29 Days of Romance, Review #20: The Love Witch (2016)

29 Days of Romance, Review #20: The Love Witch (2016)

 

The Love Witch poster
(IMDb)

Directed by: Anna Biller. Starring: Samantha Robinson, Laura Waddell, Jeffrey Vincent Parise. Runtime: 2h. Released: November 11, 2016.

In The Love Witch, a modern-day witch, Elaine (Samantha Robinson), uses spells and magic to get men to fall in love with her, with deadly consequences. Elaine is alluring enough on her own that she doesn’t need love potions, but she uses them anyway. This is an sexy, erotic horror where she fulfills men’s deepest fantasies after drugging them and doing a strip tease. Their love eventually becomes very overpowering. It’s like a cautionary tale for these fantasies.

Writer, director and producer Anna Biller’s film is also a feminist horror film and satire about gender norms, where after Elaine doses men with her love potion, she talks about how they become too clingy and emotional, as we see when one of her mates, Wayne (Jeffrey Vincent Parise), cries through the night hollering Elaine’s name.

What Biller says about love is interesting, especially during a scene featuring two contrasting voice-over narrations from the male and female perspective. Elaine talks about showering your counterpart with love and affection, and a detective named Griff (Gian Keys) narrates that the more love showered upon you, the less you care.

The Love Witch
Samantha Robinson in The Love Witch. (IMDb)

The aspect with the detective is the closest the film gets to a story-line. There’s not much here in terms of plot, and the film starts to drag 90 minutes in. This is a part of my 29 Days of Romance marathon because it’s horror and romance, and I love horror, but I don’t like style-over-substance films. Unfortunately, this is style-over-substance in the second half but I like a lot about this film.

There is great humour here, and Samantha Robinson is brilliant. The film’s an ode to 1970’s and 1980’s horror and the dialogue is stiff on purpose. The performance and writing are brilliant once I realized it’s bad on purpose, and the biggest hint for this is how she delivers “poor baby” when men talk about their emotions. It’s a tongue-in-cheek performance, like she’s starring in her own sitcom with her own personal laugh-track.

Robinson seems like a naturally good actress so the fact that she plays it like a 80’s slasher with terrible line delivery is impressive. It seems like a harder challenge for a good actress to just be bad and Robinson sells it as the fascinating Elaine. All the actors deliver their lines like they’re in a 70’s porno and they might as well be. It’s hard to judge the acting when they’re all so awful – and since it’s the point, it’s incredibly well-acted.

The Love Witch articlee
Samantha Robinson in The Love Witch. (IMDb)

It’s all in the name of satire, but part of me wishes I could see Samantha Robinson be great in a film where she’s allowed to be great. The charm and comedy of the unnatural dialogue also starts to feel dull in the second half. I think the reason this is great is because it’s gorgeous. It’s a technicolor ode to films like Suspiria, and it’s a love letter to films of that era, even if this is never particularly frightening as horror. It’s filmed in a beautiful 35m, and the look of the film is so authentic it could have been in theatres at the same time as Friday the 13th in the May of 1980. Instead, it’s a 2016 film and more impressive for it.

It has a great visual style (with cinematography by M. David Mullen) with a great use of colours.  The costumes are also stunning and I love the shot of Elaine in the pink hat. Anna Biller is the writer/director/producer, but she wears many colourful hats here as she also does the music, editing, production design, art direction, set direction and costume design. She does all of these jobs perfectly, though I think the film could be shorter and this lacks story. I find aesthetic can only take a film so far, but its vintage look and Robinson’s performance is what makes this spellbinding. If a film could be great for the strength of its aesthetic, it’s this one.

Score: 65/100

 

 

29 Days of Romance, Review #8: The Lobster (2016)

29 Days of Romance, Review #8: The Lobster (2016)
The Lobster poster
IMDb

Directed by: Yorgos Lanthimos. Starring: Colin Farrell, Rachel Weisz, Jessica Barden. Runtime: 1h 59 min. Released: May 13, 2016 (first US theatrical release date).

This review may contain spoilers

The Lobster is one of the many films I’ve been meaning to see since it came out but simply haven’t… Honestly, the four years I waited to watch this was worth the wait. This is one of the weirdest films I’ve seen and that’s because of the premise alone. In this near future, single people are sent to the Hotel where they’ll stay for 45 days and try to find a mate. If after 45 days they don’t find anyone suitable to be with, they’ll be turned into an animal and will have to live in the woods. It’s dealer’s choice, so you can be whatever animal you want to be.

