Spider-Man Will Ditch Andrew Garfield, If Marvel Gets Him

If you follow superhero movie news, you’ve likely seen a recurring thought posted by people in comment sections and forums concerning Marvel superheroes currently residing at other film studios: "Give the rights back to Marvel!" With the success of the Marvel Cinematic Universe, many fans want these other studios to relinquish control of their superheroes and let them come home to Marvel, especially Spider-Man. The Wall-Crawler hasn’t been having the best time of it on film lately, and there have been several reports of Marvel and Sony discussing deals to share the character. One of these deals discussed between the studios would involve a 60/40 split of the character, with Marvel wanting to obtain complete creative control. If this deal were to go through the way Marvel wants it, they already have plans in store for Spider-Man that can be summarized in three words: a fresh start.

According to Latino Review, if Marvel Studios were to get the Web-Slinger back, current Spider-Man actor Andrew Garfield would be let go and the current Amazing Spider-Man film series would be deemed "non-canonical." The Marvel Studios Spider-Man films would forgo the traditional romance story and focus on the character’s struggles as both a teenager and a superhero, with romance only being a side-plot. Spidey’s origin story would also be glossed over, which makes sense. Aside from Batman and Superman, Spider-Man has the most recognizable origin story, and since it’s already been told in two movie series and several animated series, there’s no need to go over it again.

Back in October, there were rumblings that Marvel wanted Spider-Man to appear inCaptain America: Civil War, an adaptation of the 2006 crossover event that Peter Parker play an integral part in. Although it’s still possible that Spidey could be included in the 2016 blockbuster, there are currently no plans to add him on. With the mixed response that The Amazing Spider-Man 2 received, Sony Pictures has struggled with trying to revitalize the franchise, specifically by pushing back The Amazing Spider-Man 3 to 2018 and dedicating attention to spinoffs like Sinister Six. In fact, it was rumored that Sony themselves wanted to do a soft reboot of the Amazing Spider-Man series inSinister Six with Peter Parker being recast. Great minds think alike, eh? Obviously if Marvel gets control back of the character, all these spinoffs would be scrapped.

Although I haven’t cared for Garfield’s Peter Parker portrayal, I have enjoyed his Spider-Man persona much more than his predecessor. That being said, recasting the superhero is practically a given if Marvel gets him back. They need to distance themselves from the previous franchise, and keeping him only serves as a reminder of the past. Garfield left his mark on Spider-Man history, and another person would inherit the mask and web-shooters. Ideally we’d get someone who could play both Peter Parker and Spider-Man phenomenally.

Sony executives are going on a "Spider-summit" next month to discuss their plans for the Amazing Spider-Man series, so it will be awhile until we learn whether they want to team up with Marvel or keep playing the Spider game solo. As for Marvel, they have plenty of other characters to make into money-printing blockbusters, so while it would be nice if they got Spider-Man back, it’s not a necessity for them. If Sony decides to keep Spidey for themselves, we already know there will be at least one winner: Andrew Garfield. 

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Source: cinemablend.com

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SNL Martin Freeman makes "The office and "the Hobbit" sketch

Martin Freeman hosted Saturday Night Live last night and revisited two of his most beloved roles, Tim Canterbury in BBC’s The Office, and Bilbo Baggins in The Hobbit. Watch the hilarious sketch as Bilbo Baggins takes on his most terrifying journey yet, a day at The Office. 

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Top Five (2014) Movie review

Top Five movie review:

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8/10

Release Date: Dec 12, 2014

Director: Chris Rock

Genre(s): Comedy

Starring: Chris Rock, Gabrielle Union, Kevin Hart, Rosario Dawson

Summary: New York City comedian-turned-movie star Andre Allen (Chris Rock) tries to get his career back on track.

Review: There’s a lovely running gag—a jumping gag, actually—in Chris Rock’s gloriously funny “Top Five.” It is, quite intentionally, the only thing the writer, director and star doesn’t throw himself into with infectious joy. For the rest, Mr. Rock has made a pyrotechnic pinwheel of a personal comedy, and he’s had the wisdom to share it with a strong co-star. While he sends sparks flying every which way, Rosario Dawson keeps the story grounded in calm intelligence and classic romance.

