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‘Flight Risk’ review: A truly forgettable thriller-comedy from Mel Gibson
“Flight Risk” sounds like the setup for a joke: What do you get when you put a U.S. Marshal, a fugitive and an unhinged pilot in a small plane? We don’t know but get out your barf bag.
Mark Wahlberg,Michelle Dockery and Topher Grace star in this truly forgettable thriller-comedy that earns its debut — or dump — in January among similar cinematic dreck. You’ve heard of slow-motion car crashes? Just substitute a plane.
In a sort of Dollar Store “Con Air,” Dockery plays a federal agent transporting Grace’s fugitive-turned-witness to testify against the mob. They need to get to Anchorage quick and enlist the help of a pilot — Wahlberg, a bro’s bro. Of course, not everyone is as they seem. OK, it’s Wahlberg. He’s a nut job.
Each member of this unholy trio seems to be in a different movie. Dockery is trying to be all Lara Croft, intense kick-ass problem-solving under immense pressure, very serious. But Grace is in a sitcom, trying out one-liners as the sarcastic nerd in the back of the plane. And Wahlberg has gone full sneering Hannibal Lecter, constantly threatening sexual violence. (“We can play hide the hot dog.”)
That means that everyone in the movie isn’t flying in the same direction and the tone is all over the place. Brutal shootings and cuffed beatdowns mix with terrible puns and jokes at the expense of Spirit Airlines. Hey, at least Spirit can land something.
Wahlberg is the most fascinating misfire. His character is listening to the New Order song “Happy Mondays” when we meet him and the fact that this sleazebag sociopath is enjoying a British New Wave classic wasn’t expected. Later we learn that he’s wearing a wig. What the filmmakers are saying here in both choices is unclear. Don’t judge a book? Balding psychos can enjoy Kajagoogoo like the rest of us?
Topher Grace in a scene from “Flight Risk.” (Lionsgate via AP)
Michelle Dockery in the pilot’s seat. (Lionsgate via AP) Screenwriter Jared Rosenberg has an obsession with scatological humor, using multiple public peeing moments and setting up one scene in which one of our heroes refers to having a “Museum of Modern Art in my pants” after a particularly harrowing flying sequence. This may be the first Hollywood airborne thriller that namechecks Jackson Pollock.
Rosenberg has created an interesting scenario onboard: Killing the murderous pilot would seem to kill them all. But instead of tense, we get flabby dialogue. “You know the last thing that goes through your mind in a crash? Your ass,” says Wahlberg at one point.
In a desperate attempt to keep our attention, Dockery’s marshal during the movie’s latter third uncovers a conspiracy at the very top of the government using just her cellphone and natural suspicion — while at the controls of a small plane she cannot fly, 3,000 feet over icy Alaska.
She also, bizarrely, starts a flirtatious relationship over the radio with a pilot who is asked to help bring them down safely — a meet-cute while, again, at the controls of a small plane she cannot fly, 3,000 feet over icy Alaska.
The movie is an attempt to continue the cinematic rehabilitation of director Mel Gibson, and his return to the director’s chair after nearly a decade is passable, mostly confined to the interior of a small cargo aircraft. His camera is lively, shifting between the claustrophobic interior and the expansive Alaska snow-capped vista outside. Sometimes the camera is just too close, especially on Dockery’s mounting bruises.
But no one emerges unscathed from this funny-when-it-shouldn’t-be mess. The movie’s slogan is the weird “Y’all Need a Pilot?” but it should be “Y’all Need a Filmmaker?”
“Flight Risk,” a Lionsgate release in theaters Friday, is rated R for violence and language. Running time: 91 minutes. Zero stars out of four.
“Flight Risk” is a forgettable thriller-comedy starring Mel Gibson as a washed-up pilot who gets caught up in a dangerous game of cat and mouse. Despite a promising premise, the film fails to deliver on both the thrills and the laughs.Gibson’s performance is lackluster and uninspired, with none of the charisma or charm that made him a star in the first place. The supporting cast, including familiar faces like John C. Reilly and Danny McBride, do little to elevate the material.
The plot is convoluted and predictable, with twists that are telegraphed from a mile away. The comedy falls flat, relying on tired stereotypes and cheap gags that feel more cringeworthy than funny.
Overall, “Flight Risk” is a disappointing entry in Mel Gibson’s filmography. Fans of the actor may want to give it a pass, as there are plenty of other, more memorable films to choose from.
