Film Review: The Goldfinch

"When I Lost Her, I Lost Sight Of Any Landmark That Might Have Led Me Someplace Happier..."

Around twenty minutes into The Goldfinch, Jeffrey Wright's overly mawkish and completely unbelievable side character says something along the lines of "it's a reconstruction, and not a very good one," and if ever there was a key segment of dialogue to accurately summarise a movie as whole, that one is pretty much bang on the money in the case of The Goldfinch. Directed by John Crowley, whose previous work in the form of the absolutely superb Brooklyn confirms he is a filmmaker who understands when a film is undoubtedly working or not, The Goldfinch is a bloated, overlong and thoroughly unengaging adaptation of the Pulitzer Prize winning 2013 novel of the same name by American author, Donna Tartt, a two and a half hour marathon of a movie which sacrifices an interesting narrative for dull, hateful characters and a sanctimonious, chin-wagging sensibility which assumes all audience members are the type of people who could spend all day finding interest in the texture of a painted wall instead of having, you know, a bit of fun. 

Told in a narrative structure akin to that of an over-exuberant art spinner, Crowley's movie predominantly focuses on the life of Theodore "Theo" Decker, whose witnessing of a museum bombing and the subsequent death of his angelic-esque mother results in him stealing the titular famous painting from within the rubble of the attack and then spending the majority of his young life moaning about past life choices and feeling up furniture in order to impress the love of his life. With the younger form of Decker being portrayed by Oakes Fegley of Pete's Dragon fame, the first eighty minutes or so sees Decker move from family to family and location to location without any real sense of dramatic point, with the plot strangely content with introducing boring character after boring character, each of whom feel the need to talk about some of the most face-palming waffle I have ever had the displeasure of hearing within the confines of a cinema without any purpose whatsoever. With the elder side of Decker being handled by Ansel Elgort (Baby Driver), the movie then concludes with a pondering, self-absorbed level of crass melodrama which makes Hollyoaks look like a masterpiece in understatement, and even with the likes of Radiohead on the soundtrack not once, but twice, The Goldfinch is the type of holier than thou cinematic garbage which made me want to leave five minutes in, but like the good old fashioned cinephile I am, I withstood the wave and took comfort in the safe knowledge that nothing this year can be as skull-crushingly dull as Crowley's latest. 

Overall Score: 2/10

Film Review: Rambo: Last Blood

"I Want Revenge. I Want Them To Know That Death Is Coming, And There Is Nothing They Can Do To Stop It..."

Seemingly taking the most out of his latter career surge after impressive performances within the likes of Creed, Creed II and Guardians of the Galaxy Vol. 2, Sylvester Stallone returns to his second most iconic cinematic role in the form of the rugged Vietnam veteran, John Rambo, for the aptly named, Rambo: Last Blood, an impressively ultra-violent revenge flick which takes the central plot of Taken and attempts to mix it with the rugged, nihilistic and contemplative nature of something like James Mangold's thoroughly impressive and similarly gruesome, Logan. Co-written by Stallone but directed by Adrian Grunberg, famous so far for directing the Mel Gibson starring, Get the Gringo, alongside credits on the likes of the incredibly memorable, Apocalypto, Last Blood sees Stallone's retired Rambo now content with seeing out the remainder of his peaceful days on a dusty ranch in the outskirts of Arizona, U.S, until his beloved niece is of course captured by sadistic Mexican human traffickers when she pops across the border in order to catch up with her long lost father, a decision of which her knife-loving Uncle tells her to disregard from the outset. 

Whilst I can admit to not seeing every release in the Rambo franchise, let alone remember anything about them, Last Blood doesn't really "feel" like the typical Rambo film, with the central revenge narrative conforming to every single cliche and stereotype ever created in the history of cinema, and whilst most audience members don't exactly head into a Rambo movie ready for two hours of heavy contemplations and art-house stylisms, Last Blood does eventually get to the set pieces which action fans will either lap up with gleeful joy or turn their heads at in disgust at how simply sadistic Mr. Rambo's latest human cull actually is. With more knife-welding murders than most slasher flicks and some overly disturbing kills which I think even John Wick would admit to going slightly too far, First Blood is the most violent big screen film I can remember since Overlord, but with an overly wacky and absurdist sensibility, Stallone's latest is a good old fashioned carnival of carnage which passes the time nicely and shouldn't be taken seriously at all in the ilk of the good old fashioned 80's action flicks of which the character of John Rambo helped build in the first place.  