Classic elements pop up often during this day in the life of Mr. Rock’s surrogate funnyman, Andre Allen. Back in an earlier day, Andre made his name as a stand-up comic in New York, but he doesn’t want to be funny any more. Much like the comedy-surfeited hero of Preston Sturges’s “Sullivan’s Travels,” he wants to do something serious, something meaningful: “I’m tellin’ you,” he says in the first line of the film, “everything means something.” He says it to Ms. Dawson’s Chelsea Brown., a New York Times writer who has come to interview him, at the start of the couple’s classic Woody Allen walk-and-talk through the streets of Manhattan.

“Top Five,” which borrows its title from our cultural addiction to taxonomic lists, borrows freely and gleefully from all sorts of sources, both reputable and dis. (The raunch quotient is substantial.) Yet the film feels freshly minted because the man who made it has such a lively mind and fearless style. At a time when all too many movies are selling bleakness and dysfunction, it also feels like a revenant from Hollywood’s golden age, when an entertainment’s highest function was to entertain.

The basic joke is that Andre has lost his sense of humor. There are serious reasons for this in a script that’s full of seriously familiar and occasionally creaky plot devices. Yet the joke gets steadily better as Andre’s dismay deepens. He can’t fathom the instant failure of his new film, a frenzied piece of absurdity about the slave rebellion that began in Haiti in the late 18th century. (Why wouldn’t mainstream audiences embrace a machete-wielding hero whose battle cry is “Kill the white man!”?) He’s terrified by the prospect of marrying a steely-eyed star of reality TV—she’s played stylishly by Gabrielle Union—in a wedding arranged by the Bravo Channel.

Through it all, though, Mr. Rock, his spirit as sweet and vulnerable as his tongue is sharp, delivers a dazzling succession of epigrams, one-liners and trenchant observations about contemporary life. (I refuse to quote, and spoil, a single one of them, but keep a lookout for an early moment devoted to the plight of a black man hailing a taxi in Manhattan.) And Ms. Dawson, whose character has suffered her own wounds, matches his barbed exuberance with a performance of remarkable clarity. A perfect foil, Chelsea lives in the really real world, and tells Andre the truth about it; she’s the dream girl he didn’t know he was looking for.

Part of the fun of “Top Five” is spotting celebs in cameo roles, so I won’t spoil any of that either. But there’s no need to search for Cedric the Entertainer, who plays a self-styled Houston bigshot; he is eminently visible, shriekingly audible and so far over the top—so coarsely and hilariously far—as to be beyond gravity’s pull. The cast includes Kevin Hart, Tracy Morgan and J.B. Smoove. Their work is first-rate too, reflecting Mr. Rock’s expert direction. In a film that’s fairly bursting with talent, he triumphs as the Top One.

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Source: wsj.com

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Inherent Vice (2014) Movie review

Inherent Vice movie review:

Rate: 8/10

Release Date: Dec 12, 2014

Director: Paul Thomas Anderson

Genre(s): Drama, Mystery, Comedy,Romance, Crime

Cast: Benicio Del Toro, Jena Malone, Joaquin Phoenix,Josh Brolin, Katherine Waterston, Martin Short, Maya Rudolph, Owen Wilson, Reese Witherspoon

Summary: When private eye Doc Sportello’s ex-old lady suddenly out of nowhere shows up with a story about her current billionaire land developer boyfriend whom she just happens to be in love with, and a plot by his wife and her boyfriend to kidnap that billionaire and throw him in a loony bin...well, easy for her to say. It’s the tail end of the psychedelic `60s and paranoia is running the day and Doc knows that “love” is another of those words going around at the moment, like “trip” or “groovy,” that’s being way too overused—except this one usually leads to trouble. [Warner Bros.]

Review: "Inherent Vice" is a film about a stoner which itself seems stoned. This is just one small part of what makes it distinctive.

Adapted from Thomas Pynchon's 2009 novel, the movie has been compared by many to the Coen brothers' "The Big Lebowski," a drug-fueled LA comedy with a similarly labyrinthian mystery (or "mystery") and some shared themes. But "Vice" is a richer, deeper, sweeter, equally funny movie. It owes a great deal to laid-back, character-and-atmosphere driven 1970s L.A. films such as "The Long Goodbye" and "Cisco Pike," but it never makes too big a deal of that lineage. As adapted and directed by Paul Thomas Anderson, it's a historical and political picture about The American Soul, though not too strenuously so. Mostly it's a long, shaggy, knockabout comedy about eccentrics who pursue their own appetites and manias and indulge their private demons while remaining oblivious to their effect on others. As such, it's a great people-watching film, showcasing a diverse cast whose performances are the acting equivalent of self-caricatures rendered under the influence: the line goes where it goes.

