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Ezekiel Phillips
Ezekiel Phillips

Made For Each Other YIFY


Tom (Patrick Dempsey) is a commitment-phobic, marriage-avoiding playboy who spends most of his waking hours tomcatting around Manhattan (what a novel concept for a romantic comedy). Only Hannah (Michelle Monaghan), his "best friend" of ten years, has the strength of character to call him on his shallowness - even though anyone with even the most rudimentary knowledge of romantic comedy knows full well that the two of them are just made for each other (apparently, the only people in these situations stupid enough not to realize this universal truth are the couples themselves). But just as Tom decides he's in love with Hannah and is willing to make a lifelong commitment to her, the latter turns up engaged to a kilt-wearing dreamboat ("Rome"'s Kevin McKidd) she met in Scotland. Unaware of how Tom feels about her, Hannah asks him to be her "maid of honor" at the wedding, a role he reluctantly accepts, believing that this will place him in the perfect strategic position to sabotage the nuptials.As with virtually all romantic comedies these days, "Made of Honor" takes place in a squeaky-clean, never-never land version of New York City, where everyone attends swanky functions, dines at five-star restaurants, and drinks café mocha lattes, with nary a hint as to what any of these fantastically well-off characters do to earn all their money. And, of course, almost everyone we meet is white (with a token African-American or two, as always, thrown in for good measure).The late Sydney Pollack plays Tom's oft-married father, whose penchant for running through women at an alarming rate shows that the apple doesn't fall far from the tree in that family. And, of course, Tom is surrounded by the obligatory coterie of jock friends who discuss women, commitment and sex with all the depth and maturity of a bunch of junior-high school students feeling their first stirrings of puberty. Yet, isn't it funny watching all these macho guys fixing gift baskets and discussing wedding plans? No, not really.It's safe to say that there's not a single moment in "Made of Honor" that doesn't feel utterly manufactured and desperately contrived. Add to that an annoyingly cutesy musical score, embarrassment-evoking slapstick routines - including the desperate Tom arriving late to the wedding astride a borrowed horse, no less! - gag-inducing sentimentality, and the kind of ending we thought "The Graduate" had so brilliantly put an end to forty-some-odd years ago.Thus, despite the story's being told from a man's viewpoint for a change, at the end of the day, it's still the same old romantic comedy hooey we've been subjected to from time immemorial.




Made for Each Other YIFY


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Tom (Patrick Dempsey) and Hannah (Michelle Monaghan) are college friends. He's a womanizer with lots of rules, and she's willing to call him out for it. Ten years later, she's still the only one he can take to yet another one of his father's (Sydney Pollack) wedding no matter how many girls he's dated. He discovers his love for Hannah a little too late.This is the standard paint by numbers rom-com. The problem is that neither are exceptional rom-com leads. Neither are physical comedians. Neither have shown a strong background in this genre. Patrick Dempsey takes some pratfalls, but it doesn't work for him. The only thing that truly works is an angry bridesmaid Busy Philipps.So an outstanding script is needed to elevate this. But there isn't one coming. There are a few funny moments. The glow in the dark beads are funny. The biggest problem is that Hannah's Colin isn't douchy enough. It would work if he made all kinds of threats against Tom behind Hannah's back. They don't make him bad enough. The emotional structure isn't set up properly.


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Statements made in this press release that are not historical facts, including statements regarding our estimates, expectations, beliefs, intentions, projections, goals, aspirations, commitments or strategies for the future, should be considered "forward-looking statements" under the Securities Act of 1933, as amended, the Securities Exchange Act of 1934, as amended, and the Private Securities Litigation Reform Act of 1995. Such statements are not guarantees or promised outcomes and should not be construed as such. All forward-looking statements involve a number of risks and uncertainties that could cause actual results to differ materially from the estimates, expectations, beliefs, intentions, projections, goals, aspirations, commitments and strategies reflected in or suggested by the forward-looking statements. These risks and uncertainties include, but are not limited to, the material adverse effect that the COVID-19 pandemic is having on our business; the impact of incurring significant debt in response to the pandemic; failure to comply with the financial and other covenants in our financing agreements; the possible effects of accidents involving our aircraft or aircraft of our airline partners; breaches or lapses in the security of technology systems on which we rely; disruptions in our information technology infrastructure; our dependence on technology in our operations; our commercial relationships with airlines in other parts of the world and the investments we have in certain of those airlines; the effects of a significant disruption in the operations or performance of third parties on which we rely; failure to realize the full value of intangible or long-lived assets; labor issues; the effects of weather, natural disasters and seasonality on our business; the cost of aircraft fuel; the availability of aircraft fuel; failure or inability of insurance to cover a significant liability at Monroe's Trainer refinery; failure to comply with existing and future environmental regulations to which Monroe's refinery operations are subject, including costs related to compliance with renewable fuel standard regulations; our ability to retain senior management and other key employees, and to maintain our company culture; significant damage to our reputation and brand, including from exposure to significant adverse publicity; the effects of terrorist attacks, geopolitical conflict or security events; competitive conditions in the airline industry; extended interruptions or disruptions in service at major airports at which we operate or significant problems associated with types of aircraft or engines we operate; the effects of extensive government regulation we are subject to; the impact of environmental regulation, including increased regulation to reduce emissions and other risks associated with climate change, on our business; and unfavorable economic or political conditions in the markets in which we operate or volatility in currency exchange rates.


Free Cash Flow. We present free cash flow because management believes these metrics are helpful to investors to evaluate the company's ability to generate cash that is available for use for debt service or general corporate initiatives. Free cash flow is defined as net cash from operating activities and net cash from investing activities, adjusted for (i) net redemptions/purchases of short-term investments, (ii) strategic investments and related and (iii) net cash flows related to certain airport construction projects and other. These adjustments are made for the following reasons:


Rohmer (1920-2010) was older than his fellow directors in the French New Wave, and it's remarkable that he was already 47 when he made the film that enfolds so much of the indolence and narcissism of youth. Much of his prolific output fell into three groupings: Six Moral Tales, Comedies and Proverbs, and Tales of the Four Season. The moral tales studied tricky questions of romance, and there was little or no sex in them but much discussion about it. He found actors of undeniable physical appeal, and his camera caressed them as they spoke, and spoke, about the possibility of caressing each other.


But step back a moment and look at these three. Daniel (Daniel Pommereulle) is the least interesting, a lanky layabout who fancies wearing kaftans to the beach, who smokes and drinks a lot, who boasts of his indolence, and who expects to sleep with Haydée sooner or later. Haydée (Haydée Politoff), about 20 when the film was made, is a slender woman with a pretty round face, full lips and a saucy haircut. She has a lot of self-confidence and knows how to keep her secrets. Adrien is played by Patrick Bauchau, a strikingly handsome youth who is described in the dialogue (which he co-wrote) as "six feet six with the profile of an eagle). He is actually only 6'3", but when I saw him for the first time at Telluride I wanted to stop and stare: He would have been in his 40s then, and age had only added character and intrigue to his face. In 1967 he was already a New Wave actor, writer and producer, and appeared in Rohmer's "Suzanne's Career" (1963), a 55-minute short that counts as the second Moral Tale.


I saw my first Rohmer, "My Night at Maud's," at the 1969 New York Film Festival, and wrote: "It is so good to see a movie where the characters have beliefs, and articulate them, and talk to each other (instead of at each other). It is so good, in fact, that you realize how hungry you've been for this sort of thing." I've been in love with Rohmer ever since.


The most important part of a marriage ceremony is when the man and woman exchange vows. Before witnesses and God they make certain promises to each other. This covenant between them is the essence of the marriage. 041b061a72


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