Here we go again, the next best 50. No 50 begins the countdown tomorrow.
| 100 | Donnie Brasco: director’s cut (US 1997/2007…Mike Newell) |
| 99 | Un Coeur en Hiver (France 1991…Claude Sautet) |
| 98 | A Taste of Cherry (Iran 1997…Abbas Kiarostami) |
| 97 | Ashes of Time (Hong Kong 1994…Wong Kar-Wai) |
| 96 | JFK: director’s cut (US 1991/1992…Oliver Stone) |
| 95 | Chungking Express (Hong Kong 1994…Wong Kar-Wai) |
| 94 | The Flowers of Shanghai (Taiwan 1998…Hou Hsiao-Hsien) |
| 93 | The Player (US 1992…Robert Altman) |
| 92 | Singles (US 1992…Cameron Crowe) |
| 91 | Kids (US 1995…Larry Clark) |
| 90 | Black Robe (Canada 1991…Bruce Beresford) |
| 89 | Underground: Extended Version (Yugoslavia 1995…Emir Kusturica) TV |
| 88 | Nil by Mouth (UK 1997…Gary Oldman) |
| 87 | Tilai (Burkino Faso 1990…Idrissa Ouedraogo) |
| 86 | Casino (US 1995…Martin Scorsese) |
| 85 | In the Heat of the Sun (China 1994…Jiang Wen) |
| 84 | Heavenly Creatures (New Zealand 1994…Peter Jackson) |
| 83 | The Apple (Iran 1997…Samira Makhmalbaf) |
| 82 | Clueless (US 1995…Amy Heckerling) |
| 81 | Dark City: the director’s cut (US/Australia 1998/2008…Alex Proyas) |
| 80 | Cyrano de Bergerac (France 1990…Jean-Paul Rappeneau) |
| 79 | Miller’s Crossing (US 1990…Joel Coen) |
| 78 | Election (US 1999…Alexander Payne) |
| 77 | Pride and Prejudice (UK 1995…Simon Langton) TV |
| 76 | Toy Story 2 (US 1999…John Lasseter, Ash Brannon) |
| 75 | A Dance to the Music of Time (UK 1997…Christopher Morahan, Alvin Rakoff) TV |
| 74 | The Silence of the Lambs (US 1991…Jonathan Demme) |
| 73 | Princess Mononoke (Japan 1997…Hayao Miyazaki) |
| 72 | Oranges are not the Only Fruit (UK 1990…Beeban Kidron) TV |
| 71 | Hamlet (UK 1996…Kenneth Branagh) |
| 70 | Ju Dou (China 1990…Zhang Yimou, Yang Fengliang) |
| 69 | Under the Skin (UK 1997…Carine Adler) |
| 68 | Natural Born Killers: the director’s cut (US 1994/1995…Oliver Stone) |
| 67 | Secrets and Lies (UK 1996…Mike Leigh) |
| 66 | La Reine Margot: Version Longue (France 1994…Patrice Chereau) |
| 65 | Groundhog Day (US 1993…Harold Ramis) |
| 64 | Trainspotting (UK 1996…Danny Boyle) |
| 63 | Pleasantville (US 1998…Gary Ross) |
| 62 | Short Cuts (US 1993…Robert Altman) |
| 61 | The Remains of the Day (UK 1993…James Ivory) |
| 60 | Close-Up (Iran 1990…Abbas Kiarostami) |
| 59 | Heat (US 1995…Michael Mann) |
| 58 | Fight Club (US 1999…David Fincher) |
| 57 | Farewell, My Concubine (China/Hong Kong 1993…Chen Kaige) |
| 56 | The Last Bolshevik (France 1992…Chris Marker) |
| 55 | Fucking Amal (Sweden/Denmark 1998…Lukas Moodysson) |
| 54 | Three Colours: White (France/Poland 1993…Krzysztof Kieslowski) |
| 53 | Festen (Denmark 1998…Thomas Vinterberg) |
| 52 | The Usual Suspects (US 1995…Bryan Singer) |
| 51 | Crash (Canada 1996…David Cronenberg) |
Crash at 51….Fight Club at 58….Trainspotting at 64….Silence of the Lamb at 74….Dark City at 81…Wow, from the start Allen has knocked off some great films. But my favorite film of the decade has yet to appear so that good to see. Can’t wait to see what films make the list.