The phrase "Inherent Vice" refers to "the tendency in physical objects to deteriorate because of the fundamental instability of the components of which they are made, as opposed to deterioration caused by external forces"—a mouthful that refers simultaneously to the characters, their city, their nation, and the particular historical period that has defined all of it, and that is already passing into memory when "Inherent Vice" begins. (Exhales smoke rings.) It's set in Los Angeles circa 1970, after Tet and Altamont and Manson so many other time-and-place names that viewers of a certain age will recognize as markers of the point where '60s Utopianism morphed into '70s numbness. In his gonzo epic "Fear and Loathing in Las Vegas," Hunter S. Thompson referred to the Summer of Love in 1967 as, in retrospect, the point where the great wave of the counterculture "broke and finally rolled back."

The film's hero, the pothead private investigator Larry 'Doc' Sportello (Joaquin Phoenix), is standing on the beach waiting for the tide to return. He's a shaggy-haired, mutton-chopped man-child, a little bit piggish in the way that a lot of hippie guys were then, but basically decent; he wouldn't hurt a fly unless he thought the fly was bogarting his joint, maybe not even then. He blurts out sentences that are non-sequiturs to everyone but him, and makes high-pitched strangled sounds, a la Ben Braddock in "The Graduate," when he's frustrated. He's the kind of guy who might preface an important fact with "dig this," and who can say "right on" in response to any statement, varying the inflection so it always seems an acceptable answer. He solves cases intuitively, reading life as others might read tea leaves. The closeups of his detective's notepad reveal such phrases as "Paranoia alert" and "Something Spanish." It's a method, a process; it's hisway, man. Yeah, fine, it doesn't often seem to yield visible results. But that's all part of it, you know? Because we're all too obsessed with results, with solving for "X," with explaining things and answering things. Right?

Oh—you want to know what the movie is about? Dig this: "Vice" is not the kind of movie whose plot you can flow-chart, or that will benefit terribly much from the inevitable click-baiting "explainer" pieces that are sure to be written about it in the coming months. The movie starts with Doc being visited by his ex-girlfriend Shasta Fay Hepworth (Katherine Waterston), now the girlfriend of local real estate bigwig Mickey Wolfmann (Eric Roberts). She wants Doc to thwart plans by Mickey's wife and her lover to have Mickey committed to a mental institution. Around the same time, coincidentally and strangely, a brother named Tariq Khalil (Michael Kenneth Williams, right on) visits Doc at his medical office (he's some kind of physician, seemingly?) and asking if Doc can help find one of Mickey's bodyguards, Glen Charlock, a white supremacist who did time with Tariq. Because Doc can't seem to walk down the street without being handed a case or a mission or asked for a favor, he also tries to locate the disappeared jazz saxophonist Coy Harlingen (Owen Wilson, who seems born to hold a sax, if not necessarily to play it) on behalf of Coy's wife Hope (Jena Malone).

Everything ties together, and yet it doesn't all tie together, or maybe "Vice" is one of those films where it kind of doesn't matter whether it ties together, and if so, to what degree; and it's fine, it's intentional, it's part of it, maybe. As I said up top, the film itself seems to be stoned, and to have trouble keeping track of itself. Images repeat, situations repeat. Sometimes the movie tells you things you already know, or refers to things it never mentioned before as if you're intimately familiar with them. It's all over the place.

There are long sections—notably Doc's encounter with coke-addled dentist Dr. Rudy Blatnoyd, played by Martin Short, who deserves a special Oscar for his slinky crab-walk—where the plot, such as it is, gets put on hold, so that the movie can luxuriate in people and places and vibes. Reese Witherspoon plays an assistant D.A. named Penny Kimball who disapproves of Doc on at least five levels but adores him and sometimes sleeps with him; with maybe thirty minutes to go, "Vice" takes time out to observe the two in a post-coital moment, Witherspoon lying on a bed, smoking a joint and laughing. The signature moment might be where Short's dentist asks Doc to please repeat where he told the secretary he was from, and Doc just stares and stares.