Overall Score: 5/10

Film Review: Ready or Not

"Our Initiate Then Has The Privilege Of Drawing The Card, And Mr. Le Bail Will Tell Us Which Game To Play..."

Directed by the filmmaking duo of Matt Bettinelli-Olpin and Tyler Gillett, horror aficionado's responsible so far for part of the rather underrated, V/H/S, and the critically massacred, Devil's Due, Ready or Not is the second big-screen end-of-year horror after It: Chapter Two designed to pull audiences out of the rain and into the confines of a nicely heated cinema screen with the promise of B-movie horror tropes and bucket loads of exploitation violence. Brought to the big screen by Walt Disney of all studios, Ready or Not is most definitely not a film for the kids, an ultra-violent, overly knowing black comedy which conforms to the well worn tropes of exploitation B-movies as it follows a simple yet entertaining central idea to satisfy both genre fans and the lay cinema audience who pay good money to see cheap, blood ridden nonsense, and whilst the final project may not be anything particularly original or memorable, Ready or Not is a more than functional, thoroughly enjoyable big budget splatter horror with a great central performance from the film's leading lady.  

Whilst the movie's supporting trailer pretty much gives away a huge majority of the central plot, Ready or Not follows Samara Weaving (Three Billboards), niece of Hugo Weaving of The Lord of the Rings and The Matrix fame, as Grace, whose marriage to Mark O'Brien's (Bad Times at the El Royale) Alex Le Domas brings her closer to the ridiculously wealthy Le Domas empire, whose generations-long tradition of the new family member being forced to play a particular game at midnight leads her to engage in a fight for survival within the confines of their stately home. Cue stupendously silly levels of overripe violence and more forced comedic punch lines than you would might expect, Ready or Not is a strange blend of Escape Room, The Cabin in the Woods and Adam Wingard's criminally underrated, You're Next, and whilst sometimes the comedic elements do indeed topple the slasher inflicted side of the piece, Weaving's dedicated performance as a newly crowned scream queen allows you to enjoy the crazy path her character walks, even if it is incredibly cliched and wholly unsurprising. For a thoroughly entertaining Friday night slice of horror nonsense, Ready or Not goes down nicely with a pizza and a pint but is undoubtedly quickly forgettable and not interesting enough to be placed in the same category as the sort of films it clearly evokes.

Overall Score: 6/10

Film Review: The Kitchen

"Times Change. You Do What You Got To Do. Some Hits. For Money, You Survive..."

Based on the comic book series of the same name published by Vertigo Comics, an offshoot of DC Comics which was intended to promote graphic comics suitable for a more "adult" audience, The Kitchen is both the big screen adaptation of the original series created by both Ollie Masters and Ming Doyle, and the directorial debut of Andrea Berloff, an American filmmaker best known so far for writing credits on the excellent, Straight Outta Compton, and the not-so excellent, Jamie Foxx starring, Sleepless. Coined by the film's production company as being an "edgy and subversive" addition into the crime genre, Berloff's movie follows a very Widows inflicted central narrative, one which sees our three central female characters attempt to pick up the crime-inflicted mantle of their now incarcerated husbands in order to stay afloat in the late 1970's society in which the notion of the male breadwinner was very much still at the forefront of the nuclear family. Whilst I am all for a gender-bendered approach to a genre which is still reeling in the shadow of The Godfather and Goodfellas, Berloff's movie is the type of big screen turkey which almost falls into the category of so bad it's good, an awfully mis-handled raspberry of a movie which fails on every single fundamental level of how to actually make a working movie, a high profile example of a director who seems to have been given a big-budget project slightly too soon and has ultimately crippled under the pressure with dire and laughably bad results. 

