because the protagonist is basically a crusty feeble coot. Well, shows what they know. It ended up becoming one of those classic movies that somehow appeals to all ages — while the humor and action appeal to children, adults can luxuriate in Carl’s esteem for his lost wife, and his tedious realization that he’s clinging to the past.

In fact, the first ten minutes are some of the most heart-tugging, quietly bittersweet scenes I’ve seen in a long time. Without a word, they indicate all the ups and downs of a realistic marriage — joys, sorrows (Ellie’s inability to have children), growing former together, and finally loss.

But it’s not a depressing movie by any stretch — in fact, it’s like a childhood fantasy arrive to life, complete with a floating house suspended on hundreds of balloons, and biplanes piloted by a talking dog army.. Plenty of vast dialogue (”Do you want to play a game? It’s called Peep Who Can Go the Longest Without Saying Anything.” “Cold! My mom loves that game!”) and an action-packed climax in an feeble airship.

Ed Asner is absolutely perfect as ubergrouch Carl — crotchety, grumpy, and sure to fulfill his wife’s lifelong dream, but gradually realizing he’s clinging to the past. Nagai is equally perfect as Carl’s polar opposite: a naive, chattery Scout who is obvious to reunite Kevin with her baby chicks. And the utterly adorable Dug and the other dogs deserve special search for. These creatures are utterly hilarious — they talk (”I hid under your porch because I cherish you”) and act the procedure dogs would if they talked. Three words: cone of shame.

The two-disc edition is going to have some very nice extras, but once again people with regular-def DVDs are going to procure shafted because the Blu-ray edition will have a bunch of unfamiliar stuff. Grr. As for this one, there’s a digital copy, the director’s audio commentary, kinda-alternate-ending “The Many Endings of Muntz,” and the documentary “Adventure Is Out There” about the research for this movie.

There are also a pair of adorable curious shorts. “Partly Cloudy” has a much-abused stork having to stutter potentially gross baby creatures from a kind but clueless cloud. And “Dug’s Special Mission” is a sort of backstory for the adorable Dug, explaining what the heck he was doing before he met up with Carl and Russell.

“Up” continues Pixar’s running tally of gloriously titillating, emotionally layered movies that the entire family can devour. With that, I have only one more thing to say… SQUIRREL!
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