The movie is narrated in third person by Doc's associate Sortilège (Joanna Newsome), who I am about 90 percent certain is not a figment of anyone's imagination. 

Anderson—who's become even more of an actors' director in his last few films than he was already—is at the peak of his powers here, ironically but appropriately directing "Vice" in such a way that phrases like "peak of his powers" (and other language connoting masculine swagger or preening mastery) seem contrary to the spirit of the thing. "Vice" impresses by seeming uninterested in impressing us. Anderson shoots moments as plainly as possible, staging whole scenes in unobtrusive long takes or tight closeups, letting faces, voices and subtle lighting touches do work that fifteen years ago he might've tried to accomplish with a virtuoso tracking shot that ended with the camera tilting or whirling or diving into a swimming pool. There's a long, teasing, frankly sexual scene that plays out for five or six minutes without a cut. There are entire scenes where one character walks into a room and starts talking to another character and the rest of the scene plays out alternating shots of the actors' faces (which seem to eschew makeup and draw attention to actors' freckles and moles and other "blemishes") and in cinematographer Robert Elswit's creamy '70s-style lighting. There's so much going on in those shots that you might not mind spending another ten minutes with those people, or an hour, or going for another drive with that dentist I mentioned earlier, whatever his name is.

Blatanowsky?

Anyway.

Anderson's second and third features, "Boogie Nights" and "Magnolia," got compared to Robert Altman, but this one is way more Altman-y, if that's a word. It seems to be unfolding, as per a line in the novel and the script, on "Uranus, the planet of rude surprises." At times Anderson's script seems to have taken its cue from that film buff-beloved anecdote about the timeHoward Hawks called Raymond Chandler while adapting Chandler's novel "The Big Sleep" to say that neither he nor any of the screenwriters could figure out who killed the Sternwoods' chauffeur, only to have Chandler admit that he didn't know, either. The Coen brothers obliquely allude to this anecdote near the end of their gangster picture "Miller's Crossing," when the hero asks the scheming accountant Bernie Birnbaum (John Turturro) who killed a third character, and Bernie replies "That was a mistake" but does not elaborate.

I digress. Um.

And, and, and: the whole time, Doc is followed and vexed by a right-wing, hippie-hating cop named Christian "Bigfoot" Bjornsen (Josh Brolin, whose beef-slab physique and woodblock head suggest that Nick Nolte and Kurt Russell somehow managed to have a son together). Like some other characters in "Vice," Bigfoot is an emblem of received Establishment values and handed-down "wisdom" about the proper way for 'Murricans to behave. ("Any gathering of three or more people constitutes a possible cult," he informs us.) But like Oliver Stone adapting the life of Richard Nixon and somehow ending up feeling for the guy, Anderson, who's never given any public indication of sharing Bigfoot's values, seems to treasure him as a human being, a lost soul.

Dig: there are moments wherein Bigfoot—who at every turn trashes Doc's body, property, feelings and values—seems to be in the grip of forces beyond his or anyone else's understanding (maybe like Jonathan Wintersdestroying that gas station in "It's a Mad, Mad, Mad, Mad World"). Something in the way Phoenix regards Brolin during these scenes suggest an addled yet fathomless empathy. They get each other. In its way, the relationship between the stoner "detective" who pretends to be a master crime fighter and the meathead cop who sometimes moonlights as an extra on "Dragnet" is the film's real great love story, an accidental metaphor for the liberal/conservative, dungarees/suits, blue state/red state divide that's defined U.S. politics since the Civil War. If you don't believe me, keep an eye out for the wordless scene where Doc watches Bigfoot absentmindedly fellate a popsicle.

Beyond the goofy humor and loopy digressions is a tremendous feeling of yearning, of sadness over undefinable loss. The foggy sunlight that illuminates so many "Vice" scenes matches the fogginess of the hero's perceptions, which are rooted as much in nostalgia as in drugs (nostalgia is itself a kind of drug). Nearly every major character is haunted by roads not taken, or less traveled, by loves not pursued, days not seized. They wonder where the time went. They wonder what they're doing here. They just walk and talk, eat and screw and smoke, and the sun goes down and the tide goes out. What is there to life?

Beauty. So much beauty.

