Category: Writing

“Everything Stuck to Him” Raymond Craver HELP!!!! Please
Why does the young woman ask the narrator for stories about her childhood in “Everything Stuck to Him”?
a. She wants to learn more about her parents.
b. She is unsure about where she grew up.
c. She is writing a book about her youth.
d. She likes to hear the narrator talk.
What is most likely the reason the narrator in “Everything Stuck to Him” doesn’t want to tell a story to the young woman?
a. He is afraid she will laugh at him.
b. He is shy about speaking aloud.
c. He wants to forget the past.
d. He is suspicious of her.
In “Everything Stuck to Him,” why are the boy and girl awake most of the night before the boy’s hunting trip?
a. The girl is ill.
b. They have to work.
c. Their baby is crying.
d. Their neighbors are noisy.
In “Everything Stuck to Him,” what does the boy’s interaction with his baby daughter reveal most clearly about his personality?
a. He is nervous.
b. He cares about the baby.
c. He is distant from his wife.
d. He dislikes helping with the baby.
What is the young woman’s reaction to the narrator’s story in “Everything Stuck to Him”?
a. She cries.
b. She is angry.
c. She ignores him.
d. She is interested.
Which of the following would an artist most likely draw if she were sketching waterfowl for a scientific magazine?
a. a duck
b. an alligator
c. a mosquito
d. an evergreen
Where would a letterhead most likely be found?
a. on the front part of a ship
b. as the credit for a news article
c. at the top of a mailed message
d. at the bottom of an email note
If a day can correctly be described as overcast, what must it be like?
a. cloudy
b. snowy
c. clear
d. hot
When the narrator in “Everything Stuck to Him” describes the young woman as a “survivor from top to bottom,” what does he mean?
a. She is a tall woman.
b. She has survived a car accident.
c. She handles adversity successfully.
d. She will live longer than the narrator.
The following question has two parts. Answer Part A first, and then Part B. Part A Which statement expresses the best conclusion to be drawn about the couple whose story is told in “Everything Stuck to Him”?
a. They live overseas in Milan, Italy.
b. They are fairly young to have just had a child.
c. They are the daughter and son-in-law of a successful dentist.
d. They have both grown quite confident in their child-raising skills.
Part B Which of these excerpts from “Everything Stuck to Him” best supports the answer to Part A?
a. She’s in Milan for Christmas and wants to know what it was like when she was a kid.
b. They were kids themselves, but they were crazy in love, this eighteen-year-old boy and this seventeen-year-old girl when they married. Not all that long afterwards they had a daughter.
c. Each night they cleaned the dentist’s place upstairs in exchange for rent and utilities. In summer they were expected to maintain the lawn and the flowers. In winter the boy shoveled snow and spread rock salt on the walks.
d. Let’s say the baby was about three months old and had only just begun to sleep through the night.
The following question has two parts. Answer Part A first, and then Part B. Part A In “Everything Stuck to Him,” how did the husband most clearly feel about the incident with the plate of waffles and bacon?
a. He found the incident surprisingly romantic.
b. He found the incident rather humorous.
c. He found the incident quite painful.
d. He found the incident infuriating.
Part B Which of these passages from “Everything Stuck to Him” best supports the answer to Part A?
a. She took the bacon out of the pan and made waffle batter. He sat at the table and watched her move around the kitchen.
b. She put a plate in front of him with bacon, a waffle. He spread butter and poured syrup.
c. The boy looked down at himself, at everything stuck to his underwear. I was starved, he said, shaking his head.
d. But he stays by the window, remembering. They had laughed. They had leaned on each other and laughed until the tears had come….