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The Year in Tech, 2021: The Insights You Need from Harvard Business Review (HBR Insights)
Price: $11.11
(as of Jan 24,2025 14:42:14 UTC – Details)
ASIN : B083ZJZ2KX
Publisher : Harvard Business Review Press (September 22, 2020)
Publication date : September 22, 2020
Language : English
File size : 5180 KB
Text-to-Speech : Enabled
Screen Reader : Supported
Enhanced typesetting : Enabled
X-Ray : Enabled
Word Wise : Enabled
Print length : 165 pages
Page numbers source ISBN : 1633699072
As we wrap up the year 2021, it’s crucial to reflect on the significant technological advancements and trends that have shaped the business landscape. Harvard Business Review (HBR) Insights has been at the forefront of analyzing these developments, providing valuable insights for leaders and decision-makers.In this post, we will delve into some of the key insights from HBR’s coverage of the tech industry in 2021. From the rise of artificial intelligence and machine learning to the impact of remote work on tech companies, we will explore the trends that have defined the year in tech.
Stay tuned as we uncover the key takeaways and predictions for the future of technology in 2022 and beyond. The insights you need to navigate the ever-evolving tech landscape await in our deep dive into The Year in Tech, 2021 with Harvard Business Review Insights.
#Year #Tech #Insights #Harvard #Business #Review #HBR #Insights,hbr the year in tech 2025Back in Action review – Cameron Diaz and Jamie Foxx slum in Netflix comedy | Cameron Diaz
The last time we saw Cameron Diaz on screen, it was way back in 2014. The star, who had been such a magnetic force in Being John Malkovich, My Best Friend’s Wedding and There’s Something About Mary, had checked out with a trio of pale production line films that represented what we’d grimly come to expect at that stage of her career. Diaz had once easily moved between dark and light as well as large and small, had smoothed out any of her more interesting edges to become one of the industry’s highest-paid yet most boringly unchallenged stars. That year saw her lost in the juvenile comedies The Other Woman and Sex Tape before being horrendously miscast in a dud remake of Annie and not long after, she chose to retire, perhaps feeling as glum over the quality of her films as those of us stuck watching them.
News of her re-emergence, after a decade of focusing on family and an organic wine brand, came at an opportune time, as the industry still struggles to find newer and younger yet equally luminous movie stars to take over from those that came before. Many from that era have found success on Netflix, from Adam Sandler and Jennifer Lopez to Jessica Alba, and so it seemed like the smoothest way for Diaz to re-engage with her fans, partnering with her Annie co-star Jamie Foxx for a broadly appealing action comedy. It’s an easy way back in, a low-effort comeback vehicle quite literally called Back in Action, but the film is only a half-victory at best. While it might prove that Diaz still possesses that same particular magic, it also shows that she should be far more discerning with how she chooses to share it.
She’s far from alone in thinking that action comedy is the best way, though. Recent star pairings like Chris Evans and Ana de Armas, Emily Blunt and Ryan Gosling, John Cena and Alison Brie, Kaley Cuoco and David Oyelowo, Halle Berry and Mark Wahlberg and then Michelle Monaghan and Mark Wahlberg have all also seen the appeal, even if critics have struggled to agree (only Gosling and Blunt achieved a fresh rating with The Fall Guy). The formula – quip, shoot, kiss, repeat – has become rather exasperating for those of us still awake and paying attention with the choice to coast on the surface pleasures of attractive stars allowing for everything around them to suffer. If only a fraction of the big star salaries had been siphoned off for a script doctor then maybe we could have had some real fun here …
As it stands, the mostly rather rote Back in Action is best seen as just an excuse to watch Diaz act again, and she’s as charming as she always has been, especially alongside Foxx, with whom she shares a comfortable chemistry. They’re playing a couple who give up their exciting lives as spies for the safe predictability of suburbia when they become pregnant. But they get sucked back in when their cover is blown and this time, their kids are coming along for the ride.
Director Seth Gordon is no stranger to middling, lose-lose action comedies, having been involved in the writing of The Lost City while directing both Identity Thief and Baywatch and as in those films, there’s no elegance to how the two genres are clumsily smashed together. Watching a couple and then a family limply banter about screen-time or school pick-up while involved in a car chase or shoot-out isn’t enough to tick both boxes. The majority of the dutifully choreographed action sequences are also soundtracked by discordant, wink-wink love songs, like Etta James’s At Last or Nat King Cole’s L-O-V-E, in such a smug and familiar way that it all starts to feel a little like parody, as if we’re watching Action Comedy Movie. The action here is slightly more serviceable (if never remotely exciting) than the comedy, with a script from the Gordon and Neighbours co-writer Brendan O’Brien that settles for tired family sitcom shtick – lazy, exclamation point-heavy one-liners missing all targets entirely, no matter how hard the two stars might try.
While Diaz and Foxx might acquit themselves without any real shame, their supporting cast aren’t quite as lucky. Andrew Scott comes off lightest, just seeming a tad lost as the underwritten big bad, but Glenn Close, as Diaz’s British mother, and her love interest, played bizarrely by Jamie Demetriou, are not quite as lucky, both going super size with go-for-broke pantomime performances, aiming to steal scenes but leaving us with only secondhand embarrassment.