The fascinating world alone hooked me from the beginning because of its bizarre, strange and creative idea. It’s a world obsessed with co-dependence that’s a parallel to the animal world of mating. Some of the ideas are just fascinating, too, like when the Hotel Manager (Olivia Colman) tells our main character David (Colin Farrell) that his choice to become a lobster is a fine one as everyone chooses something basic like a dog. She says this as she looks at David’s dog, who is his brother.

She mentions that this is a reason so many unique animals are endangered because no one chooses to become them and I think that’s a fascinating idea. Still, I didn’t fully understand some concepts of this world, like why these pairs need to have one specific defining trait that makes them a perfect pair, and I think that kept me from completely understanding the third act. It’s like a world obsessed with those compatibility tests you’d take in high school but taken to an extreme.

The writing itself, by director Yorgos Lanthimos and Efthymis Filippou, is the strongest aspect of The Lobster in a film that has so many good things about it. The film’s humour is dry and monotone, but so clever. Half of these characters feel like they don’t have a filter and just say what they’re thinking, so that creates a lot of comedy. The dialogue is just naturally funny and it’s the cast that make it amazing, Colin Farrell especially. Ben Whishaw and John C. Reilly are also highlights in the first half, as is Jessica Barden as a character prone to constant nosebleeds.

The comedy in this is exactly my sense of humour. I like all kinds of comedy but the writing and dry comedy here just worked wonders for me and my face got sore from laughing. The energy of the scenes at the Hotel have made this film one of my favourites. It’s nice of the second half to take a break from non-stop laughs when the film really jumps the shark in a particular scene. The film kicks into the romantic part of its story when David meets a character simply called Short-Sighted Woman (Rachel Weisz). Weisz is brilliant for her performance and monotone narration, and I can’t remember a time where narration worked so well for me. Her narration depicts David’s inner thoughts throughout the film and it is hysterical.

The Lobster article
John C. Reilly, Colin Farrell and Ben Whishaw in The Lobster. (IMDb)

There’s still some humour in the second half, but it feels like a different film as David meets a group of Loners, led by a character played by Léa Seydoux and her presence is memorable. Farrell and Weisz’ chemistry shines in the second half as it turns to a forbidden romantic drama. That’s one fascinating thing about this and the contrast of the two halves of the film – at the Hotel, you need to find a mate. With the Loners, you need to stay alone.

It’s two extremes of the spectrum that Lanthimos utilizes brilliantly. The Hotel half is care-free and hilarious under the stress of needing to find a mate (and it’s truly cutthroat as Ben Whishaw’s character explains his wife died five days prior and now he’s being forced to find another match), and the conditions of the stress seems cutthroat. But if you find a match when you’re not supposed to, it’s a more dramatic second half with stronger stakes.

Truly, Seydoux as the Loner Leader is a fascinating character and how she makes this group survive, like how they can’t even dance with each other and how they all individually listen to EDM music. That, by the way, makes for one of the funnier scenes of the second half.

It’s just a tonally different story and great for very different reasons than to why I enjoyed the first 50 minutes of the film so much. I believe if the film was set strictly at the Hotel throughout and maintained that energy throughout the film, this would be one of my absolute favourites. The atmosphere and humour just worked wonders for me, and that almost makes it disappointing that it jumps the shark so much into a different tone.

The direction Lanthimos takes it is brilliant and the way he tells the story feels realistic for its characters, especially David. Farrell’s comedic timing and how he plays the more heartbreaking moments makes this one of his best performances. He’s why this is one of my new favourites. It’s something I’ve never seen before and it’s so refreshing finding something so damn original.

Score: 90/100

Free Fire (2017)

Free Fire (2017)

 

Free Fire poster
Source

Released: April 21, 2017. Directed by: Ben Wheatley. Starring: Cillian Murphy, Sharlto Copley, Brie Larson. Runtime: 1hr. 30 min.

I actually saw this at the Toronto International Film Festival last year (on Sept. 9, 2016), and this is a revised review I wrote in mid-September. I didn’t post this because I was a bad blogger back then but without further adieu, here it is…

Ben Wheatley’s Free Fire, a balls-to-the-wall 1970’s gun battle, is one hell of a ride.

