Review title. Enter a review title. Review. Enter a review. Service rating. Quality rating. Value rating. Overall rating. Please choose. I am a new user. I. Get information about holding a memorial event at Antioch Christian Church in Canton, Georgia. Learn about funeral events that have been held there in the past and read reviews from other English 101 September 2, 2012 "Us and Them" 1. The title of David Sedaris's piece "Us and Them" refers to the Tomkey family and the author's family. The family which is considered "them" is the Tomkey family. In this piece we are meant to sympathize with the Tomkey's because of the author's harsh and unreasonable judgment of them. According to a 2015 poll, just 6% of respondents in the United States, 4% in the United Kingdom, and 3% in France thought the world was becoming better. With a "we versus. them" rhetoric, populist politicians on the left and right are tapping into this sense of dissatisfaction. US AND THEM is not great, even though at some level it may have its heart in the right place. It just doesn't manage to transmit its ideas to the screen as smoothly or naturally as I would like. The performances certainly aren't bad, and it's shot well (on actual film I believe, unless mine eyes deceive me). This song review is intended to focus on the meaning of a certain song that has been analysed "Us and them" by Pink Floyd a British rock band that was released in the year 1973. The main drive of the song is protesting about war and how senseless it is to human life. What 3 letter words start with the letters my? I could find no three-letter words starting with "my" in the Webster's Second International dictionary.There are a few four-letter words:myalmynamystmythmyxamyxo.Words that Start with Q. The letter q makes the sound /cue/ or /qwah/ in words like queen, quick, question, etc. Q makes the sound /cue/ when it is blended with the letter U, most Q words As the founding member, lyricist, composer and creative force behind Pink Floyd, US + THEM presents Waters powerful music in stunning form and highlights its' message of human rights, liberty and love. gpfQ2l. Netflix Netflix continues to branch out into foreign-language titles in a way that feels very forward-looking. This weekend saw the premiere of Us and Them, a Chinese film from director Rene Liu that made a huge splash at the Chinese box office this spring. Telling a contemporary love story that stretches from 2007 to 2018, the film also touches on things like economic anxiety amid the promises of wild success in the big city of Beijing. US AND THEM STREAM IT OR SKIP IT? The Gist Jian-qing Jing Boran and Xiaoxiao Zhou Dongyu meet on a crowded train from Beijing to their hometown for Chinese New Year in 2007. They strike a fast friendship that is very obviously destined towards something more — in China as in the United States, we’ve all seen a romance on film before — and when it does, we see their relationship evolve as well as their own personal and professional trajectories. They both arrive in Beijing looking to get great jobs and make big money. These are the bus-ticket-and-a-dream kids like the ones who flock to New York and Los Angeles looking for fame and fortune. The promise of wealth and success that Beijing represents is a major character throughout the film, and it’s a constant backdrop as these two get together, break up, and meet up again. What Movies Will It Remind You Of? The span of time that Rene Liu covers here brings to mind a couple recent films, one Chinese and one American. Jia Zhangke’s “Mountains May Depart,” from 2015, tracks the story of a handful of young, hopeful Chinese people from 1999 to 2025, and they too experience optimism and success and disappointment along the way. Us and Them, though stylish, is more of a straightforward narrative, and though Rene Liu puts a lot of personality into it, there are flourishes in Mountains May Depart — those bookending dance scenes! — that remain out of reach. The second film is The Last Five Years, the film adaptation of the cult-favorite musical that tracks the beginnings of and dissolution to a relationship, told forward from his perspective and backwards from hers. The way that Liu films the present-day scenes in black-and-white have that “you cannot recapture what’s already gone” feeling. Performance Worth Watching Both Jing Boran and Zhou Dongyu do a great job carrying off the romantic storyline, and I can’t imagine having one yet not the other. Memorable Dialogue “I feel like the past is right in front of us,” Xiaoxiao cries during one of the present day scenes, when the weight of everything they’ve both been through is too much to ignore. Netflix Single Best Shot There is one breathtaking scene of the pair of them walking through the trees in autumn, the sun positively golden and bouncing off the crunchy leaves, during a pivotal moment in their young relationship. It’s