SAN ANDREAS REVIEW

It’s everything you could possibly expect.

For some, a nauseating clichéd ridden mess of epic proportions. For others, a special effects extravaganza with The Rock having some B-movie fun.

FINALLY! THE ROCK HAS COME BACK . . . TO CALIFORNIA!

In the aftermath of a massive earthquake in California, a rescue-chopper pilot (Dwayne ‘The Rock’ Johnson) makes a dangerous journey across the state in order to rescue his daughter (Alexandra Daddario).

You knew from the opening five minutes what you were getting yourselves into. A big, dumb, incredibly stupid blockbuster.

I was in tears of laughter. We watch a young ditzy girl look set to crash head on with oncoming traffic as she drops her cell phone and mindlessly looks everywhere else but at the bloody road. A perfect advertising campaign for DRIVE SAFE if ever there was one.

That’s not the funny bit. After narrowly avoiding two cars, her car is swallowed up by the ground after a ferocious seismic wave. But my God! Her car. Boy, it rolled and rolled and rolled. It was like something out of the Animal. Remember that movie? You know the silly Rob Schneider animal comedy? Not sure what I mean. Check out the link. It was just as ridiculous as that.

https://www.youtube.com/watch?v=L4vwUX0qZBQ

And the girl? Miraculously only has a few scratches and a bit of dirt on her cheek. Hollywood for you. If that little segment made you sigh, then San Andreas is most certainly not for you.

It’s very much in the same vein as The Day After Tomorrow and 2012. That means two things; the first being that the special effects will be ground breaking (Pardon the pun) and second . . . Uh . . . Well, it’s got the Rock.

I’m sorry but no matter how many times he tries to reinvent himself as Dwayne Johnson; he will always be THE ROCK! BUT I’m getting worried that he will always play this type of character. Don’t get me wrong. The Brahma Bull bossed it. Playing it with the right balance of seriousness as the daring dad.

And hey! If you wanted anybody saving you from an earthquake, your money would most definitely be on this jabroni.

The special effects were intense. The 3D wasn’t bad. The detail and set design were fantastic. The panning sequence as we watch the plate shift through San Francisco in one giant seismic wave was almost worth the ticket price alone. Almost.

BUT then we had to suffer with the same old guff and cliché-ridden characters. The Rock in the middle of a divorce. Paul Giamatti playing the doctor that nobody listens to until it’s inevitably too late. Archie Panjabi playing a pointless news journalist.

So many fantastic actors playing terrible and bland character types. I mean it wasn’t that much of a surprise. I knew what I was getting myself into. I just wish it could have surprised me. That’s all.

The lovely Alexandra Daddario (Percy Jackson and the Sea of Monsters) did her best as the doomed daughter but you just knew no matter how smart or stupid her actions were; she would still need to be saved by the main hero.

Kylie Minogue didn’t do a bad turn as Gugino’s bitchy sister-in-law. To be honest, her character had potential to be a much needed spanner in the works to spice up the dreary exposition. But nah! Ain’t nobody got time fo’ dat. Just a quick cameo for the ageless Aussie.

Ioan Gruffudd played the (Put another tick at that disaster movie checklist) douchebag step father well. BUT it’s been done to death. Counting down the minutes until he decides to do something dastardly that will make you shake your head. Not even his inevitable outcome was that adventurous. You could see it coming a mile off.

Hugo Johnstone-Burt and Art Parkinson played the nauseating and irritating British brothers. No seriously? Why British? Why were they in it? Just why? They were annoying and stereotypical. Parkinson doing his worst Hugh Grant impression. Bumbling and waffling away. Oh good golly. One needs a stiff cup of tea to get over the excitement.

Johnstone-Burt’s dreadful romance with Daddario was as dull as dishwater. The heroic Will Yun Lee was one of the most interesting characters BUT he only lasted 10 minutes.

The lovely Carla Gugino had good chemistry with The Rock which made their schmaltzy relationship a lot more enjoyable. A cheeky exchange between her and the former WWF champion got a chuckle out of me. As they parachute to safety landing on a baseball stadium, The Rock simply says, “It’s been a while since I took you to third base”. He might as well have winked at the camera.

And Paul Giamatti did everything he could with his doctor role but all his passion couldn’t hide the stupendous theorizing or the fact that his only real sound advice during a mega-earthquake is to hide under a table.

