Tag Archives: Gratuitous slow-motion

Justice League (2017)

Yeah, spoilers; Superman is back.

“Unite the League”

Directed by Zack Snyder (and Joss Whedon)
Starring Gal Gadot, Ben Afflex, Jason Momoa, Ray Fisher, Ezra Miller, Henry Cavill and Ciaran Hinds

In the wake of Superman’s death, the world is going a bit crazy. Wonder Woman (Gadot) and Batman (Afflek) try to keep a lid on things, but when Steppenwolf (Hinds) shows up and steals an artefact called the Mother Box from the Amazons, it’s time to bring together the metahumans identified by Lex Luthor (Jesse Eisenberg): Arthur ‘Aquaman’ Curry (Momoa), Barry ‘The Flash’ Allen (Miller), and Victor ‘Cyborg’ Stone (Fisher).

Continue reading Justice League (2017)

Bulletproof Monk (2003)

They love this image of Chow Yun-Fat with the guns, even though his character is a Buddhist and only fires two shots in a single scene of the movie. It's Chow Yun-Fat with guns, right!
They love this image of Chow Yun-Fat with the guns, even though his character is a Buddhist and only fires two shots in a single scene of the movie. It’s Chow Yun-Fat with guns, right!

“A Power Beyond Measure Requires a Protector Without Equal”

Directed by Paul Hunter
Starring Chow Yun-Fat, Seann William Scott, Jaime King, Karel Rodan and Victoria Smurfitt

A scroll containing the power to reshape the world is protected by a wandering and unaging Monk (Yun-Fat) until such time as humanity is enlightened enough to read it. After sixty years, the Monk is seeking for a successor, but he is relentlessly pursued by Strucker (Rodan) a Nazi hungry for that absolute power.

Continue reading Bulletproof Monk (2003)

Ultraviolet (2006)


“The Blood War is On”

Directed by Kurt Wimmer
Starring Milla Jovovich, Cameron Bright, Nick Chinlud and Michael Fichtner

In the wake of a plague which turns humans into superhuman ‘haemophages’, a Blood War rages between the vampires and the military medico-religious establishment known as the Arch-Ministry. When the Arch-ministry develops a new weapon to wipe out the remaining haemophages, they send their greatest fighter, Violet (Jovovich) to intercept it.

Continue reading Ultraviolet (2006)

300 (2006)


“Prepare for glory”


Directed by Zack Snyder
Starring Gerard Butler, Lena Headey, Dominic West and David Wenham

In 480 BC a small Greek force, lead by 300 Spartans under King Leonidas, held off a far larger Persian force at Thermopylae for seven days, while getting off a variety of good lines while under pressure; when King Leonidas was told that the Persian archers were shooting arrows in such vast quantities that they were blotting out the sun, he allegedly replied ‘won’t it be nice that we have shade to fight in’. In the end they were nearly all killed, but their epic bravery was well recorded by the Greek historians, with accounts in both Plutarch and Herodotus.

Then, probably because Frank Miller loves nothing like he loves testosterone, it was made into a comic in 1998, only with added homophobia, but some very nice artwork. As is the way with Frank Miller.

After that, a film version was almost inevitable. The plot of the film is, by the way, basically, the same as the synopsis I gave of the battle of Thermopylae. It’s a bit like a very well oiled and slightly more homoerotic version of Herodotus.

What’s wrong with it?

OK. There is technically an awful lot wrong with 300. I mean, you start with the history (Spartan soldiers did actually wear more than leather speedos to fight in, King Xerxes of Persia probably wasn’t that into gold body paint, and I’m sure history would have remembered had he, or any classical ruler, actually had their own battle rhino), continue with the racism (brave Americans Greeks yell about democracy before slaughtering deformed foreigners who look like orcs but are apparently Persians), perhaps pause to examine the sexism (no matter how powerful or plot important a female character, it doesn’t mean she can’t be sexually abused at least once), and then amble on through the gratuitous violence, tripping over a plot hole every now and then (why did Theron take bribes in Persian gold he couldn’t spend? Unless there was a secret Spartan bureau de change somewhere…) before finally coming to rest, overwhelmed by the sheer macho nonsensicality of it all.

And yet…

What’s right with it?


…Leonidas would have loved it!