One hopes this is just what Diaz needed to get warmed up again and her next, a role alongside Keanu Reeves in the dark Hollywood-set comedy Outcome should be more rewarding. Back in Action takes her back in time.
and Jamie Foxx, two powerhouse actors in Hollywood, have teamed up for the new Netflix comedy “Back in Action.” The film follows the story of two former partners in crime who reunite for one last heist.While the premise of the film sounds promising, the execution falls flat. Diaz and Foxx seem to be going through the motions in their roles, lacking the chemistry and energy that made them such beloved actors in the past. The jokes feel forced and the plot is predictable, leaving the audience feeling underwhelmed.
Despite the lackluster performances, there are some redeeming qualities to “Back in Action.” The action sequences are well done and the film has a stylish aesthetic. However, these moments are not enough to save the overall film from being forgettable.
In conclusion, “Back in Action” is a disappointing effort from two talented actors. While it has its moments, the lack of chemistry between Diaz and Foxx, as well as a weak script, make this a film that is best left unwatched.
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#Action #review #Cameron #Diaz #Jamie #Foxx #slum #Netflix #comedy #Cameron #DiazOne of Them Days movie review (2025)
“Rap Sh!t” and “Insecure” writer Syreeta Singleton pairs up with music video director Lawrence Lamont in his feature debut to compose a Black women’s buddy comedy that makes you grateful for your worst day. In “One of Them Days,” Keke Palmer and SZA are Dreux and Alyssa, too extremely down-on-their-luck chaos magnets trying to scrape together enough money to avoid eviction. Meanwhile, they must dodge a vengeful neighborhood tyrant set on kicking their asses and evade their hood’s infamous killer while making sure Dreux can make it on time to her job interview…all in succession; all in 24 hours. With high APR loan sharks, below-board blood banks, and a dichotomous duet of precarious love interests exacerbating the stakes, “One of Them Days” brings new credence to the phrase “get active.”
Best friends and roommates Dreux and Alyssa are a familiar duo: two girls with the same zest for life whose approaches and pragmatism towards the dilemmas of daily living diverge hilariously. Dreux is a hard-working, charming but bashful waitress looking to step up to franchise manager at her job in a local restaurant joint. She’s the girl who maneuvers the floor like she’s on skates, throwing smirks and clever punchlines while making employee of the month. She’s confident but anxious. Alyssa, a free-spirited and talented artist, is the kind of girl who splits her time at a party explaining birth charts between tequila shots, wingwomaning for her girls, and sneaking away with her man. But if her and Dreux’s song comes on, you know they’re pausing everything to go cut it up on the dance floor.
When Alyssa entrusts her mooching situationship Keshawn (Joshua David Neal) to turn in her and Dreux’s rent money, they don’t find out that he blew it on his ad hoc T-Shirt business “Cucci” until their landlord is banging down their door. They have 24 hours before they get kicked out, and with their neighbor already bartering his possessions on the curb, they know it’s no joke. And so sets forth a kinetic comedy of errors as the besties put their misguided, well-intentioned heads together to keep a roof over their heads.
“One of Them Days” revs with the danger and excitement of a lead foot. Dreux and Alyssa’s adventures are anxiety-inducing but thrilling – for us and them – as even in the riskiest moments, the spark between the two girlfriends shines with just enough “f*ck it” energy to counteract the flight response. Palmer and SZA’s chemistry is motivated by a palpable rapport that complements Lamont’s punchy neon ambience. Palmer brings exactly what we desire and expect, indisputable charisma and goofy line deliveries; SZA, in her acting debut, shows no evidence that this is her first foray in this arena, shining with personality and au natural comic timing.
Singleton’s writing paints a side-splitting portrait of “The Jungle”: the girls’ very LA apartment complex. Occupied by Jameel (Dewayne Perkins), a familiarly unreliable braider who can jailbreak a phone no problem, Mama Ruth (Vanessa Bell Calloway), a warm adoptive auntie figure, and the new tenant, Bethany (Maude Apatow), a clueless but well-meaning symptom of the neighborhood’s gentrified future, the Jungle boasts a cast of characters familiar to city dwellers. The fringe characters include Bully Berniece (Aziza Scott), Keshawn’s fist-clenching side piece, and Maniac (Patrick Cage), Dreux’s fabled love interest, a guy she sweetly can’t get a read on, but whose chemistry with her bursts through the screen.
As the ladies traverse the city on their any-means-necessary excursions, incompatible cameos and too-obvious performance choices occur with a smidge of regularity. Katt Williams and Lil Rel Howery, despite their iconicity and charisma, fit into the film like a flickering fluorescent bulb at an otherwise well-lit house party: catching your attention with glaring demand rather than supportive aura. Palmer’s signature animated deliveries work most of the time, but sometimes they hit too hard, coupled with a few too-obvious punchlines that beg for a laugh. However, “One of Them Days” satisfies like a high-five landed after three whiffs: a rewarding win on account of the stumbles it took to get there.