To what is the narrator most likely referring when he speaks in this excerpt from “Everything Stuck to Him”? Things change, he says. I don’t know how they do. But they do without realizing it or wanting them to.
a. his relationship with his wife

“If I Forget Thee, Oh Earth…”
by Arthur C. Clarke
When Marvin was ten years old, his father took him through the long, echoing corridors that led up through Administration and Power, until at last they came to the uppermost levels of all and were among the swiftly growing vegetation of the Farmlands. Marvin liked it here: it was fun watching the great, slender plants creeping with almost visible eagerness toward the sunlight as it filtered down through the plastic domes to meet them. The smell of life was everywhere, awakening inexpressible longings in his heart: no longer was he breathing the dry, cool air of the residential levels, purged of all smells but the faint tang of ozone. He wished he could stay here for a little while, but Father would not let him. They went onward until they had reached the entrance to the Observatory, which he had never visited: but they did not stop, and Marvin knew with a sense of rising excitement that there could be only one goal left. For the first time in his life, he was going Outside. There were a dozen of the surface vehicles, with their wide balloon tires and pressurized cabins, in the great servicing chamber. His father must have been expected, for they were led at once to the little scout car waiting by the huge circular door of the airlock. Tense with expectancy, Marvin settled himself down in the cramped cabin while his father started the motor and checked the controls. The inner door of the lock slid open and then closed behind them: he heard the roar of the great air pumps fade slowly away as the pressure dropped to zero. Then the “Vacuum” sign flashed on, the outer door parted, and before Marvin lay the land which he had never yet entered. He had seen it in photographs, of course: he had watched it imaged on television screens a hundred times. But now it was lying all around him, burning beneath the fierce sun that crawled so slowly across the jet-black sky. He stared into the west, away from the blinding splendor of the sun—and there were the stars, as he had been told but had never quite believed. He gazed at them for a long time, marveling that anything could be so bright and yet so tiny. They were intense unscintillating points, and suddenly he remembered a rhyme he had once read in one of his father’s books: Twinkle, twinkle, little star, How I wonder what you are. Well, he knew what the stars were. Whoever asked that question must have been very stupid. And what did they mean by “twinkle”? You could see at a glance that all the stars shone with the same steady, unwavering light. He abandoned the puzzle and turned his attention to the landscape around him. They were racing across a level plain at almost a hundred miles an hour, the great balloon tires sending up little spurts of dust behind them. There was no sign of the Colony: in the few minutes, while he had been gazing at the stars, its domes and radio towers had fallen below the horizon. Yet there were other indications of man’s presence, for about a mile ahead Marvin could see the curiously shaped structures clustering around the head of a mine. Now and then a puff of vapor would emerge from a squat smokestack and would instantly disperse. They were past the mine in a moment: Father was driving with a reckless and exhilarating skill as if—it was a strange thought to come into a child’s mind—he was trying to escape from something. In a few minutes, they had reached the edge of the plateau on which the Colony had been built. The ground fell sharply away beneath them in a dizzying slope whose lower stretches were lost in shadow. Ahead, as far as the eye could reach, was a jumbled wasteland of craters, mountain ranges, and ravines. The crests of the mountains, catching the low sun, burned like islands of fire in a sea of darkness: and above them, the stars still shone as steadfastly as ever. There could be no way forward—yet there was. Marvin clenched his fists as the car edged over the slope and started the long descent. Then he saw the barely visible track leading down the mountainside and relaxed a little. Other men, it seemed, had gone this way before. Night fell with a shocking abruptness as they crossed the shadow line and the sun dropped below the crest of the plateau. The twin searchlights sprang into life, casting blue-white bands on the rocks ahead so that there was scarcely a need to check their speed. For hours they drove through valleys and past the foot of mountains whose peaks seemed to comb the stars, and sometimes they emerged for a moment into the sunlight as they climbed over higher ground. And now on the right was a wrinkled, dusty plain, and on the left, its ramparts and terraces rising mile after mile into the sky was a wall of mountains that marched into the distance until its peaks sank from sight below the rim of the world. There was no sign that men had ever explored this land, but once they passed the skeleton of a crashed rocket, and beside it a stone cairn surmounted by a metal cross. It seemed to Marvin that the mountains stretched on forever: but at last, many hours later, the range ended in a towering, precipitous headland that rose steeply from a cluster of little hills. They drove down into a shallow valley that curved in a great arc toward the far side of the mountains: and as they did so, Marvin slowly realized that something very strange was happening in the land ahead. The sun was now low