No, really. Every time I see this film I can’t help but imagine Leonidas sitting there, in the Elysian Fields, gleaming with pride. Every time he gets off a snappy line (and to be fair, if they were invented, they were invented by enthusiastic ancient Greeks, not enthusiastic Hollywood script writers) I can see him nodding smugly. Every time his enemies flinch, he probably flexes some undead muscles and I am totally and utterly convinced that if you were to show him this film and ask him about the battle rhino he would swear blind that he killed that thing with his own two hands and if you doubted him, well, you weren’t there, man.

In general, one of the hardest things about historical drama is that we, as a society, are not very good at empathizing with people who’s basic understanding of the world and who’s concept of right and wrong was very different to ours. We find it especially hard when it comes to popcorn flicks, where we don’t want to see women who couldn’t leave the house unaccompanied or cheer for heroes who believed absolutely in the divine right of kings, so most film makers tend to end up making their historical heroines feisty and their heroes pro-democracy, and everyone learns to believe in themselves until it’s all OK in the end. But 300 actually doesn’t do that. OK, so I’m not saying Dick Cheney’s fantasy life doesn’t look like this too (well, maybe not quite as many heavily oiled and scantily clad young men, although I don’t want to judge) but I am also pretty certain that this is closer in spirit to the Spartan perspective than any earnest young man with plumes on his helmet, questioning whether the helots really needed to be kept as slaves, before facing a number of conflicted and three dimensional Persian enemies would have been.

Also, Frank Miller’s idea on history is way more like Herodotus than Eric Hobsbawm. I bet Herodotus would have thrown in a battle rhino.

How bad is it really?

I think it depends what you’re looking for. If you want a history lesson, it’s bad. If you want a subtle nuanced portrayal of real men torn apart by the horrors of war, it’s bloody awful. If you object to sexual violence, racism, orientalism, or just strangely narrow cliffs which soldiers have to be pushed off one at a time in dramatic profile, you probably should avoid it.

If, on the other hand, you have a soft spot for Frank Miller style cinematography and can swallow a lot of testosterone with your popcorn, it’s an awful lot of fun and probably the least apologetic depiction of Greek warriors doing appropriately obnoxious yet spectacularly Greek warrior-y things you’ll find outside of the strangely detailed imaginings of a certain kind of classics student.

Best bit (if such there is)?


Ooooh….so many quotables, so little time. Do I start with the Persian Ambassador famously being kicked down a well (“This. Is. Sparta!” shouts a strangely Glaswegian Leonidas)? Perhaps Queen Gorgo snarking that “only Spartan women give birth to real men” (another historical quote)? And of course there’s the famous “we will fight in the shade” line.

Plus no matter what you think of Frank Miller’s politics, man, he makes pretty comics, which pretty much gets used as the storyboard for the film. It’s visually stunning.

What’s up with…? 


  • So, the traitor Theron sells out Sparta to the Persians for gold, which he conveniently keeps about his person in easy to recognize gold coins, nicely stamped with Xerxes very recognizable face? Why? And also, where? He’s wearing a blanket for most of the film. Man must have had amazing muscle control.
  • I understand that the Spartans were body fascists extraordinaire, but did Leonidas have to kick the earnest little hunchback, Ephialtes, to the kerb quite so firmly? Couldn’t he have given him a bag to carry or something? Or just killed him if he must? Him running off to Xerxes in a fit of pique did seem rather inevitable.
  • I get that battle rhinos improve almost any given story, but could maybe some of Xerxes exciting shock troops (which include Africans, Indians with elephants, and the oft mentioned rhino) have maybe come from the actual Persian Empire?
  • What happened to all the other Greek forces at Thermopylae? According to Herodotus the total number of troops opposing the Persians numbered in the thousands (still massively outnumbered by the Persians who modern historians estimate as being in the tens of thousands) and included troops from Thebes, Arcadia and Corinth amongst others. Did they just…stay home?