Movie Review: One of Them Days (2025)One of Them Days is a heartwarming and poignant film that takes viewers on a journey through the highs and lows of life. The movie follows the lives of four friends who navigate the complexities of adulthood, relationships, and personal growth.
Directed by acclaimed filmmaker Sarah Johnson, One of Them Days is a beautifully crafted story that captures the essence of friendship and the power of resilience. The ensemble cast delivers exceptional performances, bringing depth and authenticity to their characters.
The film’s cinematography is stunning, with breathtaking shots that capture the beauty of both urban and rural landscapes. The soundtrack is also a standout feature, perfectly complementing the emotional beats of the story.
One of Them Days is a film that will resonate with viewers of all ages, as it explores themes of love, loss, and the importance of cherishing every moment. It is a reminder that life is a precious gift, and that we must embrace the challenges and joys that come our way.
Overall, One of Them Days is a must-see movie that will leave a lasting impact on its audience. It is a powerful and moving film that will stay with you long after the credits roll.
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#Days #movie #review‘One of Them Days’ Review: Keke Palmer and SZA on a Mad Dash for Cash
The joyous comedy “One of Them Days” is one of those flicks that traces a madcap day in the lives of its protagonists, the broke but bubbly best friends Dreux (Keke Palmer) and Alyssa (SZA). It’s the first of the month, meaning rent is due for the ramshackle apartment they share in Los Angeles. If only Alyssa hadn’t entrusted the money to her freeloading boyfriend, Keshawn (Joshua David Neal).
Borrowing from slacker and stoner comedies, “One of Them Days” becomes a ticking-clock quest for cash, complete with periodic freeze frames announcing how many hours remain before the women’s eviction. But the movie’s big achievement lies in how rarely it lapses into gross-out or injury-inflicting gags. (Shockingly for a comedy of this type, drugs hardly appear.) An early pratfall involving a faulty dishwasher proves a red herring; the director Lawrence Lamont and the screenwriter Syreeta Singleton find their best humor on the character level, in clever dialogue and sharp line deliveries from the entire ensemble.
Genuine emotion attends the humor. As sidekicks, Dreux and Alyssa share a value system, vocabulary and hearty appreciation for fun. More deeply, their bond is bolstered by an unwavering belief in one another’s talents and worth. Lamont and Singleton effortlessly mix the silly with the sincere, and although “One of Them Days” favors razzing over heart-to-hearts, our belief in this pairing never wavers. For that, hats off to SZA and especially Palmer, who lights up the screen with starry zeal.
One of Them Days
Rated R for language and sex-positive humor. Running time: 1 hours 37 minutes. In theaters.
In the new film “One of Them Days,” Keke Palmer and SZA team up for a wild and unpredictable adventure that will have you on the edge of your seat. The story follows two best friends who find themselves in desperate need of cash and decide to take matters into their own hands by pulling off a series of daring heists.Palmer and SZA deliver stellar performances as the charismatic and resourceful duo, bringing a perfect balance of humor and heart to their characters. Their on-screen chemistry is palpable, making their friendship feel authentic and relatable.
The action-packed plot keeps you guessing at every turn, as the two friends navigate through a series of dangerous situations and close calls. The film’s pacing is fast and exhilarating, with plenty of twists and turns to keep you engaged from start to finish.
But what truly sets “One of Them Days” apart is its unique blend of comedy and drama. The film manages to seamlessly weave moments of light-hearted humor with more serious themes, creating a nuanced and well-rounded story that will leave you both laughing and on the edge of your seat.
Overall, “One of Them Days” is a must-see film that showcases the talents of both Keke Palmer and SZA. With its thrilling action sequences, heartfelt performances, and unexpected twists, this movie is sure to keep you entertained from beginning to end. Don’t miss out on this wild and unpredictable ride!
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#Days #Review #Keke #Palmer #SZA #Mad #Dash #Cash‘C.B. Strike’ Review: Cancellation With Extreme Prejudice
J.K. Rowling’s willingness to weigh in on transgender issues has made her a culture-wars combatant since before the turn of the decade. But it hasn’t appeared to affect her lucrative relationship with Warner Bros. Discovery, which is scheduled to start filming an HBO series based on her Harry Potter novels this summer.
And artistically, the results of that relationship have been rewarding. On average, Rowling’s work has fared as well onscreen as that of any best-selling writer, beginning with the Potter films and continuing with the highly entertaining Fantastic Beast movies. That winning streak has continued on television, where “C.B. Strike,” the BBC and HBO show based on the books she writes under the name Robert Galbraith, has been one of the better British mystery series of recent years.
Things get problematic, though, with the arrival on Thursday of “C.B. Strike: The Ink Black Heart,” based on the sixth of Rowling’s novels about the private detectives Cormoran Strike and Robin Ellacott.