You can see it even in silliest images, such as the tableau of Wilson's Coy Harlingen taking part in a Last Supper-styled pizza dinner/photo shoot. You can see it in the momentous images, like the dusky opening shot of the sea as viewed from between two rickety houses. You can see it in a flashback of Doc and Shasta, done in a single long take: just a shot of them walking up and down a street past a chain link fence and huddling in a doorway while storm clouds gather and Neil Young plays on the soundtrack. The wave rolls out, the wave rolls in.

What were we talking about?

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source: The New Yorker

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The 72nd Annual Golden Globe Awards 2014

Movie nominations

Films with Most Nominations

1	Birdman	7 noms
2	Boyhood	5 noms
	The Imitation Game	5 noms

The Hollywood Foreign Press Association announced the nominees for the 72nd Annual Golden Globe Awards on Thursday morning, and Alejandro González Iñárritu's dramedy Birdman continued its awards-season surge by capturing a leading 7 nominations this year.

Richard Linklater's 12-years-in-the-making Boyhood, the film that has been dominating the awards circuit so far this month, was right behind Birdman with 5 nominations. The Benedict Cumberbatch-starring The Imitation Game also had 5 total nominations, bolstering its Oscar credentials.

The biggest surprise in the best picture races was probably the inclusion of Pride, a British dramedy that had previously been shut out of awards in the U.S. (though it did score big at the British Independent Film Awards). A few names also came up for the first time on this year's awards circuit, including young Annie star Quvenzhané Wallis, St. Vincent's Bill Murray, and Helen Mirren of The Hundred-Foot Journey.

The full list of film nominations is below.

Best Picture Nominations, 72nd Annual Golden Globes

Best Drama		Best Comedy or Musical
100 Boyhood		89 Birdman or (The Unexpected Virtue of Ignorance)
83 Foxcatcher		88 The Grand Budapest Hotel
72 The Imitation Game		tbd Into the Woods
95 Selma		79 Pride
72 The Theory of Everything		64 St. Vincent

Other Film Nominations, 72nd Annual Golden Globes

Director
Wes Anderson THE GRAND BUDAPEST HOTEL
Ava DuVernay SELMA
David Fincher GONE GIRL
Alejandro González Iñárritu BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE)
Richard Linklater BOYHOOD

Lead Actor - Drama		Lead Actor - Comedy or Musical
Steve Carell FOXCATCHER		Ralph Fiennes THE GRAND BUDAPEST HOTEL
Benedict Cumberbatch THE IMITATION GAME		Michael Keaton BIRDMAN
Jake Gyllenhaal NIGHTCRAWLER		Bill Murray ST. VINCENT
David Oyelowo SELMA		Joaquin Phoenix INHERENT VICE
Eddie Redmayne THE THEORY OF EVERYTHING		Christoph Waltz BIG EYES

Lead Actress - Drama		Lead Acress - Comedy or Musical
Jennifer Aniston CAKE		Amy Adams BIG EYES
Felicity Jones THE THEORY OF EVERYTHING		Emily Blunt INTO THE WOODS
Julianne Moore STILL ALICE		Helen Mirren THE HUNDRED-FOOT JOURNEY
Rosamund Pike GONE GIRL		Julianne Moore MAPS TO THE STARS
Reese Witherspoon WILD		Quvenzhané Wallis ANNIE

Supporting Actor
Robert Duvall THE JUDGE
Ethan Hawke BOYHOOD
Edward Norton BIRDMAN
Mark Ruffalo FOXCATCHER
J.K. Simmons WHIPLASH

Supporting Actress
Patricia Arquette BOYHOOD
Jessica Chastain A MOST VIOLENT YEAR
Keira Knightley THE IMITATION GAME
Emma Stone BIRDMAN
Meryl Streep INTO THE WOODS

Screenplay
Wes Anderson THE GRAND BUDAPEST HOTEL
Gillian Flynn GONE GIRL
Alejandro Gonzalez Inarritu, Armando Bo, Alexander Dinelaris, Nicolas Giabone BIRDMAN
Richard Linklater BOYHOOD
Graham Moore THE IMITATION GAME

Foreign Language Film
Force Majure
Gett: The Trial of Viviane Amsalem
Ida
Leviathan
Tangerines

Animated Film
The Boxtrolls
Big Hero 6
The Book of Life
How to Train Your Dragon 2
The LEGO Movie