Production values: Whatever 300’s faults, it’s a very very pretty film and beautifully put together. 4
Dialogue and performances:  I might be being harsh here. There’s not really much for the cast to work with here, and they actually do pretty well with what they’ve got. Gerard Butler is consistently macho and stern. Lena Headey is scornful and imperious. Dominic West oozes whenever he comes on screen (seriously, Sparta, how did you not notice he was evil for so long?) and whoever is played Xerxes is…convincingly pierced. It just isn’t really a film you can perform in. 10
Plot and execution:  I mean, there isn’t a lot of plot to cram in, really. There is a Persian army. They go to war. There are some oracles and a bit of politics along the way, but really, how can you mess up a bunch of dudes stabbing each other with spears now? 8
Randomness: And that was mostly because the film occasionally just throws something totally insane from left field in. 12
Waste of potential: 300 is exactly what it says it is going to be from beginning to end. Madness? No! SPARTA! 2

Overall 36%

The Black Ninja (2003)


“Justice by Day. Payback by Night.”

Directed by Clayton Pierce
Starring Clayton Pierce, Carla Brothers, Nicky DeMatteo, Yuki Matsuzaki, Heather Hunter

High-powered lawyer Matt Murdock Malik Ali (Pierce) defends the worst scum in the city of Philadelphia by day — but by night, as the mysterious Black Ninja, he hunts them down and delivers the punishment the courts won’t provide. Undertaking the task of protecting a witness in a mob trial (Brothers), Ali finds himself falling for her — and when the mob boss (DeMatteo) hires the assassin who killed Ali’s family (Matsuzaki) to abduct her, he must confront blah blah blah blah.

What’s wrong with it?

The Black Ninja was paid for mainly out of writer/director/star Pierce’s own pocket and filmed in two weeks — and it looks like it. The cinematography and lighting are either bland or incompetent, the plot is derivative, the sound is awful (it’s frequently hard to hear what people are saying), the dialogue is trite, the political theme is sophomoric and there are some directorial choices … well, we’ll come to those in a minute.

What’s right with it?

Pierce and Brothers aren’t bad actors. Everyone else, with one notable exception, isn’t great, but only a few of them are terrible. Many are obviously not really actors. And Matsuzaki as the rival Red Ninja is hilarious. Possibly even intentionally.

How bad is it really?

It’s atrocious. If it were capably made, it would be a tiresome, clumsy, derivative blaxploitation martial arts movie with some deeply weird and offensive choices. As it is, it’s all that, plus so crappy in its execution that it’s hard to watch.

Also, the fights are almost uniformly terrible — and when they do get in someone who knows some martial arts, the only real effect is to highlight Pierce’s lack of fight choreography.

And the soundtrack is diabolical. There are a lot of songs — including a theme song where Pierce raps — and they’re often introduced at completely inappropriate moments, including smoove R&B during the hero’s big slo-mo-NOOOOO moment.

Anyway, see for yourself:

Best bit (if such there is)?

OK, this isn’t good but it’s a sufficiently bold choice that it has to be in here. The Black Ninja corners the mob boss in his home while he’s taking a dump and paralyses him with acupuncture needles so that he’ll never move again. But he’s in the middle of taking a crap, so while Pierce delivers this hard-ass monologue about how now he’s in prison in his own body, the SFX play a series of farting, squelching, splashing poop-sounds. It sounds ridiculous, and it completely undercuts the scene, but at least it’s a decision.

Oh, also, when Black Ninja is talking to a guy in Tagalog, his Tagalog is really halting and awkward, which makes sense — but sounds ridiculous.

What’s up with…?

  • The series of mid-film fights where Ali fights a bunch of random hoodlums? They do absolutely nothing to add to the story, and the characters are never seen again.
  • Ali’s outfits? It’s 2003, but he looks like he was just in a Boyz II Men video. I guess he is from Philadelphia.
  • The slow-motion three-peat of about half the punches and kicks in the movie? I don’t mean especially exciting ones. There aren’t really any of those.
  • 90s porn star Heather Hunter’s cameo as Ali’s dead wife? I mean, nothing wrong with moving into the legitimate thyutuh, but she has like two lines.
  • The Red Ninja (Matsuzaki)? He’s so charmingly over the top, but it’s really weird in a movie that is 90% pretty restrained in its performances. At one point he just gives someone the maniac stare-grin and holds it for about 30 seconds.
  • Black Ninja’s investigative technique? At one point, he says he’s going to “check out the Johnson Street area.” Apparently, this is the Stickup District, because we cut to him beating up like four gangs of crooks in awkwardly staged fights.
  • The Black Ninja training montage, in which he does some situps, pedals furiously on an exercise bicycle, and does some curls with the kind of weights I have in my cupboard? I mean, Pierce looks like he’s in good shape, but it’s hardly Rambo stuff.