Pushed as a serious crime drama, The Kitchen attempts to sell the idea of three women with little to no experience of the criminal underworld suddenly strong-arming the entire Irish crime syndicate within the heart of Hell's Kitchen, New York, in order to keep afloat their own individual lives after relying on their male counterparts for so long. Whilst the whole notion of fiction is to imagine a world away from our own, one of the primary issues of Berloff's movie is undoubtedly the cast choices, with both Melissa McCarthy (Spy) and Tiffany Haddish (Night School), actors both primarily known for cutting their acting chops in comedy, whose move into a picture which requires a certain level of dramatic expressionism not exactly paying off, with McCarthy once again failing to provide me with evidence that she can actually play anyone other then herself and Haddish laughably terrible as she attempts to evoke some sense of believability to her paper thin character. Whilst the usually reliable presence of Elizabeth Moss (Us) is also woefully mishandled, with her wildly inconsistent character mute for half of the movie and then seemingly drunk for the other half, the whole sensibility of The Kitchen feels like a half-baked Saturday Night Live sketch, one written by a first year university undergraduate with a pure hatred for the male sex and one directed by someone who simply cannot get to grips with the subject matter whatsoever, and whilst Berloff's movie did make me laugh out loud on occasion due to how simply awful the whole thing is, The Kitchen is an absolute stinker of a movie and a high profile example of how not to make a comic book adaptation.  

Overall Score: 3/10

Film Review: Hustlers

"This City, This Whole Country, Is A Strip Club. You’ve Got People Tossing The Money, And People Doing The Dance..."

Based on the 2015 New York magazine article, "The Hustlers at Scores", by American journalist, Jessica Pressler, Hustlers is the latest from the superbly named New Jersey filmmaker, Lorene Scafaria, who returns to cinemas in a directorial sense after the successful one-two of the 2012 Steve Carell staring, Seeking a Friend for the End of the World and the 2015 comedy drama, The Meddler. Featuring a particularly starry, female-led ensemble cast, Scafaria's latest primarily follows Constance Wu's (Crazy Rich Asians) Dorothy over the course of nearly a decade as her career as a stripper leads her into the path of Jennifer Lopez's (Out of Sight) Ramona, a powerful and streetwise matriarch who soon teams up with her fellow strippers in order to rip off high profile clients in response to the economical effect of the 2008 Financial Crisis. Less The Big Short and more a spicy blend of Showgirls meets Ocean's Eleven, just without the R-rated extremism of the former, Hustlers is a thoroughly engaging and brilliantly acted original crime drama, one which benefits from a tight, well-judged runtime and an element of spicy exoticism which most mainstream pictures would be too afraid to touch let alone actually produce. 

With a central narrative which feels comfortable remaining within the confines of reality and seemingly sticks close to the real life events, such a decision both benefits and hinders Scafaria's movie, one which shifts along an elongated, year jumping time frame with relative sharpness and ease, due in part to some Scorsese-esque storytelling, cut-throat editing techniques and key characters which manage to be both well-rounded, charismatic and engaging. Central to the film's success is undoubtedly Lopez who in her career best performance manages to evoke a wide range of characteristics, traits which develop her character from the savvy, sexy titan of the stripping industry to a relentless, greed-inflicted criminal, one who is determined to return the pain of the financial crisis on those who she believes is responsible. With Constance Wu continuing her excellent leading form after her success with Crazy Rich Asians and the movie having a fundamentally likeable sensibility, the only real downfall of the picture is how forgettable the central plot device actually is, with the inevitable outcome predictable and therefore lacking any sort of gut-punching memorability, but where the movie lacks in any sense of grandiose it more than makes up for in terms of style and for a movie which clocks in at just under two hours, Hustlers is well worth your time.  

Overall Score: 7/10

Film Review: Ad Astra

"He Gave His Life For The Pursuit Of Knowledge. Because Up There Is Where Our Story Is Going To Be Told..."

After sending half the audience to sleep with the ridiculously overrated, The Lost City of Z, back in 2016, American filmmaker, James Gray, returns to the world of cinema this week with Ad Astra, a spectacle heavy, big screen science fiction blockbuster which continues the volcano-sized, heatwave of excellence the one and only Brad Pitt is currently on after his absolutely superb work on 2019's best film of the year so far in the form of Once Upon a Time in Hollywood. Co-written by both Gray and Ethan Gross who reunite after their work together on Z, Ad Astra is a knowingly, and at times shockingly uncanny hybrid of Apocalypse Now and 2001: A Space Odyssey, a strangely sanctimonious science fiction thinker set in the near future which sees Pitt as Major Roy McBride, a decorated, dedicated and emotionally vacuous astronaut who is sent to the now commercially exploited reaches of Mars in order to make contact with his revered yet long lost father after power surges damaging the Earth are seen to be originating from his last known position; the far reaches of Neptune.  