behind the hills on the right: the valley before them should be in total darkness. Yet it was awash with a cold white radiance that came spilling over the crags beneath which they were driving. Then, suddenly, they were out in the open plain, and the source of the light lay before them in all its glory. It was very quiet in the little cabin now that the motors had stopped. The only sound was the faint whisper of the oxygen feed and an occasional metallic crepitation as the outer walls of the vehicle radiated away their heat. For no warmth at all came from the great silver crescent that floated low above the far horizon and flooded all this land with pearly light. It was so brilliant that minutes passed before Marvin could accept its challenge and look steadfastly into its glare, but at last, he could discern the outlines of continents, the hazy border of the atmosphere, and the white islands of cloud. And even at this distance, he could see the glitter of sunlight on the polar ice. It was beautiful, and it called to his heart across the abyss of space. There in that shining crescent were all the wonders that he had never known—the hues of sunset skies, the moaning of the sea on pebbled shores, the patter of falling rain, the unhurried benison of snow. These and a thousand others should have been his rightful heritage, but he knew them only from the books and ancient records and the thought filled him with the anguish of exile. Why could they not return? It seemed so peaceful beneath those lines of marching cloud. Then Marvin, his eyes no longer blinded by the glare, saw that the portion of the disk that should have been in darkness was gleaming faintly with an evil phosphorescence: and he remembered. He was looking upon the funeral pyre of a world—upon the radioactive aftermath of Armageddon. Across a quarter of a million miles of space, the glow of dying atoms was still visible, a perennial reminder of the ruinous past. It would be centuries yet before that deadly glow died from the rocks and life could return again to fill that silent, empty world. And now Father began to speak, telling Marvin the story which until this moment had meant no more to him than the fairy tales he had once been told. There were many things he could not understand: it was impossible for him to picture the glowing, multicolored pattern of life on the planet he had never seen. Nor could he comprehend the forces that had destroyed it in the end, leaving the Colony, preserved by its isolation, as the sole survivor. Yet he could share the agony of those final days when the Colony had learned at last that never again would the supply ships come flaming down through the stars with gifts from home. One by one the radio stations had ceased to call: on the shadowed globe the lights of the cities had dimmed and died, and they were alone at last, as no men had ever been alone before, carrying in their hands the future of the race. Then had followed the years of despair, and the long-drawn battle for survival in this fierce and hostile world. That battle had been won, though barely: this little oasis of life was safe against the worst that Nature could do. But unless there was a goal, a future toward which it could work, the Colony would lose the will to live, and neither machines nor skill nor science could save it then. So, at last, Marvin understood the purpose of this pilgrimage. He would never walk beside the rivers of that lost and legendary world, or listen to the thunder raging above its softly rounded hills. Yet one day—how far ahead?—his children’s children would return to claim their heritage. The winds and the rains would scour the poisons from the burning lands and carry them to the sea, and in the depths of the sea, they would waste their venom until they could harm no living things. Then the great ships that were still waiting here on the silent, dusty plains could lift once more into space, along the road that led to home. That was the dream: and one day, Marvin knew with a sudden flash of insight, he would pass it on to his own son, here at this same spot with the mountains behind him and the silver light from the sky streaming into his face. He did not look back as they began the homeward journey. He could not bear to see the cold glory of the crescent Earth fade from the rocks around him, as he went to rejoin his people in their long exile.
Direction: Read Arthur C. Clark’s If I Forget Thee o Earth Clark. Answer the following questions.
What is the readers’ initial impression of this work?
What is the genre of this selection?
What is the exposition of the story? What is the rising action or actions in this story? What is the climax of this selection? What is the falling action in the story? What is the denouement in

Which two universal ideas will most likely represent the message that resonates with the students of Moscow state university?
In his “Address to Students at Moscow State University,” President Reagan expresses the idea that a new era is being ushered in by the power of human imagination. Which two universal ideas will most likely represent the message that resonates with the students of Moscow State University?
beauty of simplicity
the role of technology in society
individual versus society
change versus tradition
the disadvantages of materialism

Unit 3 DB: How do you respond to literature?
In this unit, you have read three famous stories/poems that were written by Hemingway, Frost, and Angelou. These writers use tone to express emotion and, thus, a message. Please read the following article on tone to help strengthen your responses in this discussion board:
?      Tone.