Production values: this looks like the movies my brother and I used to make with our mum’s video camera – 18
Dialogue and performances: acting students and people they just met – 12
Plot and execution: a million Punisher comics and an entire bottle of NyQuil – 16
Randomness: doing OK until the poop scene – 16
Waste of potential: the blaxploitation vigilante flick is a proud tradition – 14

Overall 78%

Max Payne (2008)

Nothing in this film is as awesome as this poster suggests

Directed by John Moore
Starring Mark Wahlberg, Mila Kunis and Beau Bridges

Three years after his wife and baby were murdered, Detective Max Payne (Wahlberg) is still looking for the truth through the time honoured method of being a dick and treating everyone around him like dirt. with the assistance of Russian mob boss Mona Sax (Kunis), he goes up against those who would enforce their will through force of arms and brings them to justice through force of arms.

Continue reading Max Payne (2008)

Almighty Thor (2011)


“The Legend is Born”

Directed by Christopher Ray
Starring Cody Deal, Richard Grieco, Patricia Velasquez and Kevin Nash

When demon dude Loki (Grieco) attacks vaguely Nordic castle-y place Valhalla, boss god Odin (Nash) throws the big stupid-looking styrofoam Hammer of Invincibility into the World Tree to prevent the baddie getting his hands on it before Odin dies. With Odin out of the picture, impetuous young god Thor (Deal) and love-interest/mentor Jarnsaxa (Velasquez) go traipsing around various dimensions (including our own world) to try and find it. Eventually Thor forges his own hammer or something and clobbers Loki with it. Goodness is restored, wickedness defeated. Thor and Jarnsaxa probably kiss, but I wasn’t paying attention by that point.

What’s wrong with it?

2011’s Thor, the film this stinker was designed to mockbust, had a strong cast, a simple but exciting story, and high-quality special effects out the wazoo. This thing … not so much. The sets consist of some fields and back alleys, the CGI is dreadful, the fights are plodding and unconvincing, and I couldn’t make out what the hell people were saying half the time. The film can’t even decide on a central plot, just shuffling its characters from location to location until a perfunctory baddy showdown. Loki isn’t so much menacing as kind of a jerk who happens to murder a bunch of people, Odin lacks majesty or dignity, and … it just … I can’t …

What’s right with it?

A crude knock-off of a fun and engaging film, Almighty Thor cuts every corner it can find in its quest to pad itself out to just long enough to be considered a feature film. There ain’t shit right with it.

I guess the fight between Thor and a big armoured dude is adequate, like an-episode-of-Hercules adequate.

How bad is it really?

Cynical, lazy, inept, dull, ugly, unimaginative.

Best bit (if such there is)?

Aaaand … nope.

What’s up with…?

  • Baldr is the battle-hardened warrior type and Thor is the dreamy young’un?
  • When Odin falls down dead, the tread of his completely modern shoes being visible?
  • Thor being brought to our modern world, but basically not interacting with anyone there? If you’re gonna rip off Masters of the Universe, at least do it. (Or Beastmaster whatever-it-was, for that matter.)
  • Odin having two eyes? I know this movie is cheap, but I don’t think eyepatches are expensive.
  • The dog-lizard things Loki summons? Are they meant to be wolves?
  • Loki’s wand thingy? It looks like it came from a Halloween store.


Production values: the crappiest part of a crappy movie. 17.
Dialogue and performances: from basically capable but uninspired (Grieco) to barely there (everyone else). 17.
Plot and execution: a terrible story, terribly told. 16.
Randomness: a more or less consistent boring story about unlikable characters. 14.
Waste of potential: you get what you pay for, but the source material is full of good stuff that they just ignore. 12.

Overall 76%

Ghost Rider (2007)


“Hell is about to be unleashed”
“His curse is his power”
“Let’s ride!”

Directed by Mark Steven Johnson
Starring Nicholas Cave, Eva Mendes and Wes Bentley

Johnny Blaze makes a deal with Mephistopheles (Peter Fonda) to save his father from lung cancer, only for Blaze senior to die in an accident during the family stunt-cycle show. Years later, Blaze (Cage) is called on to hunt down renegade demon Blackheart (Bentley) and his Nephilim minions as the Ghost Rider, to prevent a contract for a thousand souls granting vast power to either Mephistopheles or Blackheart.