A table? Even when vents and air conditioners are dropping down on top of it? COME ON!

The pace zipped along surprisingly well and I wasn’t bored. Entertained is another story. It was corny as hell and cliched to the max. It really was everything I expected so I wasn’t disappointed and it did the job. I was able to laugh and switch my brain off for 2 hours! BUT impressed? By the effects. Absolutely.

Everything else? Meh. It was a vast improvement from 2012 but I don’t think a film has come close to the legendary nature disaster flick that is Twister!

Watchable enough fun. Just don’t expect anything else.

2.5/5

WILD REVIEW

Did Reese Witherspoon’s performance drive me wild with praise or RAGE?

The director of Dallas Buyers Club returns with another Oscar contender but can lightning strike twice?

Right, enough questions.

Not bad at all.

I had mixed feelings about Reese Witherspoon. I mean, Legally Blonde? No, no, no.

That was until her Oscar winning turn in Walk The Line. A complete transformation. And she delivers yet again with another solid performance.

So what’s it all about? Wild is basically a chronicle of one woman’s 1,100-mile solo hike (Short and sweet. Hey, no spoilers here).

Jean-Marc Vallee takes on another biopic but this time it just doesn’t quite feel as polished off as Dallas Buyers Club.

Understandably, they are completely different films BUT I found DBC had a lot more story and depth. This is a certainly an engaging if slow burning journey of one woman trying to find herself BUT it just doesn’t quite reach the heights that you expect.

Yves Belanger returns to deliver a visual masterpiece. The cinematography really made use of the locations.  A beautiful backdrop full of life and colour in one shot, desolate and dreary the next.

Witherspoon has more than enough screen presence to keep the film going. Crucial when she’s the main character that we are following for the next two hours!

The film flicks back and forth through Cheryl Strayed’s past as she embarks on the Pacific Crest Trail.

Vallee and Hornby cleverly juxtapose the flashbacks with the past and present well. Revealing Strayed’s demons and darker moments as the journey becomes more strenuous. The challenge continuing to test her by the day.

The inner monologues from Strayed were a nice touch. Some of her one liners were quite funny; “Morning. Cold mush. Afternoon. Cold mush. Evening. Cold mush. I love cold mush.”

Her initial struggle was quite humourous for any amateur hiker (*Cough* Me* Cough*). Wrestling with her monster backpack, failing to set up her tent, buying the wrong gas canister for her cooker.

The pace worked for the majority of the film as Strayed dealt with the ever-changing temperatures; searing heat in the desert to the sub-zero temperatures of the snowfall that was never supposed to hit.

There were some interesting revelations. Some that did surprise me. Others you could suss. As Cheryl delved further into the wild, you couldn’t help but feel an air of unease and suspense. The wildlife creeping in the dark.

The paranoia of the unknown made for a funny incident involving a caterpillar and a sleeping bag. BUT it also made for a tense one. A pair of hunters make an unpleasant and unwelcome appearance.

I loved some of the metaphorical imagery. The fact Cheryl is literally standing in the middle of a crossroads as she debates hitching a ride all the way back home was hardly subtle but nicely done.

The CGI fox was a little irritating. I mean, it was a nice moment when it first appeared but when it kept popping up, it was irritating and the CGI seemed to get worse.

Strayed certainly meets a strange bunch of characters. The only problem is that they aren’t quite as memorable as you hope them to be.

I actually had to do a quick recap by looking at the cast list. A shame.

Thomas Sadoski (The Newsroom) was very good as Paul (Cheryl’s estranged partner). I thought Sadoksi and Witherspoon had great chemistry. It would have been nice to see more of their relationship. I mean the flashbacks zip through the life cycle of the relationship quite well but a little too quickly for my liking.

Laura Dern did a good performance as Strayed’s mum, Bobbi but Oscar worthy? I’m not so sure.

She certainly played the part well and I felt for her character in the small flashbacks she appeared in BUT then again let’s not forget that Dame Judi Dench won Best Supporting Actress for Shakespeare in Love and she was only in that for 8 minutes!

However, there was one scene in which Bobbi just breaks down after hiding behind her scatty, smiley mask for so long and Dern was outstanding. But I wanted more. There just wasn’t enough of that in the film for me.