Upon accessing the IMDB trivia page, director James Gray wanted Ad Astra to include the most "realistic depiction of space travel that's been put in a movie" and likened the project himself to include elements of Joseph Conrad, the author who of course supplied the blueprint for Apocalypse Now with "Heart of Darkness", and whilst the picture does indeed owe an enormous debt to simply beautiful cinematography from Hoyte van Hoytema, the acclaimed DP with previous credits on Interstellar and Dunkirk, it's fair to say that Gray's movie is one of the most ill-disciplined, so-called "clever" science fiction movies I have ever seen. Whilst I can bypass all manner of technical specifications when it comes to science fiction if the narrative has me engaged all the way through, Ad Astra is so clearly a rip-off of all similarly plotted movies to come before it that as soon as I was aware the full extent of where the movie would ultimately go, I simply became a vessel of negativity eager to plot black hole-shaped craters into elements which just didn't work whatsoever. Whilst Pitt does a solid job offering a central performance which is one half Ryan Gosling circa First Man and the other half Sam Rockwell à la Moon, as soon as the poorly designed, floating, maniacal monkeys (yes, really) showed up, I'd had enough of the narrative and focused more on the stupendous technical achievements of a movie which felt the need to become more stupid as it went on, and whilst Ad Astra failed to send me to sleep, Gray's latest is indeed a spectacular technical achievement which fails at the first hurdle when it comes to a decent narrative. Want good science fiction? High Life is the 2019 movie to go to. 

Overall Score: 6/10

Film Review: The Farewell

"Chinese People Have A Saying; When People Get Cancer, They Die..."

First released to the public at this year's Sundance Film Festival to overly positive critical and audience reviews, The Farewell comes to British cinemas this week with an impressively widespread general release, particularly for a movie which predominantly relies on the use of subtitles, an art of which the lay cinema fan still seems to strangely shy away from. Directed and written by Beijing born filmmaker, Lulu Wang, The Farewell is a comedic drama based in-part on her own experience involving her elderly grandmother who was hidden from the truth of her terminal cancer diagnosis by her own family, a decision of which in Chinese culture is apparently relatively common and surprisingly lawful. Portrayed as a sort of indie inspired, heartfelt comedy from its' supporting trailer, Wang's movie is indeed an interesting, minimal and contemplative piece, one which takes much pleasure in exploring a particular culture completely alien to that of most Westerners including myself, but with a strangely flat pacing and a onenote idea which runs out of steam come the hour mark, The Farewell is clearly a project made with an abundance of passion, but as a film, failed to completely draw me in on an emotional level and thus come the final hurdle, becomes slightly benign and immediately forgettable. 

Following up from interesting supporting performances in the likes of Ocean's 8 and the vastly superior cultural comedy, Crazy Rich Asians, Awkwafina this time takes the lead role as Billi, the supposed fictional stand-in for Wang who upon hearing about her family's decision to hide the traumatic news from her grandmother, Nai Nai, played in a rather excellent form by Zhao Shuzhen, takes the long trip over to China in order to engage in a makeshift family wedding, a particular event used as an excuse for the family to reunite in order to see their beloved matriarch for potentially the final time. With the comedic quips minimal in favour of long, drawn-out shots of contemplative nothingness, the pace of the movie does feel bafflingly lifeless, and even when at the heart of the story is a plot device which should naturally woo the hearts of even the sturnest audience member, the truth is that at no time did I really care about anyone on-screen throughout the course of a hundred minutes which in all honesty, felt closer to the two hour mark, a negative aspect if ever there was one. With my mind not fully engaged therefore, the excellent performances do sort of become taken for granted, whilst the interesting cultural examinations don't really make any real difference, and with a concluding act which doesn't make any narrative sense and sort of makes the entire point of the movie completely pointless, Wang's movie is clearly made with a lot of heart, but it still lacked that key ingredient you need from a drama; drama. 

Overall Score: 6/10

Film Review: It: Chapter Two

"Something Happens When You Leave This Town. The Farther Away, The Hazier It All Gets. But Me, I Never Left. I Remember All Of It..."