Very, very interesting nearlies. I’m delighted to see the much-maligned Kids make an appearance, though I’d be happier to see it even higher. Interesting to see The Usual Suspects quite high, though it certainly has a respectable following (I loved it on first viewing; it’s impressed me somewhat less since, but still a fun movie). Pleasantville…now there’s a surprise. A movie I enjoyed for its lush visuals but found somewhat preachy and one-dimensional in its social analysis. It got some nice reviews at the time but has mostly been forgotten since (I’ve watched it down the years, but that’s because I tend to be fascinated with the related fields of 60s social upheaval and the expansion of consciousness, for both of which the film is an obvious metaphor – in a fable form, which almost justifies its rather simplistic view of things). Fight Club is higher than I’d rank it but I do respect it as a very firm, very sharp expression of a directorial vision – yet it’s a vision which is rather flat, superficial, and blankly cynical: reflective of our contemporary ethos; I see FC as a kind of gateway into our current aesthetic, which I have some problems with.
Kind of hoping Matrix will not place in your 50 – I don’t hate it by any means but my feelings about it are kind of Fight Club X 10; and I rankle at the way it disguises fascism as non-conformist “rebellion”. Recall that everyone they kill is genuinely killed in the matrix – and all for a cause which Neo & his pals blindly believe (despite the fact that their faith in the original matrix was proven erronious; and the filmmakers give us little to make the new “reality” any more convincing, a problem I often have with these sort of break-on-through-to-the-other-side films; ironically, Pleasantville has less of a problem in this regard than others, but Truman Show also suffers from this complex, even as it limits its presentation of the “outside” world – not enough for me.)
I can take ideologically warped films, but ones which pretend to be one thing while actually being something else irritate me in a unique way.
As for your whole list, I’ve seen about 20 or so (hard to say with some of these director’s cuts – not sure in which cases I’ve seen the original, in which case the director’s; Donnie Brasco is one of my favorites, but I sure haven’t seen a 2007 director’s cut – didn’t even know one existed!). More than for the 80s, since I was “around” for this decade, but less than earlier decades because I haven’t gone back and watched 90s films I didn’t see at the time – still too busy tracking down 60s & earlier movies.
I don’t mind saying The Matrix will be nowhere to be seen in the 50.
I’ve taught THE GIVER on three different occasions with 6th graders, but NUMBER THE STARS (Lowry’s other Newbery winner) was more popular, as THE GIVER of course was more challenging. Nice parallel and differentiation here Joel.
“Pleasantville” surprised me a little, too, but I suppose it fits. Visually, it’s a clever 50′s-sitcom-as-social-parable tale, and the way it slowly bleeds color throughout the world and its characters as an instrument of change is inventive (though frankly, I get turned off by the way the “bad” characters then start referring to others as “colored”– sorry, but that’s a wee bit too ironic considering that EVERYBODY’S WHITE) though I’ll agree with Joel in that its hamfisted preachifying is just as much of an Americana cliche as the wonderbread dystopia it assumes to speak out against.
Though I didn’t include it in my list either, I find “The Matrix” a little more acceptable than you do, Joel, in its moral ambiguity. Yes, Morpheus’ philosophy of “anyone still plugged in is our enemy” is a disturbing, terrorist agenda– just as it’s meant to be. In the grand scheme of the trilogy I think this blind, quasi-fascist dogma becomes more clear for what it is as Neo’s consciousness develops further, but granted, it really should have been one of the main conflicts of the series, and to see the Wachowskis unable (or unwilling) to adress the potential for dystopianism within their own heroes is one of the reasons I have to place their trilogy below the other great sci-fi/fantasy works of the past ten years. Besides, “Bound” is still their best work.
I didn’t include “Fight Club” in my list, though I will admit it’s the biggest, clearest expression of late-90′s zeitgeist as anything else. I love the film dearly, though I’ll admit that its angry-young-man contrariness strikes me as a little juvenile at times, the dark side of what happens to yuppies who don’t get what they want out of life. Anyway, it’s already got a cult of adoring fans who neither want or need critical appreciation, so perhaps the best thing is to just leave it outside the establishment canon for now. After all, that’s exactly the way Tyler Durden would want it, yes?