Literary Devices
Initial Response:
Select one of the stories/poems from this unit. In two strong paragraphs, explain how you think the tone of the story or poem influences the author’s message. Please make sure that you discuss what you consider to be the tone of your chosen story or poem as you discuss the way tone and the message of the story/poem are connected. Use some text examples to support your response. At the end of your initial post, please pose a question regarding the tone and message of the story to your classmates.
Responses:
In your responses consider this question: How is your interpretation of the tone of the story or poem different than other interpretations? Also, make sure to answer the questions your classmates included at the end of their posts.

Please answer these questions from A Brief History of Summer Vacation By Jackson Murphy on commonlit
What is the central idea of the article?
A. Summer vacation culture was created when leisure became profitable and accessible to more people.
B. Low paid seasonal workers were the only group who didn’t benefit from summer vacations.
C. Vacations happened in the summer because that was when it was the hottest.
D. Summer vacation was created by advertisers and artists to make money.
What connection does the author draw between unionization and summer vacation?
A. Labor unions wanted members to spend their money on summer vacations.
B. Labor unions encouraged their members to go away for vacations instead of staying local.
C. Unionized employees were overworked and underpaid so were unable to take summer vacations.
D. Unionized employees benefited from changes and were able to pursue leisure activities like summer vacations.
How does the author use Paragraph 7 to refine their ideas?
A. It highlights that summer vacations were dependent on an individual having the time and finances for leisure activities, which often did not include working-class black people.
B. It explains how the work opportunities created by summer vacation culture helped working-class black Americans build their resumes and wealth.
C. It demonstrates that summer vacations were a choice, and many Americans chose not to enjoy one because they preferred to work.
D. It emphasizes how the lack of unionization amongst working-class black people impacted their ability to enjoy summer vacations.
Which quote best captures the author’s point of view in the article?
A. “The first vestiges of summer began in the decades before the American Civil War when only the wealthiest class of antebellum elites vacationed in resort towns like Newport, Rhode Island and Saratoga, New York.” (Paragraph 2)
B. “By the turn of the 20th century, summertime became further embedded in American popular culture as advertisers, musicians, and authors used the season as a way of telling stories, often with themes of nostalgia and romance.” (Paragraph 5)
C. “Yet even when summer trips to the beach began making waves through American culture, many working-class black people traveled to the nation’s growing beach resorts as employees rather than as guests.” (Paragraph 7)
D. “This history reveals summer to be more than just a few hot months of the calendar year, but a cultural phenomenon that sticks with us today through the interplay of capitalism and leisure.” (Paragraph 8)
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This passage is from Oliver Twist by Charles Dickens. The novel tells the story of Oliver, an orphan boy who, at the age of nine, is taken to a work house where children are mistreated and poorly fed. Dickens uses Oliver’s suffering to criticize Victorian society.
1 The room in which the boys were fed, was a large stone hall, with a copper at one end: out of which the master, dressed in an apron for the purpose, and assisted by one or two women, ladled the gruel at mealtimes. Of this festive composition each boy had one porringer, and no more—occasion 5 of great public rejoicing, when he had two ounces and a quarter of bread besides. The bowls never wanted washing. The boys polished them with their spoons till they shone again; and when they had performed this operation (which never took very long, the spoons being nearly as large as the bowls), they 10 would sit staring at the copper, with such eager eyes, as if they could have devoured the very bricks of which it was composed; employing themselves, meanwhile, in sucking their fingers most assiduously, with the view of catching up any stray splashes of gruel that might have been cast thereon. Boys have generally excellent appetites. Oliver Twist and his companions 15 suffered the tortures of slow starvation for three months: at last they got so voracious and wild with hunger, that one boy, who was tall for his age, and hadn’t been used to that sort of thing (for his father had kept a small cook-shop), hinted darkly to his companions, that unless he had another basin of gruel per diem, he was afraid he might some night happen to eat the boy who 20 slept next him, who happened to be a weakly youth of tender age. He had a wild, hungry eye; and they implicitly believed him. A council was held; lots were cast who should walk up to the master after supper that evening, and ask for more; and it fell to Oliver Twist. The evening arrived; the boys took their places. The master, in his cook’s 25 uniform, stationed himself at the copper; his pauper assistants ranged themselves behind him; the gruel was served out; and a long grace was said over the short commons. The gruel disappeared; the boys whispered each other, and winked at Oliver; while his next neighbors nudged him. Child as he was, he was desperate with hunger, and reckless with misery. He rose 30 from the table; and advancing to the master, basin and spoon in hand, said: somewhat alarmed at his own temerity: “Please, sir, I want some more.”