With It surprising both critics and audiences alike back in 2017 as it proudly declared itself as not just one of the best films of the year but undoubtedly one of the best Stephen King cinematic adaptations of all time, this week finally brings with it the release of Chapter Two, the hotly anticipated concluding tale of the battle between Pennywise the Dancing Clown and The Loser's Club, one set twenty seven years after the events of the previous film as we see our returning heroes return to the town of Derry in order to face the fearful figure which has haunted them throughout their individual lives. Directed by the returning Andy Muschietti, Chapter Two continues the Argentine's dedicated affection for the original King novel as he brings to the big screen a three hour long, horror adventure epic which, in a similar fashion to the original source material, is thrilling, well orchestrated and thunderously entertaining, but a film which also annoyingly suffers drastically from an overlong and poorly managed runtime, bloated pacing issues and an over reliance on very repetitive set pieces, factors of which at times puts shivers down your spine in completely the wrong way as you cry out for a cold-hearted editor to cut away the deadwood in order to create a film which would have proudly stood head to head with the 2017 original but instead, is clearly the inferior chapter of the two.

With Chapter Two of course set twenty seven years after the events of the first film, the opening movement of the movie takes time to re-introduce the adult form of our beloved Losers, most of whom have managed to move away from the confines of Derry and into successful lives elsewhere until they are quickly brought back to their homeland by Isaiah Mustafa's Mike Hanlon, the only remaining member of the pack still residing in Derry, who quickly realises that the threat of Bill Skarsgård's ominous Pennywise has once again returned. With the reunion party out of the way and memories of their childhood slowly rising back to the surface, the narrative then sees each of the Losers each attempt to fully remember the reason for their return, a clever plot device which allows the story to weave in and out of time shifts as we dive deeper into the lives of the Losers' younger selves and further chance encounters with our beloved baby-headed primary antagonist, a strangely similar device to that seen within Avengers: Endgame whereby time travel was utilised in order for individual characters to revisit iconic sequences in an almost victory-lap appraisal of the events which have come before it. Whilst this most definitely worked within Endgame thanks to a buildup of characterisation over twenty films, the same cannot be said for Chapter Two, as the individual set pieces soon become incredibly repetitive, resulting in a sense of unease not caused by horror but by a willingness for the narrative to actually get on with it, particularly when most of the scenes do seem direct re-treads of those seen within the first film, but even with that in mind, certain set pieces do evoke a chilling sense of knowingly ridiculous, overblown horror, particularly one scene lifted straight from the novel in which Jessica Chastain's (Zero Dark Thirty) Beverly Marsh takes a haunting trip back to her childhood home address.  

With the original King novel itself suffering from a sense that certain aspects within the story go so out there in terms of the sublime ridiculousness that to transfer them onto the big screen would be nigh-on impossible, the first part of Muschietti's vision did well to bend particular set pieces in order to cater to a more mainstream audience with alarming success, and as Chapter Two finally arrives at its' final act, all memories of the cringey, low budget depiction of Pennywise's true form from the 1990 television miniseries are completely expelled thanks to a final confrontation which is probably the best big screen depiction of the source material as you possibly could get. As per the overall sensibility of the film, the final act manages to blend supernatural horror elements with laugh out loud moments of comedy, where although not every pun manages to quite stick the landing, carries on the coming-of-age feel which the first chapter clearly evoked so well, as we see the Losers continue the charming character conversations and witty banter shared all the way through the first film and now almost effortlessly once again as they reunite as adults. With Chastain, James McAvoy (Dark Phoenix) and Bill Hader (Saturday Night Live) the clear standout performers, with Chastain particularly being well and truly put through the wringer thanks to THAT bathroom scene alone which evoked the look of Shauna Macdonald in The Descent, and a sheer fondness for the central characters, Chapter Two works excellently as a two hour horror adventure, but thanks to an unholy decision to add on an extra hour just for the memories, Muschietti's approach to King's novel is undoubtedly the best adaptation fans could have hoped for thanks to characters and a Pennywise for the ages, but as a standalone picture by itself, Chapter Two is baggy, but is still very, very good. 

Overall Score: 7/10

Film Review: The Informer

"The General Is One Of The Major Importers Of Fentanyl. We're Going After Him..."