incredibly beautiful work. Stream It or Skip It 'Love's Greek to Me' on Hallmark Pits Torrey DeVitto Against Marina Sirtis in a Cultural Clash Stream It Or Skip It 'Creed III' on Prime Video, An Explosive Head-to-Head Matchup of Two Gifted Actors Stream It Or Skip It 'The Playing Card Killer' on Netflix, a Boilerplate True-Crime Series About a Series of Unsettling Murders in Spain Stream It Or Skip It 'First Five' On Max, A Docuseries About Finland's Youngest-Ever Prime Minister And The Female Members Of Her Cabinet Our Take It’s heartening that this is the kind of movie that can become a huge blockbuster sensation in China. A simple but beautifully filmed love story that touches upon the economic realities of the world is not exactly a superhero action blockbuster. Here’s hoping plenty of people find it on Netflix and are able to give it the attention it deserves. Our Call Stream It. Stream Us and Them on Netflix Tags Stream It Or Skip It Completed kobeno14 people found this review helpful Story Acting/Cast Music Rewatch Value This review may contain spoilers How Expectations and Different Goals Affect A Relationship There aren't very many realistic relationship movies out there. Most are mired down by cliches and melodrama where everything always works out in the end. If that is what you're hoping for with this movie, you'd best move on, for this is one of the best films about relationships that I've seen in recent are work. Period. And the more expectations that two people bring to the table, and the more differing goals that are brought, the more likelihood that the relationship is ultimately is a poignant story of two people who meet on a train, heading home for Chinese New Year. I've lived in China. There is no greater mass migration on the planet than during Chinese New Year. I lived in Shenzhen, a city of 20+ million. The city looked like a ghost is a young man living in Beijing. His dream is to create video games. He works at a small kiosk. He doesn't make much money, and his room in his apartment looks more like a metro station...people crammed together and living in bedrooms that look more like cubicles. It's a simple existence that doesn't seem to hold much promise, based upon Jianqing's is a young and vibrant woman, full of life, and seems to hop from place to place. Her dream is finding true love. So much so, that she invents stories of boyfriends in order to make her own goal-Jianqing-jealous to the point where she hopes he might come Xiao-Xiao pretty much takes the initiative and the two make love. She moves into Jianqing's cramped bedroom. Xiao-Xiao's dream is fulfilled, and she even reminds a frustrated Jianqing that she doesn't care if they live in a box. However, Jianqing firmly believes that Xiao-Xiao can't possibly be happy in their current living situation. In the process of trying to better their living situation, he slowly begins to alienate her, failing to understand that Xiao-Xiao only cares about being with story is masterfully told by taking us back to 2007 and progressing through the years up to present time. All of the flashbacks are done in color. The present is in black and white. The director is demonstrating a time when dreams were attempting to be realized up to the point where everything is now stale, desolate, and unfulfilled through the black and white landscape of crushed and unrealized dreams. Of course, in the present, after bumping into each other for a final time, they begin to wonder if things could have been different. Based upon how they each saw things, they realize that it couldn't have been. Xiao-Xiao has a bit more wisdom to see the folly than can only focus on-what he feels-his failure to provide for Xiao-Xiao. Xiao-Xiao already knows the futility that he was already everything to her; that he never needed to struggle and fight to make her happy. She was already happy. But, of course, he failed to see in the end, when they are finally able to let go, do the vibrant colors begin to fill the landscape, almost as if it were happening in that very moment of their realization and appreciation for what they had...and frankly, still only do people's expectation and goals often differ, but people also change as time moves on. Depending upon the couple, these can appear to be insurmountable barrier. And for those who choose to refuse to see what is right in front of them in the other, it too often is just that an insurmountable relationships fail due to a lack of communication; to talk things out when it's obvious that things are moving in two different directions, taking each person with them. Perhaps a film like this will inspire folks to look a bit harder at what-and more importantly who-is right in front of them. It's funny and sad how often most people fail to notice. Read More Was this review helpful to you? Streaming Posted on Jun 24, 2018 Updated on May 21, 2021, 1246 pm CDT Us and Them is a