The master was a fat, healthy man; but he turned very pale. He gazed in stupefied astonishment on the small rebel for some seconds, and then clung 35 for support to the copper. The assistants were paralyzed with wonder; the boys with fear. “What!” said the master at length, in a faint voice.
“Please, sir,” replied Oliver, “I want some more.”
The master aimed a blow at Oliver’s head with the ladle; pinioned him in his 40 arm; and shrieked aloud for the beadle. The board were sitting in solemn conclave, when Mr. Bumble rushed into the room in great excitement, and addressing the gentleman in the highchair, said, “Mr. Limbkins, I beg your pardon, sir! Oliver Twist has asked for more!”
There was a general start. Horror was depicted on every countenance. “For more!” said Mr. Limbkins. “Compose yourself, Bumble, and answer me distinctly. Do I understand that he asked for more, after he had eaten the supper allotted by the dietary?”
“He did, sir,” replied Bumble.
“That boy will be hung,” said the gentleman in the white waistcoat. “I know that boy will be hung.”
9. “Countenance” is a word that has several definitions. Based on the context of the passage, the meaning the author intended in line 45 is:
A. face.
B. approval.
C. calm expression.
D. mental composure.
(2 Points)
A
B
C
D
10. The historical context of the setting as it is described in lines 1-23 most influences the plot by:
F. enabling readers to imagine what the workhouse’s dining hall looked like.
G. helping readers understand how orphans were treated in this time and place.
H. demonstrating the efficiency of the staff that served the orphans at mealtimes.
J. explaining how food was usually distributed to the children at the workhouse.
(2 Points)
F
G
H
J
11. Which of the following events from the passage most strongly develops Dickens’s theme of his society’s failure to care for orphans?
A. The other boys bully Oliver into asking for more food.
B. The master tries to hit Oliver after he asks for more food.
C. Mr. Limbkins asks Mr. Bumble to repeat Oliver’s request.
D. One of the men on the board predicts that Oliver will be hanged.
(2 Points)
A
B
C
D
12. Which characterization most vividly explains why Oliver dares to ask for more food?
F. “The boys polished them with their spoons till they shone again” (line 7)
G. “Boys have generally excellent appetites.” (line 13)
H. “He had a wild, hungry eye; and they implicitly believed him.” (line 20)
J. “he was desperate with hunger, and reckless with misery.” (line 29)
(2 Points)
F
G
H
J
13. How does Dickens’s description of the dining hall in the first sentence of the passage help develop the conflict?
A. It emphasizes the master’s cruelty.
B. It highlights the children’s hunger.
C. It suggests that the master holds all of the power.
D. It explains why the workhouse provides poor meals.
(2 Points)
A
B
C
D
14. Which of the following best describes the relationship among characterization, setting, and plot in lines 14-21 (“Oliver Twist…believed them.”)?
F. The boys’ appetites while living in such meager conditions prevents them from taking action that would move the plot forward.
G. The insanity of the tall boy brought on by

Please answer these questions from the real cost of cheap fashion on common lit
Image transcription text
prepares I0 snare your angina: HIGHS “I a (.1055 HISCHSSIUH. 1. What information in this article surprised you the most? Why? 2. Think about how making cheap clothes puts people and the environment in danger. Does this make you want to change how you shop? If so, how? 3. The author says that everyone must play a role to create change in this situation. What role can you play? How can you teach other people to help make a difference?
