Dave Kehr of The New York Times wrote the film "is, like its principal characters, a bit messy and maladroit but not without a certain charm", and "the humanity of the characters shines through, giving face and form to a subculture the movies have largely neglected".[11]TV Guide described the film as "An appealing, if decidedly unconventional, buddy picture that seems to channel Midnight Cowboy (1969) while going its own quirky way."[12]

This film provides examples of: Ambiguous Gender Identity: The gender identity of the protagonists, Shy and Val, is left ambiguous. The film is written and directed by two transmasculine people, who play both of the protagonists, who usually refer to each other as "he/him", "guy", and "man". However, when a child asks Shy "are you a boy or a girl?", Shy answers "both". In a later scene, Val explains to Shy, "I'm a two-for-one, a special." These scenes can be interpreted as evidence that these characters have a bigender or genderfluid identity. Bank Robbery: After seeing a news report about a bank robbery on TV, Shy decides that will be the way he gets enough money to save his home. He doesn't end up robbing a bank; in the end, he attempts to hold up a convenience store with a toy gun, and is humiliated by the clerk, not even getting any money. Bedlam House: Val was institutionalized in what he sarcastically describes as "very nice place in the country" as a child, as a form of conversion therapy for his gender identity. After a run-in with the police, he is institutionalized again. He is forcibly restrained and sedated. The building is run-down, patients mill about aimlessly, seemingly sedated or out of touch with reality, and there are messages written on the walls in blood. The Con: Shy and Val pull off a scheme to defraud a hardware store clerk by returning an item they stole. Couldn't Find a Pen: In the mental institution where Val is sent after being arrested, someone has scrawled "LONELY IS THE HUNTER" on the walls in blood. Cure Your Gays: Val's parents sent him to a mental instutition when he was 13, for "wearing boy's clothes" (i.e. for being transgender). It didn't work, of course; he continues to present as male and has a romantic relationship with a woman, Billie. Dream Sequence: A very trippy montage of seemingly unrelated images illustrates Val's experiences being sedated in the mental hospital. Family of Choice: Shy, Val, and Billie effectively form a chosen family. Gay Cowboy: Shy and Val wear some fabulously queer Western outfits. Gene Hunting: Val is adopted, and has been trying for a long time to find his birth mother. Shy helps him out. Good Samaritan: Val is being beaten by an unnamed assailant when Shy pulls his attacker off him, and finally chases the attacker away with a Groin Attack. This is how the two characters meet and become friends. Guile Hero: Shy scams people, robs a vending machine, and hotwires several cars in his quest to get rich and help out his friends. Justified Criminal: Shy is implied to have very few choices, as a newly orphaned trans person who recently lost his house to foreclosure, and arrives in the city homeless and broke. Karmic Thief: Shy plans to rob a bank, and in an early monologue implies that he wants to steal from "all the crooks in the world, like presidents, senators, cops". Lovable Rogue: The protagonist, Shy, steals and cons his way through San Francisco to get rich. However, he's well-dressed and slick-talking enough to be likeable to the audience and to other characters. Orphan's Ordeal: Shy was raised by a single father, and his financial problems start after his father dies. Val was given up for adoption and adopted by a family that put him in a mental institution when he was 13 for being transgender. Pronoun Trouble: Shy and Val usually refer to each other as "he/him", "guy", and "man". However, when interacting with the straight world, sometimes they use feminine pronouns, like in the scene where Shy and Val conspire to rip off a hardware store clerk. Punk Rock: The soundtrack features a lot of punk and Queercore bands, including Silas Howard's own band, Tribe 8. Room Full of Crazy: In the mental instutition where Val is sent after being arrested, someone has scrawled "LONELY IS THE HUNTER" on the walls in blood. Sharp-Dressed Man: Shy and Val both often wear suit jackets and ties, although not full three-piece suits. Shout-Out: In both their introductions, Shy and Val reference The Wizard of Oz. Shy refers to himself as being "like Dorothy, but with biceps and no dog," while Val calls himself the tin man, the lion, and then says "I'm all the guys from that movie." Flashbacks to Shy's childhood show him dressed as Superman, flying in his father's arms. In other scenes, he's shown making a Superman pose on a roof, sometimes while wearing a towel as a cape. Shy gets the idea to rob a bank from watching a news report on a bank robbery, in which a witness says "It reminded me of that movie, Bonnie and Clyde." Tin-Can Telephone: Billie and Val use one of these instead of a doorbell. In one scene, Val insists that Shy use it, to Shy's irritation. Welcome to the Big City: In his first day after reaching San Francisco, Shy is forced to sleep on the streets and witnesses a man beating up Val.