The premise is simple. Brie Larson’s Justine has arranged a gun deal between Irishmen Chris (Cillian Murphy) and Frank (Michael Smiley), and gun dealers Vernon (Sharlto Copley) and Armie Hammer’s Ord. It’s set in 1970’s Boston in an abandoned warehouse and is largely in this one setting, and it’s the perfect set-up for the wild shootout.

Wheatley knows how to build tension from the word go, as the characters walk into the deserted warehouse to do the deal. Some characters don’t like each other, and after some developments, you can cut the tension with a knife.

The sound design make the initial gunshots sound like an IMAX film, almost like they’re in the same room. For the characters, chances of getting out alive decrease when all hell breaks loose and it becomes a true Mexican standoff. It’s like the atmosphere of The Nice Guys mixed with tension and dialogue that would make Quentin Tarantino proud. This does feel like parts Reservoir Dogs, too, with its limited setting and tension.

Free Fire Armie
Armie Hammer in Free Fire. (Source)

This still effortlessly manages to be fresh, and makes me want to see more of Ben Wheatley’s films (like Kill List and High-Rise). His movies all seem unique and different as he tackles many different genres. Wheatley and co-writer Amy Jump (they’re also married) also edit Free Fire – editing it in such a way where you can follow its quick pace, but you’re not always able to tell where some characters are hiding in the warehouse. It might be a ploy to put the audience in the same space as the characters – not knowing who they’re shooting at or where everyone’s hiding.

The ensemble created is great and each performer brings something memorable to their characters. The costume design, wigs and different accents also set everyone apart. Sharlto Copley’s a scene-stealer as Vernon and he has some of the best moments. Everyone from Brie Larson to Cillian Murphy to Michael Smiley hold their own, delivering physically demanding performances as they crawl on the dirty warehouse floor avoiding an array of bullets.

One of the film’s most pleasant surprises is Armie Hammer. I thought he was bland in The Lone Ranger (to be fair he had little to work with), but here as the calm and collected Ord, he’s badass. He’s also funny as hell, and the range he shows feels like he should be getting more comedic roles.

The most impressive thing about Free Fire is that it’s just deliriously fun. Action comedies can be hit-and-miss especially when there’s a task of finding the right balance. But director-writer Wheatley, and Amy Jump, manage to make the action consistently fresh. The people shooting at each other doesn’t feel repetitive and there are many ways to get characters out of situations. The dialogue’s sharp, witty and hilarious, and this is just some of the best fun I’ve had at the movies in awhile.

Score: 88/100

Assassin’s Creed (2016)

Assassin’s Creed (2016)
assassins-creed
Source

Released: December 21, 2016. Directed by: Justin Kurzel. Starring: Michael Fassbender, Marion Cotillard, Jeremy Irons. Runtime: 1hr., 55 min.

I haven’t played any of the Assassin’s Creed video games, so I’m not sure if I would have been able to follow the Apple of Eden storyline better. But since I hadn’t played the games, I was pretty damn confused throughout.

Marion Cotillard’s psychologist character Sophia Rikkin tells us throughout that if they could acquire the Apple of Eden, they could rid the world of violence – because whoever has it controls free will. I didn’t really get the reasoning that if you have the apple, you would control free will, and it seemed like the writers assumed viewers would know that the Apple has mind-control abilities (which is fair, because most people who see this have likely played the games). I thought the explanation was murky, and the story suffered from a lack of clarity.

The story also suffered from just being generally uninteresting. Callum “Cal” Lynch (Michael Fassbender) is sentenced to death by lethal injection for murder – they never elaborate much past that – and since he’s legally dead, he’s taken in by Abstergo Industries (led by Jeremy Irons, father to Marion Cotillard’s character) for an experiment. Turns out, he’s the descendant of a Knights of the Templar member, Aguilar de Nerha (also Fassbender), and is taken through his movements and memories in 1492 Spain to see what happened to the Apple of Eden.