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Image transcription text
Library Research Tutorial Self Assessment Module 1. To check out library books, you need:” [required) your birth certificate your Social Security Card your hunting license your FLCC ID card none of the above Module 1. Students may check out books from the Main Collection for:* (required) 7 days 14 days 21 days 30 days none of the above Module 1. If you need the book The color encyclopedia of hostas, and the call number is * SB413.H73 G73 2004, where would you find this book in the FLCC Library? See Stack Guide” (required) O Reference Collection, 2nd floor O Oversized Collection, 1st Foot O Main Collection, 1st floor O Periodicals. 3rd floor Module 2. A book review is an example of a(n)* (required) O primary source secondary source encyclopedia article government document Module 2. The FLCC library catalog allows you to search for:* (required) books O maps DVDS O all of the above Module 2. The best type of source for brief, general treatment of a subject is:” (required) O a primary source an encyclopedia article O a periodical article a book Module 3. Go to the Master Database List: https://libguides.flcc.edu/databases (“Research Databases” from the library home page) and look at the Comprehensive Databases. What is the first database listed?* (required ABVInform Global O Academic OneFile Lexis Uni Computer Source Module 3. If you were going to search a research database, which search statement is most appropriate for the following question? “How does social adjustment relate to family relations?”* (required) social AND adjustment family relations AND social adjustment O family OR relations OR social adjustment
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Don’t Look Back Now is the story of Keisha (Joy Taylor), a woman who has moved across country to escape her creepy ex-boyfriend stalker, Tom (Kevin Highsmith). However, mysterious things keep happening to the people in Keisha’s life, and the authorities don’t believe her. But there’s one thing nobody knows – she’s got a secret that will make anyone coming to harm her regret it – especially Tom. This thriller is an exciting roller coaster ride that constantly keeps the audience guessing. Director Juliette Cho knows exactly how to manipulate the camera to capture every shadow and peripheral movement, keeping the viewer on edge. The close-up shots feel claustrophobic, like the perspective is skewed. For any other movie this might be annoying, but for this one, it helps put the viewer in Keisha’s suspicious shoes very well. With a running time of 98 minutes, the pacing is quick and efficient, and Cho uses cinematography deftly to show the quick and jerky passage of time from Keisha’s perspective. The performances are rock solid all the way through. Joy Taylor is brittle and violent, simmering below the surface with rage. You can see the toll this stalking experience has had on her in every twitch of her eye and clench of her jaw. The strength she displays once the film shifts into the darker, triumphant second act is a wonder to behold. Kevin Highsmith gives off just the right vibe of charming and sinister as Tom, effortlessly shifting his entire performance between sweet and suddenly dangerous. This is a tense thrill ride that will not disappoint fans of Joy Taylor or this genre in general. You can find Don’t Look Back Now at the Main Street Metroplex 12 and the Movie Palace 20 starting Friday.
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Don’t Look Back Now is the story of Keisha (Joy Taylor), a woman who has moved across country to escape her creepy ex-boyfriend stalker, Tom (Kevin Highsmith). However, mysterious things keep happening to the people in Keisha’s life, and the authorities don’t believe her. But there’s one thing nobody knows – she’s got a secret that will make anyone coming to harm her regret it – especially Tom. This thriller is an exciting roller coaster ride that constantly keeps the audience guessing. Director Juliette Cho knows exactly how to manipulate the camera to capture every shadow and peripheral movement, keeping the viewer on edge. The close-up shots feel claustrophobic, like the perspective is skewed. For any other movie this might be annoying, but for this one, it helps put the viewer in Keisha’s suspicious shoes very well. With a running time of 98 minutes, the pacing is quick and efficient, and Cho uses cinematography deftly to show the quick and jerky passage of time from Keisha’s perspective. The performances are rock solid all the way through. Joy Taylor is brittle and violent, simmering below the surface with rage. You can see the toll this stalking experience has had on her in every twitch of her eye and clench of her jaw. The strength she displays once the film shifts into the darker, triumphant second act is a wonder to behold. Kevin Highsmith gives off just the right vibe of charming and sinister as Tom, effortlessly shifting his entire performance between sweet and suddenly dangerous. This is a tense thrill ride that will not disappoint fans of Joy Taylor or this genre in general. You can find Don’t Look Back Now at the Main Street Metroplex 12 and the Movie Palace 20 starting Friday.