I wonder to what extent the Pleasantville color-as-consciousness theme was inspired by Lois Lowry’s The Giver – a far more powerful work in my opinion, despite its marginalization in the “young adult” ghetto. Probably just a coincidence, but food for thought particularly as a film version of Lowry’s book has been in the works for about a dozen or so years.
Very good point. I’d much rather have seen a film version of “The Giver” than Tobey Maguire as the Beav. Lowry’s book is a surprisingly fresh dystopian novel, and one of the most plausible-seeming, after all is said and done. I feel that if it ever gets to the screen, it’ll probably have to come up with a new aesthetic to make up for the visuals that Ross broke the cherry on, here (though I think he was probably more influenced by “Schindler’s List”, and maybe “Europa”).
I’ve taught THE GIVER on three different occasions with 6th graders, but NUMBER THE STARS (Lowry’s other Newbery winner) was more popular, as THE GIVER of course was more challenging. Nice parallel and differentiation here Joel.
Hi! Allan, Sam Juliano, and WitD readers…
Nice Nearlies!… of 50 round-up!
Allan Fish said,”Here we go again, the next best 50. No 50 begins the countdown tomorrow.”
100 Donnie Brasco: director’s cut (US 1997/2007…Mike Newell)
96 JFK: director’s cut (US 1991/1992…Oliver Stone)
82 Clueless (US 1995…Amy Heckerling)
81 Dark City: the director’s cut (US/Australia 1998/2008…Alex Proyas)
80 Cyrano de Bergerac (France 1990…Jean-Paul Rappeneau)
78 Election (US 1999…Alexander Payne)
76 Toy Story 2 (US 1999…John Lasseter, Ash Brannon)
71 Hamlet (UK 1996…Kenneth Branagh)
66 La Reine Margot: Version Longue (France 1994…Patrice Chereau)
65 Groundhog Day (US 1993…Harold Ramis) Wayyyy too Funny!…LOL!
61 The Remains of the Day (UK 1993…James Ivory)
59 Heat (US 1995…Michael Mann)
52 The Usual Suspects (US 1995…Bryan Singer)
51 Crash (Canada 1996…David Cronenberg)
These are a couple of films that I have watched or will be watching soon!
Thanks for sharing Allan,…as usual.
DeeDee
I see five here that are absolute locks for my list (some very high) and a few that have the chance to make my list, so I’ll be interested to see how things play out.
“These are a couple of films that I have watched or will be watching soon!…
Thanks for sharing Allan,…as usual.
Well, that is if No#66 is available on DVDs or will be shown on cable television (Which of course…I don’t usually watch, but if I have to I guess that I have to watch it on cable television.) anytime in the “near” future.
DeeDee
Also let me be on the record as predicting, based on getting a feel for Allan’s aesthetic, on the fact that Allan was a teenager and young adult during this period, and on the basis of his nearlies, that the list will be an interesting mix of esoteric fare and mainstream populism – probably more so than any decade since the 50s (and that’s not really analogous, since once-”mainstream” films like Rear Window have been celebrated by scholars and aesthetes for decades now; popular 90s films have not quite reached that acceptance yet, if they ever will).
I’m also looking for our first (and probably only) Fish-on-Spielberg essay – knowing that he holds Schindler’s List to be the best of the director’s films, and seeing as it’s not on the nearlies (whereas E.T. was, and quite highly placed) I’m guessing it will place, probably near the back end of the list. A very interesting discussion will ensue, I’m sure, of which we’ve already seen premonitions in past threads.
No Joel, I would be shocked if SCHINDLER didn’t place in his Top 15, knowing what I do of Allan’s regard for it.
Good observation. You are the reincarnated soul of Sherlock Holmes.
Yes, Sam truly does redefine the term “elementary”
Ha!
I am on pins and needles. My kidney stone procedure is scheduled for Wednesday, November 21. I am gathering together blood work, EKG and urine tests in preparation for what will surely be a painful post-op experience according to a number of people who have had this done.
Sam, a piece of advice.
Visualise the operation before you go to bed every night. Go though it in as much deatil as possible. Say to yourself ‘the surgeon and I are colleagues and working together. My body is utterly relaxed, in fact so realxed that it feels like it’s floating on water during a summers day. Visualise the knife going through your skin – like a hot knife through butter – but you being utterly content and actually says it’s like a hot knife through butter. I find out from the people and Drs, how they would like you body to react and what the usual problems are. Say people usually don’t go eat post-op, visualise yourself eating and having a great appetite.