The most compelling parts of the story are definitely the scenes during the Spanish Inquisition that writhe with style, and you know when they’re in 1492 because of a transitioning crow flying through the air. The scenes are action-oriented, and are the most exciting parts of a largely boring feature. The costumes of the time are pretty awesome, too.

assassins-creed1
Michael Fassbender in Assassin’s Creed (Source)

Michael Fassbender is good in a dual performance. It’s an athletic one and the fact that he kept a straight face during a manic and rather hilarious (I’m unsure if the hilarity was intentional) rendition of Patsy Cline’s “Crazy” was impressive. That’s where the good of the movie starts and ends.

The character of Cal, or any other characters, aren’t interesting. Michael K. Williams made an appearance as another descendant within the Order and his characterization was slack, to say the least. His dialogue was rather cryptic. Cal’s characterization was alright – his mother was killed and it made him an angry person – but he was boring. Irons and Cotillard’s characters who were searching for the Apple were also nothing memorable, and were simply driven by the prospect of eradicating violence.

The whole screenplay just felt like the writers spent more care on the action sequences and fight choreography than crafting a competent story of any kind, with any characters you might even want to slightly root for.

I found the editing annoying when Lynch was plugged into Animus, the device that let him see his ancestor’s memories, since the scene alternated between Aguilar in 1492 back to Lynch in 2016. Perhaps it was trying to remind us that it had happened and now he was just living through the DNA memory, learning assassin skills as he went.

Whatever Aguilar does, Lynch does in 2016 – and the edits of him in Spain actually fighting real people was more interesting than Lynch in a huge room fighting ghostly holograms. It felt unnecessary to switch back and forth so many times, just because Fassbender’s playing both people and we know they’re doing the same exact thing but in different settings.

Cinematography-wise, everything was either too bright or really dark (at least when seen in 3-D). Fight and chase scenes were hectic, making things harder to follow at certain points on who was killing who. The frantic editing also helped avoid showing basically any blood whatsoever, which was ridiculous at one point when there definitely should have been blood. It apparently comes in the territory of adapting an M-for-Mature rated game franchise into a tame PG-13 movie that’s not nearly gritty or interesting enough to be good.

Score: 30/100

The Jungle Book (2016)

The Jungle Book (2016)
The Jungle Book
Source

Released: April 15, 2016. Directed by: Jon Favreau. Starring: Neel Sethi, Bill Murray, Ben Kingsley. Runtime: 1hr, 45 min.

Director Jon Favreau brings his vision of Rudyard Kipling’s classic story of The Jungle Book to the big screen – telling the story with fantastic visuals and a stellar cast.

It’s a coming-of-age tale about Mowgli (Neel Sethi), a man-cub finding his place in his world with animals in the Indian jungle. In fact, Mowgli is one of the film’s only live-action actors with any substantial contribution to the story.

Seethi is given a high task to carry the film as the only live-action actor. His performance is remarkable, capturing the bravery and charming curiosity of Mowgli, as well as his inventive personality.

He’s the heart of the film and he shows a great maturity as the character. It feels like he’s been performing for years – but this is his first theatrical film, his only prior experience was in a short film called Diwali.

While Seethi is virtually the only live-action actor on display in the core cast – the world between the human Mowgli and the motion-captured, computer-generated animals blend together so seamlessly, it feels like he’s truly interacting with real animals.

The visual effects are flawless and so is the attention to detail in how the animals are rendered. It’s really as great as Life of Pi in terms of creating realistic, visually striking animals. The landscape portrayed is vivid and adds to the film all around. The way the actors capture animals’ behaviour and movements adds a heightened realism.

The Jungle Book2
Neel Sethi in The Jungle Book (Source)

The voice performances for the classic characters are also great. Bill Murray encapsulates Baloo – his laziness is relatable and he’s a fun character.

Ben Kingsley portrays Bagheer, the panther who found Mowgli as an infant in the jungle. He’s also tasked with bringing him to safety to return to his own kind when he is threatened by Shere Khan, the fearsome Bengal tiger. Idris Elba is menacing as the primary villain and doesn’t like Mowgli in the jungle because he is a human and doesn’t trust them. A human gave Shere Khan his scars. This adds a layer to Mowgli, who at times has to question if he could be destructive like that, too.

Also notable is the presence of Christopher Walken as King Louie. He’s changed from an orangutan to a gigantopithecus, to make it native to India. It also gives the scenes with Louie a much grander feel and breathtaking scale because he is so hulking. He’s actually scary here, in a refreshing turn from the original.