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Don’t Look Back Now is the story of Keisha (Joy Taylor), a woman who has moved across country to escape her creepy ex-boyfriend stalker, Tom (Kevin Highsmith). However, mysterious things keep happening to the people in Keisha’s life, and the authorities don’t believe her. But there’s one thing nobody knows – she’s got a secret that will make anyone coming to harm her regret it – especially Tom. This thriller is an exciting roller coaster ride that constantly keeps the audience guessing. Director Juliette Cho knows exactly how to manipulate the camera to capture every shadow and peripheral movement, keeping the viewer on edge. The close-up shots feel claustrophobic, like the perspective is skewed. For any other movie this might be annoying, but for this one, it helps put the viewer in Keisha’s suspicious shoes very well. With a running time of 98 minutes, the pacing is quick and efficient, and Cho uses cinematography deftly to show the quick and jerky passage of time from Keisha’s perspective. The performances are rock solid all the way through. Joy Taylor is brittle and violent, simmering below the surface with rage. You can see the toll this stalking experience has had on her in every twitch of her eye and clench of her jaw. The strength she displays once the film shifts into the darker, triumphant second act is a wonder to behold. Kevin Highsmith gives off just the right vibe of charming and sinister as Tom, effortlessly shifting his entire performance between sweet and suddenly dangerous. This is a tense thrill ride that will not disappoint fans of Joy Taylor or this genre in general. You can find Don’t Look Back Now at the Main Street Metroplex 12 and the Movie Palace 20 starting Friday.
Show less
Don’t Look Back Now is the story of Keisha (Joy Taylor), a woman who has moved across country to escape her creepy ex-boyfriend stalker, Tom (Kevin Highsmith). However, mysterious things keep happening to the people in Keisha’s life, and the authorities don’t believe her. But there’s one thing nobody knows – she’s got a secret that will make anyone coming to harm her regret it – especially Tom. This thriller is an exciting roller coaster ride that constantly keeps the audience guessing. Director Juliette Cho knows exactly how to manipulate the camera to capture every shadow and peripheral movement, keeping the viewer on edge. The close-up shots feel claustrophobic, like the perspective is skewed. For any other movie this might be annoying, but for this one, it helps put the viewer in Keisha’s suspicious shoes very well. With a running time of 98 minutes, the pacing is quick and efficient, and Cho uses cinematography deftly to show the quick and jerky passage of time from Keisha’s perspective. The performances are rock solid all the way through. Joy Taylor is brittle and violent, simmering below the surface with rage. You can see the toll this stalking experience has had on her in every twitch of her eye and clench of her jaw. The strength she displays once the film shifts into the darker, triumphant second act is a wonder to behold. Kevin Highsmith gives off just the right vibe of charming and sinister as Tom, effortlessly shifting his entire performance between sweet and suddenly dangerous. This is a tense thrill ride that will not disappoint fans of Joy Taylor or this genre in general. You can find Don’t Look Back Now at the Main Street Metroplex 12 and the Movie Palace 20 starting Friday.
Show less
Don’t Look Back Now is the story of Keisha (Joy Taylor), a woman who has moved across country to escape her creepy ex-boyfriend stalker, Tom (Kevin Highsmith). However, mysterious things keep happening to the people in Keisha’s life, and the authorities don’t believe her. But there’s one thing nobody knows – she’s got a secret that will make anyone coming to harm her regret it – especially Tom. This thriller is an exciting roller coaster ride that constantly keeps the audience guessing. Director Juliette Cho knows exactly how to manipulate the camera to capture every shadow and peripheral movement, keeping the viewer on edge. The close-up shots feel claustrophobic, like the perspective is skewed. For any other movie this might be annoying, but for this one, it helps put the viewer in Keisha’s suspicious shoes very well. With a running time of 98 minutes, the pacing is quick and efficient, and Cho uses cinematography deftly to show the quick and jerky passage of time from Keisha’s perspective. The performances are rock solid all the way through. Joy Taylor is brittle and violent, simmering below the surface with rage. You can see the toll this stalking experience has had on her in every twitch of her eye and clench of her jaw. The strength she displays once the film shifts into the darker, triumphant second act is a wonder to behold. Kevin Highsmith gives off just the right vibe of charming and sinister as Tom, effortlessly shifting his entire performance between sweet and suddenly dangerous. This is a tense thrill ride that will not disappoint fans of Joy Taylor or this genre in general. You can find Don’t Look Back Now at the Main Street Metroplex 12 and the Movie Palace 20 starting Friday.
Show less