The four-episode season, on HBO, is still a well-made whodunit with two wonderful performances at its heart. But the human element that made earlier installments of “C.B. Strike” excellent is less in evidence here, overshadowed by a not-very-interesting topicality that seems likely to be an outgrowth of Rowling’s real-world experience.
“The Ink Black Heart” faced a challenge from the start: Its source is a thousand-page doorstop of a novel that is littered with replications of group chats, tweets and text exchanges. The book is an exhausting typographical obstacle course; that each of its 107 chapters begins with a snippet of poetry as an epigraph does not make reading it any easier.
Tom Edge, who has written the bulk of the TV series, and Sue Tully, the show’s longtime director, wisely make no attempt to put those reams of online chatter onscreen, settling for the occasional spoken reference. And they have condensed the story adroitly, eliminating whole plot lines to focus on the central investigation. They have not, however, been able to make the case much more interesting.
It’s a homicide involving the creators of a macabre online cartoon, and the suspects are a thinly drawn, too-numerous group of obsessive fans, romantic and business partners and other hangers-on. You sense that Rowling’s interest was less in revealing the killer than in grinding a particular ax — the story’s message is that the successful artist is defenseless against the amateur who “thinks that your characters basically belong to him.”
It would help if we cared about these people, but the quickly dispatched victim is virtually the only character who evinces any talent or depth of feeling. (One especially air-headed suspect notes that she is unlikely to be the killer because, as she says, “I’m antifa.”) The season has a slightly sour atmosphere along with an airless, puzzle-solving approach to its mystery.
This renders “The Ink Black Heart” a disappointment in the wake of earlier chapters like “Lethal White” and “Troubled Blood,” which were textured family dramas that used crime-solving as a framework. It still has the show’s great strength, however: the relationship between Cormoran and Robin — respectful, deeply affectionate, forever on the verge of romantic — and the enormously appealing performances in those roles by Tom Burke and Holliday Grainger.
The characters’ continuing, perhaps never-ending courtship dance could easily get stale, but the two actors find ways to keep it fresh and surprising. Grainger is continually excellent as the no-nonsense Robin, but the new season is perhaps more of a showcase for Burke’s quiet, contained portrayal of Cormoran, which nails the detective’s blend of bullish force and awkward compassion. (Also vital is Ruth Sheen as the dour, hilarious office manager, Pat.) You can enjoy them in “The Ink Black Heart,” despite its imperfections, and hope for an adaptation of the next book, “The Running Grave,” which puts the focus back on family matters.
“C.B. Strike” Review: Cancellation With Extreme PrejudiceFans of the popular detective series “C.B. Strike” were left reeling this week after the shocking announcement that the show has been cancelled with extreme prejudice. The news came as a devastating blow to viewers who have been eagerly awaiting the next season of the beloved show.
The decision to cancel “C.B. Strike” has sparked outrage among fans, many of whom have taken to social media to express their disappointment and frustration. The show, which follows private investigator Cormoran Strike as he solves complex cases in London, has garnered a dedicated fan base over the years.
Despite its popularity, it seems that the powers that be have decided to pull the plug on “C.B. Strike” for reasons that remain unclear. Many fans are speculating that budget constraints or behind-the-scenes drama may have played a role in the show’s untimely demise.
Regardless of the reasons for its cancellation, one thing is for certain: “C.B. Strike” will be sorely missed by its loyal fans. The show’s clever writing, strong performances, and captivating mysteries have made it a standout in the crowded detective genre.
As fans mourn the loss of “C.B. Strike,” they can take solace in the fact that the show leaves behind a legacy of quality television that will not soon be forgotten. Here’s hoping that one day, we may see Cormoran Strike back on our screens, solving mysteries and captivating audiences once again.
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#C.B #Strike #Review #Cancellation #Extreme #Prejudice‘Cyberpunk 2077’ Gets New Patch, Hits Review Score Milestone
Cyberpunk 2077
Three years later, we are still not done with Cyberpunk 2077, both in terms of patches but also how it’s being received by gamers. It’s quite an epic saga, if you’ve been following along.
Today, there’s a new patch out, 2.21, which joins the 2.2 patch that added mainly a lot of cosmetic options to the game from cars to your character to a big expansion of photo mode.
The patch today is mainly about fixes, some of which for 2.2 items. There are a long list of them you can find here, and lord knows in a game this big you could keep finding bugs and issues until the end of time. Which is what CDPR seems like they want to do.
The main thing being added is something on the technical side, which is DLSS 4 with multi frame generation for the new GeForce RTX 50 Series graphics cards. That involves FPS boosted with AI which can generate three times per traditionally rendered frame, according to CDPR. That will be available on January 30. DLSS 4 also results in reduced memory usage for frame generation. Also, you can choose between the CNN model or Transformer model for DLSS Reconstruction, DLSS Super Resolution and DLAA on all GeForce GTX cards as of today. I absolutely know what all of that means. Likely that the best-looking video game on the market now has the capability to look even better.