The more I thought about the story line and the characters Strayed came across, it reminded me a little too much of Sean Penn’s brilliant travel biopic (coincidentally titled) Into the Wild. The beautiful landscapes, the flashbacks, a likeable lead (in Emile Hirsch).

I mean, even the whole “meeting different people who share their stories” spiel bared a striking resemblance (but with more memorable characters). If you were unlucky not to see this; first go see it and second, Wild may fare a bit better for you than it did for me.

BUT to those who have seen the Penn pic, you may find it hard not to make comparisons which Wild falls just a little bit short.

My main qualm about the film was that despite dipping in pace, it just ended so abruptly.

A quick quote and a summary of what happened next. That’s it?! We didn’t even get to see Strayed finish the trail properly.

I just felt after all that time, it would have been nice to have a few more minutes flashing through Strayed’s life after this spiritual journey to let it come full circle.

I won’t spoil anything but as Strayed explains her life in the closing speech, I couldn’t help but notice a massive continuity error with the time frame in which the events leading up and after her trail were supposed to have happened. It just didn’t add up.

It was a bum note on a well acted and highly watchable drama.

Witherspoon certainly does enough to warrant that Oscar nod but Best Actress? I don’t know.

But if you want a well acted spiritual journey flick to break up the hum drum heading our way, then invest.

3/5

MR TURNER REVIEW

Well, this didn’t turn me into a fan but a stand out performance from Spall certainly kept me going.

Mike Leigh takes his paintbrush to the canvas to paint the last 25 years of the great, if eccentric J.M.W (Joseph Mallard William) Turner.

I loved Leigh’s earlier efforts; Life is Sweet, Vera Drake and Another Year. However, I still found them a little overhyped. Good examinations of family, class and society but a little long at the tooth.

From the elongated if haunting opening sequence, I knew what I was in for. One of Turner’s most famous works slowly materialising and consuming the screen.

This is followed by a slow burning but beautifully captured picturesque pastoral Dutch countryside sequence as we watch Turner paint a windmill.

A wonderfully shot but slow burning examination of one man’s genius. The cinematography by Dick Pope has been commended and rightly so. A feast for the eyes.

I was not familiar with the works of Mr Turner. Firstly, I’m not a big art lover. But watching the process that he took in mastering his craft was an interesting process.

But with such genius, comes many flaws. At first, I was frowning at Spall’s delivery. Reduced to grunting and grimacing for the first part of the film. I wasn’t sure whether I liked the man.

A social outcast if ever there was one. Loved by a housekeeper (Dorothy Atkinson) he takes for granted and occasionally exploits sexually. He isolates a family he fathered out of wedlock with a scene stealing turn, by regular Leigh stalwart, Ruth Sheen as Sarah Danby.

He virtually denies their existence and doesn’t even ask of their welfare. To be honest, there wasn’t enough of Sheen or enough conflict for me. Leigh paints a rounded portrayal of Turner, capturing him at his best (or most eccentric) and his worst; he actually had himself strapped to the mast of a ship so that he can paint a snowstorm.

His relationship with his father (Paul Jesson) was done well and it added a little humanity to this strangely alien painter; completely out of touch with etiquette. Painting a picture of an aristocrat and openly spitting on the canvas to provide a better finish.

Jesson and Spall were a great pairing. I rate Timothy Spall quite highly and despite the character, I couldn’t stop watching him. A sterling performance.

The props and detail were perfect. I’m not an art lover but some of the paintings were outstanding. The Victorian dialect was a little undecipherable at first but you soon get the gist. It helped that I had studied Victorian literature back in sixth form (Oohh err). Didn’t expect to have to remember that.

I didn’t realise that Turner was both celebrated and reviled by the public and royalty. The open mockery regarding his final works was incredibly harsh. People made plays questioning that he had lost his sight if he thought he could regard such a painting as art.

When Turner does get painting and shares his views of his work, you don’t see a cantankerous recluse with questionable morals, you see a genius with an eye for detail.

An interesting scene in which at the Royal Academy of Arts, Turner appears to ruin another member’s work by smearing a red spot in the middle of the ocean. However, once Turner finishes, you notice that he has painted a buoy.

One relationship I felt was also captured quite well was between Turner and the seaside landlady, Sophia Booth (Marion Bailey). Bailey and Spall had great chemistry and I felt for the pair. I didn’t approve of the fact that they had to live incognito in Chelsea.