The reason I say this is the findings that I discovered in a book by a dr called ‘the power of your subconscious mind’. He was curious as to why, after the anaestitic had been applied and the person was knocked out AND tehn given further muscles relaxents, their bodies still tensed up during the operation. This led to more blood lose and scarring and the usual post-op lack of appetite, ect, ect.
Investigated and found that the subconcious is unable to distinguish between a surgeon’s scapel and a mugger’s knife. To it, both create a viscreal reaction that tenses up the body. Which means that more chemicals have to be administered….ect, ect.
The subconcious also, is aware of what going on and when people were hypnotised, they could recall the conversations taking place whilst they were knocked out on the operating table.
He then started to get his patients to visualise and LOOK forward to the operation. To think of themselves as colleagues with the surgeon, to look forward to the scapel. To visualise themselves eating well before and after the op and getting up to go to the tiolet, to feel, and see their body healing fast.
Do this just before you go to sleep and you will re-direct you subconscious to new ways to react.
His patients took less medication, healed faster with minimal scars, were up and about, were painfree and left hospital a good 6 or 7 days before others (measured in a control experiment) who’d had the same procedure.
Bobby, your advice here is simply extraordinary. Though there won’t be any “cutting” here (it is a “procedure”) most people do admit there is a day of pain as the stones are expelled via “you know where.” One of our voters here at the site, my cousin Douglas T. McCartney, had this exact procedure done four years ago, ad he spelled out to me what to expect.
I will certainly ponder and process the sage suggestions here from that “power of the inconscious mind” volume you know so well, as you rightly note that the “mental outlook” is practically the entire battle. Thanks so very much my good friend.
I’ll defend Allan’s right to his opinions and choices. That said, this is a decade where many could have been juggled closer to the top. In the case of films like DONNIE BRASCO, JFK and GROUNDHOG DAY, they should be honored they made Allan’s cut at all. Not much to get into a twist about here. However, to me, their are two inexcusable entries I feel should have been placed MUCH higher. Abbas Kierastami’s TASTE OF CHERRY is one of those supremely perfect films; it boggles the mind to think it would be anyplace other than in top 10 range. David Fincher’s FIGHT CLUB solidified the directors standing as one of the new-comers in film-making who is now here to stay. Its a visually and metaphorically brilliant adaptation of one of the past two decades finest novels and, considering the way things play out in the world, looks more and more prophetic everyday. It proved Brad Pitt is far more than a pretty face and it is, quite possibly, the best gay themed movie of the past 20 years.
dennis:
Well said in regards to FIGHT CLUB. I couldn’t agree more. It is really quite a brilliant film for all the reasons you stated and has aged very well, esp. in light of how our culture has mutated since then.
I would have/will ranked JFK much higher. I think that it is quite an accomplishment, not just technically but in the way it tapped into the culture zeitgeist. Whether you agree with Stone’s theories or not, the film is still a helluva thriller.
Agreed, J.D. I have no attachment to FIGHT CLUB, DONNIE BRASCO, or GROUNDHOG DAY, but completely disagree with dennis concerning JFK. The only question for me regarding that film is which of my top 3 spots it takes. I think his theories are untrue, but as you say, it’s one hell of a “what if?” thriller.
J.D.:
I have tried to post at your site a number of times (Radiator Heaven) dating back months. I like you and have not avoided you, but your restrictions on commenters keeps preventing my comments from going through.
Sam,
You should be able to leave comments on my blog now. I look forward to hearing from you!
Yes Joel, I agree.. I’m dying to hear AllanKs take on a Spielberg film for the first, and probably only, time in his count-downs. However, I think, although I could be very wrong, that Allan will NOT position SCHINDLERS LIST any lower than the 12th position and I’m crossing my fingers it places even higher than that. In my humble opinion, and as my up-coming personal list will show, I think SCHINDLERS LIST to be the finest AMERICAN film of this decade. Quibble all you guys want to about the “sentimental” ending, what goes before it ranks as some of the finest film-making Hollywood has EVER produced. That this film was directed by Spielberg only makes it more amazing. He took the freneticism of his action films and applied it to moments in SL that now defy imagination. The black and white photography, perfect editing, supreme performances and gut wrentching honest delivered Spielberg, finally, as an auteur to be respected and studied. Its an unforgettable experience.