Cyberpunk 2077
But the other story here is that CDPR is celebrating a big milestone for Cyberpunk 2077, where after three years, its “recent” stack of reviews has now hit Overwhelmingly Positive, the highest classification you can get on Steam. Looking at the figures, that is 95% of the last 12,698 reviews. Overall, the game stands at Very Positive with 715,558 reviews in, lowered of course by the initial, very bad launch that took years to fully fix. It’s at 84% positive there, so getting to Overwhelmingly Positive just may not be able to ever happen due to math. Though I think Cyberpunk 2077 will live a very long life in its current form. I have not been shy in saying it has become my favorite game of all time, and I do not make that declaration lightly.
CDPR has said they are done with new patches for Cyberpunk 2077 as they move on to The Witcher 4 and the Cyberpunk “Orion” sequel. They have lied about this before, as the 2.2 patch was not supposed to happen, but it arrived anyway as they cannot seem to resist adding new things to the game, however minor. We’ll see if we’ll get a 2.3 in a few more months. I would not put it past them.
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Cyberpunk 2077 has been making headlines once again with the release of a new patch that aims to address some of the game’s bugs and glitches. The highly anticipated RPG has faced its fair share of criticism since its launch due to its technical issues, but developers CD Projekt Red have been working tirelessly to improve the overall experience for players.In addition to the new patch, Cyberpunk 2077 has also reached a significant milestone in terms of review scores. The game has now surpassed the 80% mark on popular review aggregator sites, which is a testament to the dedication and hard work put in by the development team.
Fans of the game have been eagerly awaiting these updates and are hopeful that Cyberpunk 2077 will continue to improve and provide a more polished and enjoyable gaming experience. With the new patch and improved review scores, it seems that the future is looking brighter for Cyberpunk 2077.
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Cyberpunk 2077, Cyberpunk 2077 patch, Cyberpunk 2077 review, Cyberpunk 2077 update, Cyberpunk 2077 milestone, Cyberpunk 2077 score, Cyberpunk 2077 news
#Cyberpunk #Patch #Hits #Review #Score #MilestoneFNP Certification Intensive Review: PLUS 1,200 Questions With Detailed Rationales (Exam Prep Connect)
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Organized by body system and providing easy-to-navigate content
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Fifth Edition, is a comprehensive yet concise review of exam topics
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About The Author: Maria T. Codina Leik
Maria T. Codina Leik, MSN, APRN, FNP-C, FNP-BC, AGPCNP-BC, President & Principal Lecturer for National ARNP Services, is nationally known for her ability to simplify complex concepts. She is board-certified by the AANPCB and ANCC in two specialties: Family Nurse Practitioner and Adult-Gerontology Primary Care Nurse Practitioner.
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Publisher : Springer Publishing Company; 5th edition (January 5, 2024)
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Addressing a gathering of global leaders, Klaus Schwab, World Economic Forum Founder and Chairman of the Board of Trustees, officially opened the 55th Annual Meeting, setting the tone for the week by highlighting the meeting’s theme: Collaboration for the Intelligent Age.
“This transition from the Industrial to the Intelligent Age is occurring at an exponential pace, carrying unprecedented risks for humanity as we strive to prepare and adapt for its complexities, he said. “Yet, it also offers significant opportunities to transcend our current challenges and spark a new renaissance – one defined by advancements in knowledge, health, culture and societal welfare.”
Schwab called on the global community to rise to the moment with “constructive optimism”, urging stakeholders from all sectors – government, business, civil society and academia – to unite in crafting solutions to shared challenges. “By embracing constructive optimism and believing in our collective capacity and commitment to improving the state of the world, we can shape the Intelligent Age as an age where every human being can realize their full potential.”
Speaking at what he described as “one of the most uncertain geopolitical and geoeconomic moments in generations,” Børge Brende, President and CEO, World Economic Forum, stressed that the world is at a critical inflection point and that 2025 will be a year of enormous consequence. “The longstanding international order that existed for the last three decades has receded. We need to find more effective ways to work together. It is the only way forward.”
In these turbulent times, democratic and liberal values serve as a critical signpost for stability and progress, said Karin Keller-Sutter, President of the Swiss Confederation 2025; Federal Councillor; Head of the Federal Department of Finance of Switzerland, Federal Department of Finance of Switzerland, adding that open markets, fair and transparent rules and fiscal discipline are the cornerstones of sustained prosperity. “Only a state with stable institutions can create a sound environment where everyone can realize their potential, and a state must protect this freedom with rules.”
Also reflecting on the changing world order, Ursula von der Leyen, President of the European Commission, outlined Europe’s plan to adapt to a new era of “harsh geostrategic competition” by increasing its competitiveness, strengthening global partnerships and maintaining its commitment to sustainable development.