movie about finding the words you should have said to someone years ago. Like assuring a worried parent that you may be lost now, but you’ll be fine. Or letting a star-crossed love know what they really meant to you. It’s also about allowing yourself to be vulnerable enough to understand your regrets. The film is so in tune with its characters’ emotions that it runs the risk of being maudlin. But director and co-writer Rene Liu strikes the right balance of melancholy and and Them tells the story of the relationship between Jianping Jing Boran and Xiaoxiao Zhou Dongyu. It was a box-office smash in China before Netflix acquired the narrative is split into two timelines. In one it’s 2018 and the two reconnect during a delayed flight and they spend the night doing a post-mortem on their relationship. The other timeline tells their story from the beginning. We watch their chance meeting on a train in 2007 turn into a friendship, then a start-and-stop relationship that eventually fizzles out. But Us and Them is much more than a recounting of a will-they/won’t-they relationship that landed on “won’t.” It’s clear how Jianping and Xiaoxiao feel about each other, and their inability to translate that into a successful relationship is a brutal throughline. But the larger theme is that you can’t force someone into somebody they aren’t ready to be—the great irony of maturity is that it’s built on your missteps. Netflix Asia/YouTube While the movie is primarily focused on Jianping and Xiaoxiao, it makes enough room to include other perspectives. Jianping’s father Tian Zhuanghuang is the most prominent supporting character in the story. His presence is marked by his worries about Jianping’s future, but he also has room for Xiaoxiao. Not in the sense of a parent showing interest in a potential in-law, but rather as a person looking out for someone. The best scene in the film is between him and Xiaoxiao. It’s a testament to Liu’s skill as a filmmaker. She’s a generous storyteller, unafraid to let her characters make mistakes but never vilifying them. That touch of humanity is such an easy thing to botch and she nails it in a way uncommon for most first-time and Them wants you to empathize with its characters but, more importantly, it wants you to empathize with everyone. Despite covering familiar thematic material, it brushes up against profundity. Those moments help Us and Them work its way into your want to watch through the credits. Liu adds a crucial scene for Jianping. She also adds a series of shots of real people saying the things they’ve needed to say for a long time. By the time it’s over, you’ll want to hug not sure what to watch on Netflix? Here are our guides for the absolute best movies on Netflix, must-see Netflix original series and movies, and the comedy specials guaranteed to make you laugh. *First Published Jun 24, 2018, 645 am CDT Eddie Strait Eddie Strait is a member of the Austin Film Critic Association. His reviews focus primarily on streaming entertainment, with an emphasis on Netflix, Hulu, Amazon Prime, and other on-demand services. Them and Us by TendoGames pays loving homage to the golden age of survival horror titles such as Resident Evil and Alone in the Dark. A singular hero finds themselves trapped in a haunted house full of locked doors, endless hallways and no shortage of horrifying creatures eager to feast on their flesh. Upon starting the game, you are treated to a compelling comic book-style cutscene. You get introduced to Alicia, a disturbed, former paramedic on death row for unknown reasons, yet she is driven by a compulsion to find her missing daughter. After a catastrophic uprising on a prison bus, she awakens in a locked room in an old mansion on a mysterious island with no recollection of her whereabouts, and begins her quest to escape. Back to the basics In an interesting twist, you’re given the choice of two camera options from the get-go tank controls with fixed camera angles, or an over-the-shoulder perspective a la Resident Evil 4. There is a third option, should one feel inclined to pay for DLC, of a first-person perspective. Alicia starts with a small inventory that can be accessed at any time, which also contains special folders for found documents and personal notes or “memories”. Constant planning is necessary to manage what you will carry and what you will leave behind. Navigating the environment is simple enough. As one would expect from the genre, areas in the mansion and its grounds are locked behind any number of doors and simple tasks that require exploration and careful attention to detail. Levers, crests, books, tools, and other objects must be acquired in order to progress. Puzzles range from the obvious to the obtuse, but all the clues you need are provided if you take the time to look for them and practice the necessary patience. Because every horror game needs a disgusting bathroom. Combat is what