J.D.-Im with you on looking at JFK as an expertly executed thriller. But, considering the rash of great films coming from every direction in every year of this decade I just don’t think the film warrants such a high placement. I agree with some of Stone’s theories (cross triangulation? ABSOLUTELY!) and I agree the film is a visual and audio orgasm. Considering, however, the films that were emmerging thisdecade that were truly breaking ground (TOY STORY, PULP FICTION) or perfecting older sensibilities (THE MADNESS OF KING GEORGE, THE ICE STORM), I just feel there is not enough room for a film like JFK. IMO.
Hi! Bobby J.,
Thanks, for taking the time and being very considerate and giving what sounds to me like very good advice to Sam Juliano, concerning his health issue that he have decided to share with his readers here at Wonders in the Dark.
Personally, I have been trying to put him at ease as much as possible. Especially, when it comes to his medical issue, but since I don’t know anyone personally, that had to undergo this type of procedure…it have been very difficult for me to “understand” and “explain” what “feelings” or “thoughts” Sam Juliano, should feel and think as he prepare for this operation.
I think that you have succeeded were I have not been able to…in explaining to Sam Juliano, what steps he should take to place him somewhat at ease as he prepare to undergo this procedure.
Thank-you very much
DeeDee
God if you aren’t the most beautiful person who has ever walked this earth Dee Dee. I am tearing up reading this.
Entries that surprised me:
92 Singles (US 1992…Cameron Crowe) : Maybe I’m too young to appreciate the Gen-X romance or musical-appreciation of this flick, but this movie seems to me the same sentimental fare as all Crowe’s features, only without the memorable moments of “Jerry Maguire” or “Almost Famous”. Then again, maybe that’s a good thing, as I hate both those movies with a passion.
82 Clueless (US 1995…Amy Heckerling) : Okay, I know how people admire this as a modern-day update of the matchmaking farce of “Emma”, but I just don’t get this movie. Heckerling’s never made anything I’ve been willing to sit through past age 10– I was 11 when this came out, so I guess that just means it wasn’t for me.
76 Toy Story 2 (US 1999…John Lasseter, Ash Brannon) : I was not aware that anybody saw this movie as anything more than a work of cash-gambit profiteering. Very odd to see a movie that was first planned as a direct-to-video sequel reach anybody’s top ten, but there it is.
Movies I can appreciate, but wouldn’t list myself– “Dark City” (interesting film, but even in its director’s cut it’s sort of a mess), “Groundhog Day” (a great little Capra-esque comedy, only without Capra’s blind optimism) and “The Usual Suspects” (the best of all the 90′s “switcheroo” ending movies, and one that can live on beyond the cat’s escape from the bag, unlike aimless fare like “The Crying Game” or “The Sixth Sense”). Somewhat disappointed to see “JFK”, “Crash” and especially “Heat” so low as to miss the official list, but not exactly surprised.
*anybody’s top-hundred, I should say.
I’m also wrestling with Johnathan Demme’s THE SILENCE OF THE LAMBS. On the surface this is as slick a horror/thriller ever made. Tremendous performances by everyone. Tak Fujimoto’s cinematography captures all the orange and red glowed gothic nostalgia that one associates with the back-water states the main action takes place in and Ted Tally’s script evenly irons the spars between the beauty and the beast. However, while the film has all this going for it I cannot see a real heart and aside from its technical brilliance see it as nothing more than a roller-coaster ride. The question is: Does a well made rollercoaster ride warrant displacing deeper films from the top slot?
I just noticed “Fucking Amal” on here, which I recently saw in preparation for a slant review of Moodysson’s “Mammoth”. Both that film and the subsequent “Together” are quite artful, likeable displays of optimism — I was pleasantly surprised by the concise poeticism of both. Good show!
Hey Jon! I look forward to that upcoming Slant review, which reminds me that I need to get over to Aspiring Sellout pronto to see what you’re up to, my very good friend. I did see Moodyson’s TOGETHER, but not AMAL, which Allan as you note is a champion of. TOGETHER is certainly what you say it is.
Hey Sam, the review for “Mammoth” went up a while ago — you can check it out here: http://www.slantmagazine.com/Film/film_review.asp?ID=4656
I wasn’t thrilled with it.