Look at me. Didn’t approve. I’m more Victorian than I thought. A sign of the times.

The 150 minute pace was debatable. I felt that parts dragged and that the film meandered along the waves Turner painted.

At its best, a beautifully shot travel diary as a renowned painter travels, paints, stays with the country aristocracy and visits brothels.

At its worst, a meandering pretentious if rounded biopic on an eccentric Victorian womaniser. The cast do their best BUT with the people Leigh had at his fingertips, I just wish more was made out of them.

Renowned TV actors reduced to bitty ‘blink and you’ll miss it’ cameos; James Fleet (Vicar of Dibley), Karl Johnson, Ruby Bentall (both Lark Rise to Candleford) and Lee Ingleby (Inspector George Gently).

This really is an acquired taste. Very much like the works of Mr Turner. If you’re an avid fan of Mike Leigh, Timothy Spall and the artist Mr Turner, then this is for you.

But for newcomers of any of the above, this may not be the best starter.

3/5

HORNS REVIEW

Yawwwnnnnssss . . .

Hell hath no fury like a horny Harry.

Daniel Radcliffe delivers another standout performance. It’s just a shame that despite his best efforts, this film should go back to the fiery hole it came from.

You’re a demon, Harry.

Anyway, enough Harry Potter jokes. Let’s get down to business. I would rather watch Radcliffe rap in that weird American accent for two hours than endure this turgid affair again.

So what’s it all about? In the aftermath of his girlfriend’s (Juno Temple) mysterious death, a young man (Radcliffe) awakens to find strange horns sprouting from his temples. (That’s right, horns)

We get straight into the luvvy duvvy guff with Radcliffe and Temple cuddling up in their loveshack; a taddy old treehouse in the middle of some dreary woodland. The pair have good chemistry but it’s all a little tame and dreadfully slow.

That is until the incident. It literally flicks forward with Ignacious Perrish (You read that right. If you find that ridiculous, I haven’t even started) being accused of his beloved’s murder.

Radcliffe certainly plays the part well and I thought he mastered the American accent quite well. If you can get over that rapping cameo on the Jimmy Fallon show.

As Ig attempts to piece together his girlfriend’s murder, he suddenly wakes up very horny (Come on, stop it). Yeah, he has horns. Some lazy plot device about turning away from God and being claimed by the Devil. Blimey, if everyone did that, I’d be seeing all sorts of horny folk (Okay, let’s it).

I understand that this was adapted from Joe Hill’s gothic novel. This film certainly didn’t make me want to read it. I can accept a level (well, a degree) of fantasy and exaggeration but it goes from dead pan serious to flat out ridiculous.

And that’s the problem, the tone very much like the story line is . . . all over the place. And by the time, it makes a decision. It’s over or you’ve lost interest.

The horns were just plain weird. The fact people start acting strange. From telling the truth to performing their darkest desires stretching from a girl scoffing a box of doughnuts to a dentist banging his nurse to a comatose Ig.

Some of the confessions are comical (An old lady fighting the urge to tell an annoying toddler to shut the front door, for example). While other moments just fall flat on their arse. A scene making some lazy commentary on the news media could have been done so much better. Their initial truth telling comments were eerily realistic but the all out royal rumble in the dirt was just farcical.

What infuriated me is that while I was trying to get my head around the whole horn thing. The only thing that kept me intrigued while this film churned along then goes and flashes back to when the star crossed lovers first met as kids.

It was incredibly corny, predictable and just plain dull. In the first ten minutes, all the characters pretty much spoon fed you their origins and then we have to see it? Why?

It was only when we got to see the last few encounters before Juno Temple’s untimely demise that it got a little more interesting. A little. Her role was completely wasted, to be honest. A shame.

What really disappointed me was that the whole devil angle wasn’t really used until the last 30 minutes. The last 30 minutes of a two hour film?!

In that last half an hour, things finally kicked off (At last) with Ig embracing the darkness with a scaly necklace in tow. Busting out the old Parseltongue to his slytherin’ companions and unleashing the horny avenger.

But in between that, we had to endure predictable red herring murder mystery BS and surreal moments that had a hint of Twin Peaks . . . On crack.