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Steak House: [But when] I read [the script], I thought this is a movie about people like me and I need to produce this movie. I had been working in movies a number of years and I knew this was the one for me because it was so reflective of who I am. It was just so exciting to see that because back then there was just nothing like this. At all.

This particular theme of Yakuza 0, of fighting something you can\u2019t see or understand, is eerily reminiscent of No Country For Old Men \u2014 one of my favorite movies of all time. The old man in question is a sheriff played by Tommy Lee Jones, but you feel like you don\u2019t see enough of him in the movie for the story to be about him. Yet, he makes one of the most fateful lines I\u2019ve ever heard about the nature of good and evil \u2014 and why this new evil is a no-fly zone as far as he\u2019s concerned:

But in video games, movies, and books, you want to root for them. Sure, they\u2019re anti-heroes by virtue of being in professions more morally ambiguous than most (something about there anyway being no real ethical consumption under capitalism). But you want them to win. You want their choices to make sense. Because even in a world with no real ethical consumption, you\u2019ll meet aplenty crossroads to do the right thing.

And for the kind of character that I describe in this essay \u2014 that is defined by where they come from, who they are, and who they know would have been if not for this world \u2014 reducing them to just one dimension of being undesirable simply by virtue of being criminals/fixers feels like a mistake. Kiryu wants to create his own definition of being a yakuza: one for whom sticking by his brothers matters more than climbing up the ranks by hook, crook, or book. Majima is too jaded by the life for him to be conventional \u2014 yet mentions of his loved ones arouse his soul.

In typical oblivious fashion, Mr. Smee tries to interject about how the crocodile is still after Captain Hook (Crook, Crook, Crickety-Crockity-Crickety-Crook The Croc is after Captain-) but the pirate knocks him silly with his hook before he can finish the line.

It is a story of a guy, whose father was unsuccessful. But he is still a hero in his son's eyes. It is his father's dream to become a cricketer. But he lands in jail because of his reckless behaviour. So he wants to fulfill his father's dream by hook ya crook.

The first half of Crook is breezy and harmless fun. A lot of the writing is snappy; the romance portions of the film ensure you don't get bored. It helps that Neha Sharma has an innocent charm about her and great screen presence. Her chemistry with Hashmi is sufficient to keep you hooked for a while.

Xanadu, which opened last year to surprised rave reviews, is the dark horse in this category. (Or should one call it the Pegasus that might surprise everyone by flying away with a Tony or two?) Even if this 90-minute spoof of the flop 1980 roller-skating movie musical doesn't steal the top Tony for best musical by hook, crook or by Jove, playwright Douglas Carter Beane may win the Tony for best book of a musical as the talent most responsible for the show's unexpected success. Satire isn't easy to create, but Beane figured out a way to make it work from a most unlikely source.

Producers Eric Fellner and Tim Bevan should desist from lowering themselves to Adam Sandler's level, however much paydirt he's picked up: they have no talent for it, and it'll exhaust their prestige, as has already been indicated by 40 Days and 40 Nights - their offensive "water cooler" comedy about randy office workers setting out by hook, crook and Viagra to seduce a colleague from his Easter vow of chastity.

The Guru is just as tasteless about Hindi holy things. Like Steve Coogan and Ali G, the Working Title hero of The Guru is a British telly comic, Jimi Mistry, playing a naive New Delhi dance teacher in New York who thinks porn movies offer a short-cut alternative to his 12-step plan for Hollywood stardom. Flunking the test of "Get hard or get going" when got up as a grass-skirted Tarzan directed to rape his suspenderbelted Jane, he stays on long enough to make a profitable connection between the state of erection and the state of enlightenment and, coached by Heather Graham's porn star ("My pussy is the door to my soul"), he's soon in demand as a drawing-room guru among Manhattan's rich and tacky. He introduces them to nudism, genital massage and other techniques for relaxing their bank accounts. It is feeble in the extreme: it even looks crude, which is something of an unenviable first for the eminent cinematographer John de Borman. Mistry, present in nearly every scene, can just about carry a plate of chicken tikka masala, and that's the extent of it. be457b7860

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