“To sustain our growth in the next quarter of the century, Europe must shift gears,” she said. “We should not take anything for granted. We must look for new opportunities wherever they arise. This is the moment to engage beyond blocs and taboos. And Europe is ready for change.”
German Chancellor Olaf Scholz called for renewed commitments to security and prosperity in the face of global challenges, emphasizing that partnerships serve as the “engine for successful economic development.” He highlighted plans to reform German public debt regulations to strengthen domestic growth and emphasized Europe’s need to strengthen its defence capabilities and industrial base. His remarks acknowledged geopolitical challenges and uncertainties related to the new administration in Washington, but highlighted optimism about opportunities in emerging technologies.
As the war in Ukraine nears its third year, Volodymyr Zelenskyy, President of Ukraine, urged Europe to solidify its position as a leading global power. Highlighting the need for unity and strategic investment, he emphasized that the continent must prioritize alliances, technological advancements, and a cohesive security and defence policy. He pointed to existing models of cooperation in Ukraine’s defence as examples of how collective action can strengthen Europe as a whole.
“Europe needs to compete for the top spot in priorities, alliances and technological development,” Zelenskyy stated. “We need a united European security and defence policy, and all European countries must be willing to spend as much on security as is truly needed.”
Amid rising geopolitical tensions, Ding Xuexiang, Vice-Premier of the People’s Republic of China, warned against the growing fragmentation of the global economic system and rising protectionism, emphasizing that “trade war has no winners”. He advocated for a universally beneficial globalization process, reaffirming China’s commitment to a UN-centred multilateral order and calling for greater cooperation in scientific and technological innovation to ensure equitable advancements for all nations.
Ding also addressed global challenges such as climate change and economic inequality, urging nations to pursue green transitions and foster sustainable development through inclusive dialogue and partnership. Highlighting China’s economic resilience, progress in green energy and ongoing reforms, he asserted that China’s growth contributes to global stability and prosperity. “China’s door of opening up will not be closed and will only open even wider, and our business environment will only get better,” Ding said.
Pham Minh Chinh, Prime Minister of Viet Nam, reaffirmed the country’s commitment to leveraging artificial intelligence (AI). “We aim to prioritize the establishment of research and development centres, particularly in high-technology sectors. These efforts will not only advance technological innovation, but also position Viet Nam as a hub for high-tech manufacturing and development in the region,” he added.
With South Africa recently assuming the G20 Presidency, Cyril Ramaphosa, President of South Africa, outlined Africa’s objectives for the G20 Summit, set to take place in Johannesburg in November 2025, the first to be hosted in Africa. He said South Africa will focus its G20 Presidency on three themes: solidarity, equality and sustainable development.
“As we confront the challenges of the 21st century – from climate change to pandemics, from poverty to terrorism, from migration to AI – we are again called upon to harness that most powerful, and that most enduring, of human attributes: mutually beneficial cooperation and collaboration,” he said.
Navigating the ongoing challenges of regional instability, Isaac Herzog, President of Israel, welcomed the recent ceasefire and release of three hostages, but cautioned against unwarranted optimism. “I want to be lucid and cautious…there are opportunities, but still risks. We must ensure this never happens again,” he said.
The World Economic Forum Annual Meeting 2025 has officially kicked off, with leaders from around the world coming together to discuss the challenges and opportunities of the intelligent age. As technology continues to advance at a rapid pace, it has become increasingly important for countries to work together in order to navigate the complexities of this new era.During the opening session of the meeting, leaders emphasized the need for renewed global collaboration in order to address the many issues facing the world today. From climate change to economic inequality, it is clear that no single country can solve these problems on their own. Only through working together can we hope to create a more sustainable and prosperous future for all.
As we enter this new era of intelligence, it is crucial that we do not lose sight of the values that have guided us in the past. Cooperation, empathy, and compassion are just as important now as they have ever been. By coming together at forums like the World Economic Forum, we can ensure that these values remain at the forefront of our decision-making processes.
In the coming days, leaders will continue to discuss how best to navigate the challenges of the intelligent age. By working together and sharing ideas, we can create a world that is more inclusive, more sustainable, and more prosperous for all. Let us hope that the discussions at this year’s meeting will lead to concrete action and positive change for the future.
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The Brutalist review: Brady Corbet’s monumental achievement
Courtesy of A24 The Brutalist has been much garlanded already as the awards season gathers pace. At Venice, creator Brady Corbet took the Silver Lion for best director. At the Golden Globes, it won Best Drama, Best Director and Best Actor. At the Baftas, it was nominated in nine categories. The Oscars seem likely to follow suit.