Director Alexandre Aja (The Hills Have Eyes/Mirrors) had a good supporting cast at his fingertips; David Morse (The Green Mile), James Remar (Dexter), Max Minghella (That British douche from The Internship) and Heather Graham.

They do their best to lift their flat and uninspiring characters. Graham and Minghella stood out particularly. Joe Anderson (Across The Universe/The Grey) was also pretty good as Ig’s brother. But all the finger pointing and flicking about led to the same old end result.

It was so obvious who it was but the how did catch me out . . . A little bit.

The jazz music interludes did my nut in. What was the point of them? It seemed every time I got interested in a scene, Aja and writer Keith Bunn would throw in something that would kill the tension or disrupt what was a good scene.

And the finale? Well, what a Keiwaste of time.

Ol’ Harry turns into a badass devil and all he does is mope, scream and get beaten up . . .  a lot. It was unbelievably flat.

A couple moments of dark humour and crafty special effects does not a good movie make. Radcliffe certainly carries the film with all the charisma he can muster. But not even his magic can work on this.

It just seemed to produce more plot holes, more questions and by the end you couldn’t care less.

If you’re a supernatural or Radcliffe nut, give it a go. But otherwise, the power of Christ compels you NOT to see this film.

In the words of Kevin Sorbo’s Hercules . . .

2/5

A WALK AMONG THE TOMBSTONES REVIEW

Or Taken To The Grave? Liam Neeson uses his particular set of skills. No, wait! His acting skills (Remember them?) and his gravelly gravitas for the hardened private eye thrown into the seedy underworld of a 90s New York City.

A return to form for the reformed action hero in a suspenseful, if drawn out, gritty neo-noir. If you’re expecting another Taken, then you may be left disappointed.

Now I loved Taken (the first one) and it was great to see Neeson back in the limelight. But I was afraid that he was going to be typecast in the action role indefinitely. Non-Stop (Taken on a Plane) proves my point. BUT I’ll always commend Neeson for Schindler’s List and Rob Roy.

However, Neeson plays the part to perfection. A grisly Philip Marlowe. To be honest, the 90s setting didn’t really provide anything additional to the film. Other than the fact he uses old computers in libraries and payphones. I don’t really believe in the whole “Based on True Events” spiel. Not since Fargo and every horror film for the last decade.

So what’s it about? Private investigator Matthew Scudder (Neeson) is hired by a drug kingpin (Dan Stevens) to find out who kidnapped and murdered his wife.

Dan Stevens (Downton Abbey) is really starting to make a name for himself and plays the part well. But to be honest, his character was a little weak and didn’t really do much until the closing moments.

Astro (Earth to Echo) played Neeson’s homeless sidekick well and the pair worked well together. Some will find his character incredibly irritating and their “bonding” conversations completely unnecessary and unsuited to Scudder’s loner.

At least we won’t be as annoyed as Ruth Wilson (Luther) whose part was completely removed from the film to make Scudder more of a loner. All she has attached to her name is a credit. And yet Astro made the cut? Strange.

However, the real scene stealer and adversary to Neeson’s Marlowe was David Harbour (End of Watch) as the maniacal killer. He was brilliant and sinister as hell. His creepy voice delivery was memorable enough. Olafur Darri Olafsson (The Secret Life of Walter Mitty) also made a memorable role as the strange but morally torn middle man.

My main quip with A Walk Among The Tombstones was the length. A zippy opening with Neeson doing what he does best was soon put on a slow boil. The story tries its best to keep you hooked but there isn’t enough to justify the running time.

The story barely scrapes the surface of the sordid underbelly that these dark antagonists lurk from. There are creepy and suspenseful moments and Neeson certainly carries the film but despite all its promise; Mihai Malaimare Jr’s grainy noir-esque cinematography, Neeson’s snappy one liners and Harbour’s menace, it falls short of your expectations.

The story line meanders along with the surprise abduction and punch-em-up from Neeson but it’s all a little by the book. Endless red herrings with leads that go nowhere slowing down and killing what mystery and suspense was brewing.

The finale was certainly tense and made up for the meandering middle act but it was all so predictable. I was little disappointed that it had to go for a big fist fight and shoot em up to keep in and bank on Neeson’s resurged action hero fame.

The first hour was engaging, tense and slow burning but we got to see Neeson do what he does best . . . Act. Don’t get me wrong, there were some decent punch em up moments that Sam Spade would be proud of but it seemed to run out of ideas, go on a bit too long and then end with a big action number to stop bums fidgeting in seats.