His rendition of the original Disney’s “I Wanna Be Like You” serves as one of the feature’s many high points.

Kaaa
Neel Sethi as Mowgli and Kaa (Scarlett Johansson) in The Jungle Book. (Source)

Murray also sings “Bear Necessities” and Scarlett Johansson as Kaa sings “Trust In Me” through the end credits. That’s it for the songs used from the 1967 animated musical.

Jon Favreau chose to tell the story of how Mowgli got on his own when Kaa (Johansson) was hypnotizing Mowgli, instead of having her sing the song. The slithering character is seen in only one scene – but she’s memorably chilling.

The choice to cast Johansson and gender-swap the character was to done to add another female to the cast, where the only other primary female cast member is Lupita Nyong’o as Raksha.

It is one of the film’s only disappointing aspects that Kaa only has a small role, almost a cameo – as the more utilized “red flower,” fire to the animals, is more utilized as a villain here. The animated Disney flick basically only mentioned “red flower” in passing, so Favreau was more faithful to Kipling’s use of the element.

The way the story is structured is strong and the narrative is so engaging and entertaining. It also handles the iconic characters so, so well. This adaptation was penned by Justin Marks, who shows a great adapting ability. His two other prior screenwriting credits were a television movie (Rewind) and a video game adaptation (Street Fighter: The Legend of Chun-Li).

It might not have songs at every turn, but it handles its own very well as a film with a few violent moments. The third act is a great finale, and the film maintains a compelling pace – peppering comedy, drama and stunning action set pieces throughout. Some of the action even kept me on the edge of my seat at times.

Favreau perfectly finds a difficult balance of capturing the Disney magic, as well as making a mature adaptation that is unique and memorable. I think parents will be bugging their kids to see it so they have an excuse to watch it. And then watch it again. It’s truly great.

Score: 100/100

The Boss (2016)

The Boss (2016)
The Boss
Source

Released: April 8, 2016. Directed by: Ben Falcone. Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage. Runtime: 1hr, 39 min.

R-rated comedienne Melissa McCarthy and hubby-and-director Ben Falcone take a second shot at co-writing a screenplay together with The Boss after their first botched attempt in 2014’s Tammy. The good thing is this is a much funnier collaboration.

The basic story follows Michelle Darnell (McCarthy), the (fictional) 47th wealthiest woman of America. The film glosses over how Darnell makes money, simply billing her as a CEO of three Fortune 500 companies. It’s a poor-to-rich story, as Darnell grew up in the foster home system.

Her life gets ruined after she’s imprisoned for insider training. All of her belongings are seized and her house foreclosed, she learns when she’s released. She then stays with her former assistant and single mother Claire (Kristen Bell), basically the only person on who will give her a place to stay because no one is answering Michelle’s calls.

The story feels like Darnell is on a path to make money again, rather than redeeming herself as a person – which just comes out naturally. Her new business venture is a brownie company called Darnell’s Darlings.

She gets the idea after knowing the demand of Dandelions girl guide cookies, after taking Claire’s daughter Rachel (Ella Anderson) to one of the meetings. Claire is the baker for the company because she has a good recipe – and her motivation for helping is to get Michelle off her couch.

Michelle gets more likable throughout. But that’s easy considering her obnoxious introduction at a sold-out arena show about telling people how to make money – where she comes down on a golden phoenix to sing “All I Do Is Win” with DJ Khaled.

TheBoss2
Melissa McCarthy and Kristen Bell in The Boss. (Source)

The Boss is great example of how the essential falling-out of characters can ruin a film’s momentum. The clichéd moment arises because of Michelle’s lack of a family and fear of getting close to people.

The poor narrative is the film’s worst aspect. It feels like the jokes were written first, and then a story was shaped around them. To the credit of Falcone, McCarthy and Steve Mallory, there are many clever jokes and laugh-out-loud moments. That’s the redeeming part that makes this an entertaining film.

A flaw of the film is the fact that Melissa McCarthy gets almost all of the funny jokes. The film suffers when she isn’t on-screen. The character who misses the most is Peter Dinklage’s Renault, an aspiring samurai, or something. He’s obsessed with ex-girlfriend Michelle, where revenge is mostly on his mind, but he still has the hots for her even after she screwed him over.