What’s wrong with it?

Eve Mendes is a feisty, but not much more, as Blaze’s lost love, although she gets at least one shot in, which is something.

Pretty much everything with Blackheart in is ludicrously melodramatic, to the point of unwitting farce, and the occult shenanigans are basically just silly. There is also barely an instance of the Rider getting a decent fight. Blackheart knocks him downa  few times, but basically he owns the three Nephilim without much effort, including burning the one made of water.

What’s right with it?

First up, it’s great to see a film that knows how to do a tagline. I mean, it has some less-convincing ones, but look at that pick up there.

It also has Sam Eliot as Carter Slade, the Phantom Rider and Blaze’s predecessor, and no film which casts Sam Eliot as a Texas Ranger has got everything wrong.

How bad is it really?

Chunks of it drag, mired in crummy dialogue, and the action scenes are mostly pretty stilted, but there are occasions where it sparkles (a witness describes the flaming skull head thing as ‘an edge look, but he totally pulled it off’) and it’s cheesy fun.

Best bit (if such there is)?

Slade reveals his identity by lighting up for one last ride, then he and Blaze charge across the desert to an electro-metal rendition of ‘Ghost Riders in the Sky’. Sadly he doesn’t actually fight, but it’s still awesome.

What’s up with…?

  • Burning the water demon?


Production values – Marvel Studios have set the standard in superhero special effects. Not, however, with this film. 15
Dialogue and performances –  The Johnny Blaze story is actually pretty solidly written and performed. Unfortunately, the demon stuff drags it down. 11
Plot and execution – The film rambles from set-piece to set-piece. As with the dialogue, the cursed and redeemed storyline is better than the more directly demonic stuff. 12
Randomness – Once you accept that Johnny Blaze is the Devil’s Bounty Hunter, it’s all pretty straightforward. 7
Waste of potential – So, it’s a Ghost Rider movie; what were they going to do? On the other hand, Sam Eliot doesn’t shoot one person. 8

Overall 53%

In the Name of the King: Two Worlds (2011)

Man, this poster makes the film look so much more badass than it is.

“Fight to the End”

Directed by Uwe Boll Starring Dolph Lundgren

Ex-Special Forces nice guy Granger (Lundgren) is rescued from ninjas by a sorceress, who dies, but not before taking him into a mediaeval fantasy world where he is prophesied to battle an evil witch.


What’s wrong with it?

Losing the Dungeon Siege license, Uwe Boll creates an alleged sequel to In the Name of the King which is no such beast, but actually a shaky crossworlds fantasy jaunt, with Dolph Lundgren in the role usually given to a plucky schoolboy or hopelessly romantic librarian.

Lundgren was a powerful man in his day, but years of action have taken their toll and here he is just ponderous, his body apparently so battered that he can barely move. I’m sure he was better in The Expendables, so it may be a matter of having enough time in the shoot for him to limber up. The fact that his only expression remains the ever-popular dull surprise is no help, especially given that he’s given the role of narrator.

The twist in the tale is poorly concealed, yet makes little sense. The film as a whole is also much longer than I expected, denying it even the virtue of brevity.

What’s right with it?

The Seer – a crazy woman living in a tree – is pretty creepy, and the stab-happy king, who seems to have some sort of compulsion to shiv up his own people, is awesome in a crazy kind of way.

How bad is it really?

The film reeks of complete pointlessness. The plot is hackneyed, twists and all, and for much of the duration the internal motivations of the characters seem to be ‘hey, stuff needs to happen so let’s chase Dolph until it does’.

Best bit (if such there is)?

Manly McRoyalguard tries to get Granger to let him buy time to escape, and when Granger won’t run just up and kicks him off a cliff.

What’s up with…?

  • Granger’s bland acceptance of everything that happens to him?
  • All these women throwing themselves at Granger? It’s not as if there are any actual sex scenes.
  • The entirely random role of women in this pseudo-mediaeval society? ‘Bed-warmer’ sits oddly alongside ‘trained physician’.
  • The bizarre quasi-ye olde dialogue? It mostly seems to be there so that people can misunderstand Granger’s modern idiom, but it’s horribly forced.
  • Dr Manhattan? It’s a strange name for a pseudo-mediaeval physic.