If ever there was a movie which had me sold on the trailer alone, The Informer is exactly that. Presented as a prison crime thriller produced by the gritty minds behind the superb one-two of Denis Villeneuve's, Sicario, and the action series of the decade, John Wick, The Informer, at least on a production level, definitely had a lot going for it heading in. Helmed by Italian filmmaker, Andrea Di Stefano, an actor turned director responsible so far for the little seen, Escobar: Paradise Lost, starring Benicio Del Toro, and based upon the 2009 novel, Three Seconds, from the Swedish crime-writing team of Anders Roslund and Borg Hellström, The Informer is an English speaking adaptation which sees Joel Kinnaman (Suicide Squad, Altered Carbon) as Pete Koslow, a former decorated war veteran turned criminal who escapes the confines of prison after making a deal with Rosamund Pike's (Gone Girl) FBI Handler as part of a complicated plot to bring down the renowned Polish drug baron known as "The General". 

With a tonal sensibility which includes as many laughs as a night time funeral, The Informer presents itself upon the darker range of the thriller genre, harbouring a rather depressing nihilistic viewpoint pretty much throughout in a similar vein to the likes of Sicario, albeit a movie without the technical nuance or strange, ambiguous mystery which made the Villeneuve original so damn good. Instead, the central plot involving Koslow, his family and his role within the war between the cops and the drug dealers is too cliched and tacky to come across as anything other than mechanical, resulting in a rather aggravating sense of patting myself on the back when particular plot twists and discoveries brought themselves to the forefront of the plot without any real sense of shock or enjoyment as the entire audience could see such developments walking into the movie. Whilst Kinnaman is his usually reliable self as he plays the "wounded soldier" role which his recent past performances have all seemed to have based upon, the muddled and shallow plot doesn't allow for anyone else to particularly shine, with the likes of Pike and Clive Owen resorting to bit-part players within a plot that really could have done with a bit more umph, and whilst expectations may have been unjustifiably high heading in, The Informer is well made but boy is it bland. 

Overall Score: 5/10

Film Review: Scary Stories to Tell in the Dark

"Some People Believe If We Repeat Stories Often Enough They Become Real. They Make Us Who We Are. That Can Be Scary..."

Based upon the collection of short stories of the same name first published in 1981 and abstracted from the mind of American author, Alvin Schwartz, Scary Stories to Tell in the Dark is the long-awaited big screen adaptation of Schwartz's tales after first being picked up for production by CBS Films in 2013. Produced by horror and fantasy aficionado, Guillermo Del Toro, a filmmaker fresh after his Academy Award win for the strange if impressive, The Shape of Water, and the man first tipped to direct, the mantle instead falls to Norwegian filmmaker, Andre Øvredal, whose previous work on the likes of Trollhunter and The Autopsy of Jane Doe results in a slight step-up into the cinematic big time with an extensive wide release. Part Goosebumps inspired mystery, part portmanteau in the ilk of recent excellent examples such as V/H/S and its' impressive sequel, Scary Stories is a very familiar and well-worn ghost train of a ride, a well designed genre flick which takes very interesting ideas and creature concepts and produces them in a strangely lifeless fashion, a particularly irritating outcome considering both the talent and the gothic sensibility which for a horror fan such as myself, is always great fun to see on the big screen. 

With recent years seeing the "revival" of coming-of-age genre fiction being embraced by people across the globe, whether it be on television thanks to the success of Stranger Things or on the big screen with the likes of It and its' upcoming sequel, it's fair to say that Scary Stories works around an incredibly recognisable narrative structure, one which sees our central teen heroes, led by the rather impressive Zoe Colletti, attempt to tackle the forces of darkness after venturing into a particularly creepy household and stumbling across a mysterious book which continues to write stories by itself, tales of which soon spring to life and place the younglings at the clutches of a murderous spectre hell bent on revenge. With the movie then churning out set piece after set piece as it revels in the sight of throwing monster after monster at the audience in a similar fashion to Cabin in the Woods, it is clearly the individual acts which make the film rather entertaining, with fundamentally nightmarish ghouls designed within an inch of their life to scare the absolute pants off you the best aspect of the drama. Where the movie ultimately falls down is the rather dire central mystery itself and a sense that for a fifteen rated movie, it really isn't that overly threatening or scary, resulting in a picture that is too young for adults and too adult for the young and with such a crushing conflict at the heart of it, Scary Stories is neither a great movie or a guaranteed box office smash, two factors which means it will come and go like the snarly creeps at the heart of its' tale. 

Overall Score: 6/10