His banter with his assistant Stephan (Timothy Simons) is simply awkward, but sometimes so stupid it’s almost funny. The character’s so poorly written that Dinklage just has to do his best with the crappiness he is given.

The Boss1
Source

Kristen Bell’s Claire is simply boring – she only has a few good laughs to offer. She’s the set-up for McCarthy’s Darnell, characterized as a single mom who works hard for her daughter. We’re supposed to see Darnell as a really mean boss, but she’s not as bad as any boss in the Horrible Bosses franchise. Maybe we caught her on a nice week?

But Claire just keeps getting stuck with bad bosses, getting stuck with Dana Dandridge (Cecily Strong) when Michelle goes to prison. She’s supposed to be mean, but she’s cringe-worthy and awkward, ribbing Claire for being three minutes late at one point. Tyler Labine as Claire’s love interest is supposed to add a layer in Claire, but all it does is set up a funny scene when Claire prepares for a date.

The characters don’t work, and McCarthy is the best part about this. That’s high praise from me – since I’m not a McCarthy fan. Since everyone else is lackluster, it should be blamed on bad writing and directing from Ben Falcone. It feels like the next time the couple write something together – they should just hire a competent director.

Despite my problems with The Boss, I enjoyed myself and laughed a lot. That’s what counts here. While it may be weaker than any of the three McCarthy and Paul Feig collaborations – Bridesmaids, The Heat and Spy – it’s a lot better than Tammy or Identity Thief.

Score: 65/100

 

The Brothers Grimsby (2016)

The Brothers Grimsby (2016)

The Brothers Grimsby, poster

Released: March 11, 2016. Directed by: Louis Leterrier. Starring: Sacha Baron Cohen, Mark Strong, Isla Fisher. Runtime: 1hr, 23 min.

I’m a huge fan of Sacha Baron Cohen’s work in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan – the titular journalist character is rather brilliant. And his creation of the character Ali G was also quite funny.

His comedic work really makes him a unique figure, but he hasn’t made a great comedic character since Borat – as both the titular character in Brüno and Aladeen in The Dictator were hit-and-miss.

With Nobby Butcher in The Brothers Grimsby, he creates another hit-and-miss character – but at least gives him some stronger development. Nobby is a drunken football hooligan cheating the welfare system, living in the poverty-stricken town of Grimsby, cheering for his main team England.

When he was a kid, he was separated from his younger brother Sebastian through Grimsby’s orphanage system. Sebastian (Mark Strong) is now the top agent of MI6, on assignment to prevent the assassination of philanthropist Rhonda George (Penelope Cruz), and to uncover a huge terrorism plot by a group called Maelstrom.

When Nobby is able to get tickets to the charity ball and reunite with his brother after 28 years, he hugs him which causes Sebastian to miss his shot on an assassin (Scott Adkins) and hit a spokesperson instead. This mistake causes the other MI6 agents to think he has gone rogue – and Nobby and Sebastian are forced on the run.

The Brothers Grimsby - Hug it out

Grimsby is another addition to the cannon of unlikely people finding themselves in bigger-than-themselves spy missions as a spy, like Johnny English and Spy. While the world created here is a good base for Nobby’s hijinks, he is nowhere near as amusing as Rowan Atkinson’s Johnny English or as hilarious as Melissa McCarthy’s Susan Cooper in Spy.

The story is a bit heartwarming with the brother dynamic but the really raunchy and often gross-out humour rarely hits. The action set pieces are pretty good, well-filmed with Louis Leterrier’s style of direction.

The film is at its most effective in terms of comedy when Nobby is making awful decisions – but humour is ineffective when they hide away from government assassins inside of an elephant, and get stuck in there during mating hour. Yuck.

One masterwork of Grimsby is the casting of Mark Strong. It feels like he could be cast as an actual MI6 agent in a spy franchise so that’s what helps create a believable world. He does his job as the straight man for Nobby’s jokes, even though Nobby’s humour never really hit for me.

At least the film doesn’t stick around for very long. The only part worth rooting about is Donald Trump being the butt of a joke. He’s horrendously rendered via CGI, and there’s a really bad stand-in Daniel Radcliffe as well, but those are really the only jokes that hit for me. And the fact that Nobby’s look is based off of Liam Gallagher’s look is amusing.

Score: 40/100