it is the main enemy you will encounter are the shambling dead, which behave about as you would expect. Dealing with one is straightforward enough, but two or three forces you to weigh your options. Besides mindlessly beelining toward you with arms outstretched, they are capable of occasional bouts of sporadic behavior to keep you on your toes, especially if you choose to engage them in close-range combat with your trusty knife to conserve ammo. There are a handful of firearms some only available on subsequent playthroughs, and ammo is wisely distributed throughout the various zones in such a fashion that you will never feel completely safe. This becomes apparent later on as the game starts throwing more and more unique enemy types your way, often without warning, forcing you to switch tactics on the fly. Healing items are sparse but fairly distributed, and some can even be combined to create more powerful agents. Although health item crafting is only surface level, and not explored as deeply as it could have been. There’s the evil! Shoot it! Undermining fear Sound design is especially important in the survival horror genre, and Them and Us gets its oppressive atmosphere just about perfect. The music in particular is especially brooding and well conceived, particularly when paired with the outstanding ambiance. I also appreciated some of the minor aesthetic flourishes. The game contains small, but impactful touches, like fog lingering on the ground in outdoor areas, fireflies swarming around lamp posts, and the way blood gradually pools outward from a fallen zombie. The movement of their jaws and mouths matches their groans, making them feel like a natural extension of the ominous horror-scape that surrounds them. I was also impressed with their fairly wide variety of shapes, sizes, and wardrobes. Unfortunately, Them and Us falls short on a technical level. Even after reducing the graphics to “Very Low” I was rarely able to achieve more than 20-30 fps. After sharing my woes in the community forums, I was informed by others, including one of the developers, that this often occurred when the application defaulted to the PC’s integrated graphics rather than the system’s higher-power GPU in my case an RTX 3060 Ti. However, even after forcing the game to favor my card in the Nvidia control panel, the problem persisted. Other suggested remedies, such as deleting and reacquiring config files and even renaming the executable, were of no use. I am not a programmer by any means, but it is likely much of this comes from the fact that Them and Us was created using the aging Unreal Engine 3. The end result was an extremely choppy gameplay experience with ugly visuals and long loading times. I shuddered with fear — not from the creepy crawlies thirsting for my blood, but from my framerate dropping to single digits any time I approached an open flame. Yes, yes you should. Almost perfect Besides mediocre graphical fidelity, Them and Us has other issues as well. Early in the game an enemy type is introduced that can only be damaged by first splashing it with holy water. However, doing so requires you to perform a one-second animation before regaining control of your weapons, leaving you helpless for what seems like an eternity. The enemy can still attack you during this time. Zombies like to “play dead” is that possible? and provide you with a limited window to run up and do some damage before they become “aware.” However, there are points where, no matter how much you hack and slash, they remain stationary until “activated” by a triggering event, like the player picking up a specific item. Many of the story items found throughout the game contain poorly written text riddled with errors, though this might be attributed to an imperfect translation. Some of these qualms might not seem very troublesome at first, but become more apparent the further into the game one delves. Still, Them and Us has its heart in the right place. The atmosphere and constant sense of dread will keep you on your toes, as will your dwindling ammo and the growing bestiary of enemy types that stand between you and freedom. Its story and tone clearly take inspiration from Amnesia The Dark Descent, which is a good thing. However, technical shortfalls on a system that is more than capable of handling the load neutered the entire experience for me. Buyer beware you’re in for a scare, just not the one you were hoping for. If you had to guess which legendary rock and roll artist has a new concert film featuring characters that include “Refugee,” “Drone Pilot” and “Palestinian Girl”, there’s a good chance your guess would be Roger Waters. The former Pink Floyd front man is practically defined by his decades-spanning collection of songs and concept albums that dive headlong into hot-button social and political issues that include capitalist greed 1977’s “Animals”, youthful alienation 1979’s “The