Original Score		Original Song
Alexandre Desplat THE IMITATION GAME		"Big Eyes" BIG EYES
Johann Johannsson THE THEORY OF EVERYTHING		"Glory" SELMA
Trent Reznor & Atticus Ross GONE GIRL		"Mercy Is" NOAH
Antonio Sanchez BIRDMAN		"Opportunity" ANNIE
Hans Zimmer INTERSTELLAR		"Yellow Flicker Beat" THE HUNGER GAMES: MOCKINGJAY PT 1

TV nominations

Shows with Most Nominations

1	Fargo	5 noms
2	True Detective	4 noms
3	6 tied with	3 noms

On the TV side, FX's debut season of Fargo received the most love from the HFPA, and led all shows with 5 total nominations. HBO's True Detective was just a step behind with 4 nominations, while several shows (including Showtime newcomer The Affair) earned 3 nominations.

HBO led all networks with 15 total nominations, while Amazon made its first appearance on the Globes nominations list, scoring 2 nominations for its acclaimed first-year dramedy Transparent. That show is one of three first-year programs nominated for best comedy or musical series, along with the CW's Jane the Virginand HBO's Silicon Valley.

The full list of TV nominations is below.

Best TV Series Nominations, 72nd Annual Golden Globes

Best Drama		Best Comedy or Musical
85 The Affair (Showtime)		76 Girls (HBO)
72 Downton Abbey (PBS)		80 Jane the Virgin (CW)
94 Game of Thrones (HBO)		89 Orange Is the New Black (Netflix)
89 The Good Wife (CBS)		84 Silicon Valley (HBO)
80 House of Cards (Netflix)		91 Transparent (Amazon)

Other TV Nominations, 72nd Annual Golden Globes

Lead Actor - Drama		Lead Actor - Comedy or Musical
Clive Owen THE KNICK		Louis C.K. LOUIE
Liev Schreiber RAY DONOVAN		Don Cheadle HOUSE OF LIES
Kevin Spacey HOUSE OF CARDS		Ricky Gervais DEREK
James Spader THE BLACKLIST		William H. Macy SHAMELESS
Dominic West THE AFFAIR		Jeffrey Tambor TRANSPARENT

Lead Actress - Drama		Lead Actress - Comedy or Musical
Claire Danes HOMELAND		Lena Dunham GIRLS
Viola Davis HOW TO GET AWAY WITH MURDER		Edie Falco NURSE JACKIE
Julianna Margulies THE GOOD WIFE		Julia Louis-Dreyfus VEEP
Ruth Wilson THE AFFAIR		Gina Rodriguez JANE THE VIRGIN
Robin Wright HOUSE OF CARDS		Taylor Schilling ORANGE IS THE NEW BLACK

Best Miniseries or Made-for-Television Movie
85 Fargo (FX)
85 The Missing (Starz)
85 The Normal Heart (HBO)
89 Olive Kitteridge (HBO)
87 True Detective (HBO)

Actor - Miniseries or TV Movie
Martin Freeman FARGO
Woody Harrelson TRUE DETECTIVE
Matthew McConaughey TRUE DETECITVE
Mark Ruffalo THE NORMAL HEART
Billy Bob Thornton FARGO

Actress - Miniseries or TV Movie
Maggie Gyllenhaal THE HONORABLE WOMAN
Jessica Lange AMERICAN HORROR STORY: FREAK SHOW
Frances McDormand OLIVE KITTERIDGE
Frances O'Connor THE MISSING
Allison Tolman FARGO

Supporting Actor
Matt Bomer THE NORMAL HEART
Alan Cumming THE GOOD WIFE
Colin Hanks FARGO
Bill Murray OLIVE KITTERIDGE
Jon Voight RAY DONOVAN

Supporting Actress
Uzo Aduba ORANGE IS THE NEW BLACK
Kathy Bates AMERICAN HORROR STORY: FREAK SHOW
Joanne Froggatt DOWNTON ABBEY
Allison Janney MOM
Michelle Monaghan TRUE DETECTIVE

More to come

The 72nd Annual Golden Globe Awards ceremony will be broadcast live on NBC on Sunday, January 11, 2015 at 8:00p ET, with Tina Fey and Amy Poehler returning as hosts for a third and final time.