Crunchyroll has announced its upcoming slate of movie releases for November 2022, with the highlight being the highly anticipated Sword Art Online the Movie -Progressive- Aria of a Starless Night, among a number of other big titles.
The IDRlabs Movie Psychopath Test has been developed by professionals experienced with personality and psychological assessment. The present test uses genuine psychometric items to assign users their closest character match, based on aspects of their personality.
Free online quizzes such as this are merely first glances at some aspect of your personality or psychological state. Your results will provide a clue as to your personality match with one of six movie psychopaths (Patrick Bateman, Anton Chigurh, Daniel Plainview, Miranda Priestly, Louis Bloom, and Jack). However, no assessment ever created can match your personality with total accuracy or can replace educating yourself about the relevant personality theories.
The present year (2020) marks the 20th anniversary since one of film history's most iconic psychopaths appeared on the big screen: Patrick Bateman. The film adaptation of Bret Easton Ellis' novel American Psycho features Christian Bale playing the slick and luxury-conscious stockbroker who commits one atrocious murder after another. Despite Bateman's cavalcade of murders, however, he is never held accountable for his actions. His social circle does not care about that since they are too focused on the internal race for status among themselves. Upon release, there were divided opinions as to whether the film was intended as horror or satire. Audiences typically reacted with either indignation or excitement when they saw it.
The show will run April 26-30 at 7:30 p.m. with a matinee show Sunday, May 1, at 2 p.m. on the Buchanan Center for the Performing Arts main stage. Tickets cost $16 for the public, $13 for senior citizens and $8 for UW students. For tickets and information, call (307) 766-6666, go online at www.uwyo.edu/finearts, or visit the Performing Arts box office or the Wyoming Union information desk.
BACKGROUND: 'Transactional sex', defined as a non-marital, non-commercial sexual relationship in which money or material goods are exchanged for sex, is associated with young women's increased vulnerability to HIV infection. Existing research illustrates that the motivations for transactional sex are complex. The fulfilment of psycho-social needs such as the need to belong to a peer group are important factors underlying young women's desires to obtain certain consumption items and thus engage in transactional sex. METHODS: We use a mixed-methods approach to explore the relationship between transactional sex and consumption patterns among young women in rural Mpumalanga province, South Africa. In the secondary analysis of 693 sexually active young women, we use factor analysis to group the different consumption items and we use multivariable logistic regression to demonstrate the relationship between transactional sex and consumption patterns. The qualitative study uses five focus group discussions and 19 in-depth interviews to explore further young women's motivations for acquiring different consumption items. RESULTS: The quantitative results show that young women that engage in transactional sex have higher odds of consuming items for entertainment (e.g., movie tickets) than on practical items (e.g., food and groceries). The qualitative findings also revealed that young women's perceptions of items that were considered a 'need' were strongly influenced by peer pressure and a desire for improved status. Further, there was a perception that emerged from the qualitative data that relationships with sugar daddies offered a way to acquire consumer goods associated with a 'modern lifestyle', such as items for personal enhancement and entertainment. However, young women seem aware of the risks associated with such relationships. More importantly, they also develop relationship with partners of similar age, albeit with the continued expectation of material exchange, despite engaging in the relationship for love. CONCLUSION: This study shows that young women are willing to take certain risks in order to have a degree of financial independence. Interventions that provide alternative methods of attaining this independence, such as the provision of cash transfers may have potential in preventing them from engaging in transactional relationships. Further, the psycho-social reasons that drive young women's motivations for consumption items resulting in risky sexual behaviours need to be better understood.
So, compared to last year, just how bad were movies in 2000? Let's put it this way: Last year, the wonderfully inventive and clever Election narrowly missed making my 10 Best list. I consider it a truly great comedy, and its Oscar-nominated screenplay is superb, but I just couldn't fit it in following a year that produced such milestones as American Beauty, Toy Story 2, Being John Malkovich, The Straight Story, and even South Park: Bigger, Longer, & Uncut (and that's not even including such works as Magnolia and The Talented Mr.
The Legend of Bagger Vance, Robert Redford's golfing fable, isn't a work of any depth, and there's precious little intelligence on display, but it sure looks pretty - so pretty, in fact, that audiences might not realize that the movie itself is a dud. From the golden-hued cinematography of the great Michael Ballhaus to the stunning, Depression-era costuming and production design, it's clear that the film has been made with the utmost care and a real attention to physical and aural beauty; if you didn't understand a word of English, you might find it a masterpiece.
Let's face it: There was plenty of built-in expectation with the arrival of Book of Shadows: Blair Witch 2, and the expectation was that the film would suck. Those who loved The Blair Witch Project, as I did, would miss that film's cinéma vérité style and simplicity, and rail on about how Book of Shadows was exactly the kind of dumbed-down splatter flick that Blair Witch rebelled against. Those who hated the original, which seems the more common response (at least among my acquaintances), would have their beliefs confirmed that the whole Blair Witch "mythology" is lame, and that we've been hoodwinked by marketing and Internet paranoia into making these movies hits. Wouldn't it be great to report that this sequel had defied its skeptics and emerged as smashing entertainment?
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