As for “Amal”, you should definitely check it out. It’s the only film I’ve ever seen that limned the “lesbian high school” milieu with any tact or sensitivity. It’s quite a tender movie (the kind of stuff Cameron Crowe probably wishes he could do) and not at all preachy or cloying.
Sam you have AMAL, it’s just that you only know it by the awful US title Show Me Love.
Whoops, the link got messed up. Try: http://www.slantmagazine.com/Film/film_review.asp?ID=4656
Jon, I am going to this link right now. Thanks for sending it.
JON!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
In view of Allan just said above, i am red-faced!!!
SHOW ME LOVE is a film I have promoted, it is a film I LOVE, it is a film that made my Top 10 of its year of release, and it’s one of the two best contemporary lesbian-themed films ever.
I am flabberghasted!
Ha! Glad to hear you enjoyed, Sam. It’s a great film.
“It’s also scenes like these that remind us that Moodysson is better at rendering the multitudinous mechanics of relationships than he is at fashioning those relationships into emblems; it’s the dissection of archetype rather than the assembly of allegory that defines his elusive gift. As such, it’s hard not to miss the trenchancy of his early work—the smirking, satirical……”
Jon, would be place SHOW ME LOVE within this pantheon? In any case I understand your issues of superficiality (and I needed to read this review twice, the second time intensely as you are not the easiest person to read, but therein lies your signature brilliance of course) and I kmust confess that I could NOT take A HOLE IN MY HEART. It reminded me of SWEET MOVIE. I think our man lost it there. Nasty stuff there! And this is coming from a man who loved SALO! Go figure. Well i have my reasons.
Actually, I’m a bit embarrassed by how dense my writing can get at times, but thanks for slogging through it, Sam.
Moodysson is an odd character — he made one nearly perfect film (Amal) and one veritable masterpiece (Together) and then delved into nastiness, as you say. “Lilya 4-ever” was just ok, “Hole” was awful, and “Container” was wanna-be Lynch/Maddin type stuff. He seems to be getting back on track with “Mammoth,” but I still miss the loving sarcasm of his first two films. It’s amazing how many clichés he was able to tork to trenchancy even in his debut (his mother/daughter relationships, in particular, are somehow both blithely unconventional and palpably universal–something he once again explores in “Mammoth” with marginal success).
I love “Salo,” too. I view it as a kind of perverse political opera where the characters fornicate (and etc) instead of singing. As engrossing as it is gross.
“Engrossing as it is gross!”
Aye! What a superb round-up of Moodyson’s strengths, weaknesses and comeback. Can’t say I disagree with any of what you say, though I didn’t see CONTAINER or MAMMOTH. I’ll have to add the former to netflix, and wait on MAMMOTH.
Jon, I loved your Stan Freberg clip at aspiring.sellout!
I am leaving the house now to head into Manhattan with Lucille and Broadway Bob to see UP IN THE AIR at Union Square. Friday traffic is always real heavy, especially as we approach th eholidays, so I must leave now to make the 8:20, with parking as another complication.
I plan to check out those three Slant reviews you have posted at AS, but, I must ask you why the full reviews don’t appear to be posted as AS as they were on a link at The Powerstrip. Am I reading this wrong?
Thanks, Sam. I will have to see “Up in the Air” at some point as well…
Re: Aspiring Sellout. The full text of my Slant reviews can be read via hotlinks, as at the Powerstrip. The difference is that at the new blog the titles of the blog posts themselves link to Slant. So, just for example, to read my review of “The Strip,” you’d click on where it reads “The Strip (Slant Magazine Review) **” in large letters. A little confusing, I know…I should write something like “click title for full review” on these posts.
From the 1990s, I would suggest, you missed a “best” film: Olivier, Olivier. I wish I could I get it in DVD, but I have been unable to attain a copy. If you haven’t seen it, Movie-buff, I suggest you do; if you have and didn’t include it on purpose, that’s a shame.
Happpy New Year,
Darrell Chippeway
Happy New Year to you Darrell!
The lists on the sidebar were written by Allan Fish. Like you I am a big fan of Ms. Holland’s OLIVIER OLIVIER (perhaps even more than I am of her EUROPA EUROPA) but that doesn’t mean it’s revered by others, including Allan.
Thanks for stopping by!