If you want Taken, watch . . . Taken. But if you want to see a return (of sorts) for a talented actor and have a taste for noir, then it’s worth a gander.

3/5

Inside Llewyn Davis Review

Inside Llewyn Davis (that sounds incredibly rude! Pack it up. Come on, we’re better than that). Well . . . a mixed bag of sorts. Great cast, great performances, good songs but a somewhat slackening pace and a journey that gets incredibly bleak and downbeat with a somewhat flat ending. Not the Coens worst, but certainly not their best.

Looking back at the Coen Brothers’ filmography, I can’t help but feel how their films come off as marmite to me. At their best, we have the Big Lebowski, Fargo, Raising Arizona, Blood Simple, No Country for Old Men (after numerous viewings for a dissertation on contemporary noir, it went from meh to brilliant). At their worst, Burn After Reading and the shambolic Ealing classic remake the Ladykillers. Inside Llewyn Davis is somewhat in the middle of these two categories. The cast cannot be faltered. The pair have found a leading man in Oscar Isaac as Llewyn. To be honest, I hadn’t heard of the chap. I had to IMDb him. Turns out, he played supporting roles in Robin Hood, Sucker Punch and Drive. Well, I’ll keep tabs on him now and expect to see him in more movies after this performance. He provided much depth and brought a likeable if conflicted and flawed protagonist to life.

The things that irritates and always surrounds the Coens films is the needless hype. After the uproar at their omission from most of the “important” categories of the Oscars, I expected much more from this. I believe Isaac should have got a nod for Best Actor. His singing was fantastic as well. We follow struggling folk singer Llewyn Davis as he battles the wintery conditions of the Greenwich village scene as he tries to get his music out there, despite having no money, no home and no coat. The Coens provide their usual checklist light hearted humour and the first hour blazes along quite nicely, with the aid of a great cast of supporting characters, including the likes of the erratic Carey Mulligan and Justin Timberlake. Hardly need to say much about JT’s singing, after all, it is his profession (He nails it). I was surprised at how good Mulligan was. You could argue that their characters don’t have enough screen time but when they do, they all excel. The humourous episode with Llewyn being stuck with a ginger cat and the numerous attempts to capture it were a nice aside. The songs are memorable and sung well. It turns out most of the folk songs were sung live. If any were mimed, then either the sound editing and dubbing was executed perfectly or Mr Timberlake may too good a mime artist, but I digress. It does help to enjoy or be fan of folk music. Fare Thee Well, Hang Me, Oh Hang Me and the annoyingly catchy Please Mr Kennedy were the stand out ones for me. Please Mr Kennedy may have been a deliberate jab at the stupidity of jingles and catchy songs just to get a hit but it is a good song in itself.

The film is hardly original in it’s telling of one man’s journey trying to get a break. If anything the Coens truly demonstrate perfectly a protagonist’s stage of nadir (the bottom of the barrel) with the road trip from hell. The movie turns and gets incredibly dark and painfully bleak (to be expected from the Coens) with the sinister scene stealing supporting turn of a Coens regular, the legend that is John Goodman as cane-tapping Roland Turner. He growls and grumbles along, milking every minute. (Unfortunately, the poor bloke has put the pounds back on. Some might be saying, did he even lose weight?). We drudge along through this bleak journey as you hope Llewyn get’s that break. He’s not completely painted as the victim. Was he a victim of the times? Or was he afraid to actually get success? Was the rut that he had been put in due to pure bad luck? Or was it down to his own accord? You feel for Llewyn when he has no coat, seeks anybody who can spot a spare couch and tries to warm his icy soaked feet under the cafe table but at the same time, you get angry for him when he gets work that is not to his ideals, he snubs it. He snaps at the only people who are helping him.

However, the end result leaves you somewhat slighted. The journey goes full circle and without spoiling too much, ends unexpectedly and very flat. If anything it was quite disappointing, especially when you’re rooting for this underdog. All in all, not a complete failure. The songs are still stuck in my head, the performances are brilliant and there are more pros than cons but in context of the Oscar categories and best film of the year? Not so much. Another hype bites the dust? Coens do folk, I guess. Get back on the crime movies, guys! 3/5

Currently ranks #54 out of 130