Production values – The film lacks any of the redeeming qualities of the original, like good lighting and clear audio. Conversations are as often as not talking heads to keep the reshoots down and the choreography is second string at its best. 14
Dialogue and performances –  Lundgren is the heart of the film, and he misses most of his beats. It’s not easy to blame him, however, given the godawful material he is given to work with. 16
Plot and execution – The plot is dull, the characters unconvincing, and the film shambles ploddingly on without pace or vavavoom. 15
Randomness – The bad Shakespearean dialogue, the terrible and pointless narration; the lack of any real direction in the film actually makes chunks of the main plot into randomness. 13
Waste of potential – After what was Uwe Boll’s finest, this is a let down even from him. 12

Overall 70%

Gabriel (2007)


“Far From Grace”

Directed by Shane Abbess
Starring Andy Whitfield and Dwaine Stevenson

The souls of the dead go either to Heaven, or to Hell, or to Purgatory, here depicted as Gotham City with the shine buffed off, locked in perpetual darkness because the Light is losing the eternal battle over the fate of the city’s souls. The last Arc Angel (sic), Gabriel, is sent down in human form to restore light to Purgatory with a pure heart, dauntless faith, and a pair of silenced .45s, but the Fallen are waiting for him.

What’s wrong with it?

Gabriel is one of those films that take elements from successful movies and emulates them badly. The film lifts from The ProphecyThe MatrixSin City and Blade, among others, but lacks the money or the talent to pull it off. It’s moody lighting is merely dark, its dramatic music overwhelming and laden with bathos, and its attempted mix of philosophical dialectic and hard-edged profanity comes out swinging wildly from childish potty mouth to dull and incomprehensible rambling. On the rare occasions when the film actually makes a point, it doesn’t seem to know what it is.

There is also an unpleasant aftertaste of misogyny in the fact that the one female Fallen is a pseudo-sapphic bondage queen and the only female Arc, having been beaten by Sammael, is reportedly raped and then forced into prostitution, and survives the slaughter of the other Arcs through pointless apathy.

What’s right with it?

Sadly, the handful of occasions where the film is actually saying something or getting a shot right are quickly spoiled by incompetent handling.

How bad is it really?

Oh my, it’s bad. It’s also, despite its level best efforts to be dramatic, dull as paste.

Best bit (if such there is)?

Perhaps the most memorable scene, in a somewhat horrifying way, is the reveal of Asmodeus’ whore, altered by plastic surgery to look like him.

What’s up with…?

  • The baffled and baffling denouement? ‘Sammael’ is revealed to be the fallen ‘Arc’ Michael, chafing under the authority of the Light. Rallying to defeat him, Gabriel declares ‘the Light isn’t control, it’s choice’, but then inexplicably decides that if he goes back to the Light then an unavoidable cycle will begin again and apparently kills himself. I guess the filmmakers suddenly felt bad that they weren’t sticking it to the man.
  • The terminology? Light instead of Heaven, okay, but ‘Arc’ instead of archangel? What’s up with that? Did they not realise that it has an actual etymology?
  • Everyone warning Gabriel that indulging human passions is how the Arcs lose their strength, then him having redemptive sex with the wingless Amitiel/Jade to save him from his own Fall? Actually, I’d be okay with this if I thought it was about being sex positive, rather than just getting some sex in the movie.
  • The conflicting messages that the Arcs are supposed to provide an example, then when anyone takes hope from Gabriel’s presence they get slaughtered like chumps?


Production values – Much in the vein of the great Albert Pyun, bad movie superstar, Shane Abbess appears to know how to make a good film, he just can’t actually manage to do it. On a limited budget he tries to make something memorable and distinctive, but everything is actually derivative, and by failing to recognise his constraints, he produces something ill-lit, mumbling and confused. 16
Dialogue and performances –  Aside from the odd shouty bit, there isn’t much of note in any of the performances, with lines like ‘hello; how’ve you been’ getting the same level of emotion as ‘you were my brother and you betrayed me’. Still; any more effort would have been wasted on the lines. 18
Plot and execution – A mad jumble of ideas and ideologies, plus some stock bad guy nastiness and misogyny. 17
Randomness – The mishmash of philosophies; the sudden reversals; the redemption sex. 16
Waste of potential – It’s hardly an original or the most promising of concepts, but there is a lot of room to have done this better. 14

Overall 81%