Yet the film, which traces the postwar career of an imaginary Jewish Hungarian refugee architect in America, is a peculiar production: not merely massive but overtly overbearing. No less than 215 minutes long – three hours and 20 minutes of film, plus a 15-minute interval with a soundtrack – it covers the years from 1947 to 1980, in two pretentiously titled parts (The Enigma of Arrival, The Hard Core of Beauty), plus an epilogue. It is filmed in Vistavision, an extreme widescreen, high-resolution format developed in the 1950s, favoured by Hitchcock but not used for a feature since the 1960s.
Even more disconcertingly, The Brutalist is imperiously conceptualised too. You soon realise this is not a film primarily interested in character and narrative like most. “That, for us, comes later,” Corbet has said. “We start with a theme and an era.”
It’s the third film Brady Corbet, 36, has made with his partner, Mona Fastvold, after a precocious career as an actor, in which he was cast by directors of the stature of Michael Haneke, Lars von Trier and Olivier Assayas, before getting behind the camera.
His debut feature, The Childhood of a Leader (2015) established his approach. Set in France in 1919, it portrays the dysfunctional upbringing and malevolent behaviour of a small boy whose authoritarian American father is orchestrating the disastrous Versailles settlement. In a brief coda, “A New Era”, years later, the boy is revealed as having grown up to be a fascist dictator. Although he is not specifically Hitler or Mussolini, the lesson is clear.
His second, Vox Lux (2018), assaults the era of celebrity. In “Act One: Genesis”, a teenage girl survives a Columbine-type school shooting in 2000 and becomes famous after singing at the memorial service, swiftly converting this celebrity into pop stardom. By 2017, in “Act Two: Regenesis” she has become an alcoholic monster, and the worse she gets, the more popular she becomes. Again, there’s no immediately recognisable target, but parallels with some contemporary celebrities are unmistakable.
Both these films bombed at the box office, Vox Lux took just $1.4m on a budget of $11m. Seven years later, though, here’s The Brutalist, another history lesson, even more outsized in ambition.
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Holocaust survivor László Tóth (Adrien Brody, fantastically angular, intense and contained, an even greater performance than the role in The Pianist for which he won an Oscar) makes it to America in 1947, leaving behind his wife and niece. He is taken in by his cousin Attila (Alessandro Nivola), who runs a furniture shop in Philadelphia. They are commissioned to rebuild the library of a local tycoon, Harrison Lee Van Buren (Guy Pearce, formidable), arranged as surprise for him by his entitled son Harry (Joe Alwyn).
László creates an exquisite modernist design but when Harrison sees it, he is enraged and refuses to pay. László becomes a labourer and addicted to heroin, living in a hostel. But, after the library has been featured in a glossy magazine, Harrison realizes László was a famous architect in Hungary before the war and repentantly seeks him out, welcoming him to his estate.
Harrison then commissions László for a vast utopian community centre on a hill near his house, in memory of his mother. László models an uncompromisingly hard-edged, cubic building but a catastrophic accident causes Harrison to cancel construction in a rage again. Only years later, in 1958, does it resume. Apparently reconciled, László and Harrison visit the quarries of Carrara together, to select the marble for an altar for the project – and, in a hallucinatory sequence deep in the tunnels, Harrison grotesquely assaults the befuddled László, revealing both his latent anti-Semitism and weirdly sexualised contempt.
In the epilogue, the elderly László is vindicated, his integrity and his life’s work celebrated at the first Architectural Biennale in Venice in 1980. So here’s an imposing epic of the American Dream, tracing the difficult path of the immigrant and artist under the raw capitalism of this period. It’s not just about building a building, though, “it’s also a movie about making a movie”, Corbet himself underlines, as if we could miss that. Like it or not, it’s a towering achievement: to be seen.
“The Brutalist” is in cinemas on 24 January
[See also: The end of Generation Rock]
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This article appears in the 22 Jan 2025 issue of the New Statesman, Messiah Complex
Brady Corbet’s latest film, “The Brutalist,” is nothing short of a monumental achievement in the world of cinema. This bold and daring film takes on the challenging subject matter of modernist architecture and the impact it has on society, all while delivering a powerful and thought-provoking narrative.Corbet’s direction is masterful, as he expertly navigates the complexities of the film’s themes and characters with precision and finesse. The cinematography is stunning, capturing the stark beauty of the brutalist architecture that serves as the backdrop for the story. The performances from the cast, including Joel Edgerton and Marion Cotillard, are nothing short of exceptional, bringing a depth and complexity to their characters that is truly mesmerizing.
“The Brutalist” is a film that challenges its audience to think deeply about the world around them and the ways in which architecture can shape our lives. It is a bold and ambitious work that pushes the boundaries of traditional storytelling, and Corbet should be commended for his vision and execution.
In conclusion, “The Brutalist” is a must-see film for anyone who appreciates bold and thought-provoking cinema. It is a truly monumental achievement that will leave a lasting impact on all who experience it.
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