Wall”, and the futility of war 1992’s “Amused to Death”. In 2017’s principled and tuneful “Is This the Life We Really Want?,” his first solo album of all-new rock material since “Amused to Death,” Waters turns his skeptical yet hopeful eye toward refugees and President Trump, among other topics. The album’s most biting songs, featuring ferocious lyrics tailor-made for tweet-sized social media messages, are also the highlight of his latest concert film, “Roger Waters Us + Them,” a sonically superior if sometimes draggy affair that earns its stripes by affirming the timelessness of Waters’ thematic concerns and proving that fresh material doesn’t have to be the medicine we’re forced to swallow to hear the classics. Shot over three nights in June 2018 during the Us +Them tour stop in Amsterdam, the film looks and sounds fantastic and should easily rope in his aging fan base. If they blink and miss its two-days-only theatrical release in October, the DVD is set for store shelves in early 2020. Indeed, the age of his fans leads co-directors Waters and Sean Evans to make the odd choice of limiting audience reaction shots primarily to tattooed and pierced men and women in their 20s and 30s. One young woman actually sheds a tear. While this reads as a fairly silly way of arguing that the 76-year-old songwriter and bassist can connect with a younger generation, it does remind us of the universality and insolvability of the problems that distress him so greatly. Some of the younger concertgoers are not too far removed from the prison-jumpsuit-wearing local kids who line the stage for “Another Brick in the Wall Part 2,” a multi-cultural group who eventually rip off their orange vestments to reveal T-shirts that read “resist.” “The Last Refugee” gives voice to one of Waters’ latest topical concerns, augmented in aching if ineffectual fashion by live-action sequences. If he never gets us feeling the same level of sadness and anger over the ongoing worldwide refugee crisis, it’s not for lack of trying. In his matching black T-shirt and jeans, Waters still cuts an authoritative yet hip figure, the coolest grandpa ever. While his voice has never been one of pure velocity and clean lines like Freddie Mercury’s, it’s still in very fine form, his cracked and battle-scared warble conveying authenticity and righteous fury. And make no mistake, for a man championing peace, he sure sounds furious. The film’s highlight is a blistering multi-song reaction to Trump starting with “Picture That” “picture a leader with no f—ing brains” from the new album, followed later by the one-two punch of “Pigs Three Different Ones” from “Animals” and “Money” from “The Dark Side of the Moon.” Here, editor Katharine McQuerrey works with the music and the stage visuals including billboard-sized Trump quotes and Pink Floyd’s legendary floating pig to devastating effect, giving the film the political charge we’ve been waiting for. It obliterates any nagging worry that the 156-show tour is merely trading on Water’s past glories like so many other rockers of a certain age taken to running wheezy laps around the nostalgia track. Any Roger Waters arena concert is an unparalleled spectacle, and while DP Brett Turnbull’s coverage of the band onstage breaks no new ground, the crushed blacks add a dark and provocative edge. The stage includes a 94-foot wide LED screen, and about halfway through the concert, a giant metal grid and 16 moving screens descend from the roof. Seen live, it was presumably an awe-inspiring contribution to the evening’s overall effect, an epic vision that Turnbull’s arena-encompassing wide shots can suggest but never fully convey. The movie’s title is adapted from the “Dark Side” track “Us and Them.” Replacing the “and” with a plus sign makes the point that if humanity is going to survive the only way forward is together. It’s a notion that he’s taken to controversial extremes in recent years having repeatedly and unrepentantly stepped on the age’s geopolitical third rail the Israeli-Palestinian conflict. “Us + Them,” both film and concert, ends with a spoken-word plea for justice for “our brothers and sisters in Palestine” who, in Waters’ telling, live under Israel’s deeply repressive apartheid regime. In today’s politically polarized culture, criticizing both Trump and Israel risks leaving a whole lot of money on the table in terms of concert revenue and DVD and streaming sales. But this is “Us + Them’s” primary achievement, one that should not be blithely dismissed in this PC era Although Waters is sometimes aggravating and occasionally trouble-making, he is, to repurpose a lyric from “Breathe,” not afraid to care. “Hanging on in quiet desperation is the English way,” sings the band’s David Gilmour stand-in, guitarist Jonathan Wilson, in the Pink Floyd classic “Time.” It is not, thank goodness, Roger Waters’ way.

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