Review Category: DVD/Blu Ray

Review: K-On! The Movie / Cert: PG / Director: Naoko Yamada / Screenplay: Reiko Yoshida / Starring: Stephanie Sheh, Cristina Valenzuela, Cassandra Morris / Release Date: October 28th

K-On! is an anime TV show about the daily lives of four high school girls who form a pop band called After-school Tea Time. A phenomenon in Japan, it has spawned hit singles, sell-out arena concerts, tons of merch and a movie which, God help us, has somehow found its way to Starburst HQ.  Better put on some ear protectors. It’s going to get mighty noisy around here.

Storylines aren’t really the show’s thing, so don’t expect much of a plot. Shortly to be graduating, the girls decide to take a celebratory 5-day trip to London, where, among other misadventures, they find themselves mistaken for another Japanese all-girl band, Love Crisis, and forced to play a gig at a sushi bar, wowing the clientele with a song about piri-piri rice (not to be confused with another of their ditties, “Rice Is A Side Dish”). And oh yeah, there’s also the question of a parting gift for Azusa, a fifth member of the band who’s a year younger than the others. Hmm, here’s an idea, why don’t they write her a farewell song?

We’re 45 minutes into the movie before they even reach London, and it takes them another 12 on top of that to get to their hotel – the reason being that they can’t accomplish the smallest task without it turning into an excuse for zany comedy routines, ditzy non sequiturs, absurd pratfalls and a flurry of high-pitched chatter. You’d have to have the hearing of a dog and the metabolism of a hummingbird not to be a little disconcerted at times by the shrill, twittering dialogue and the super-sugary vibes, but at the same time there’s no denying that it’s a film that grows on you – the whole London sequence is a winner, the band’s songs are lively and mercifully brief, and there’s a pleasant bittersweetness towards the end as the girls finally take their leave of school.

The animation is attractive, the character designs stylishly cute, with big eyes and bouncy, flowing hairdos, and various familiar London locations are lovingly realized. This Blu-ray has a crisp transfer that handles the finer details of the environments very well, and it comes with a whole raft of extras. You might want to reach for a pair of shades before watching an acid trip of a TV segment about the K-On! success story, and another where two female presenters ooh and aah over the characters’ costumes. There’s also a behind-the-scenes featurette on the dubbing process, and a bunch of interviews and Q&As with the squeaky-voiced ladies who play the band members, including one where they come spilling in plaid miniskirts out of a double-decker bus.

Extras: 5 featurettes / Trailers / Teasers / Clean opening and closing credits

Review: The Cloth / Cert: 15 / Director: Justin Price / Screenplay: Justin Price / Starring: Danny Trejo, Eric Roberts, Kyler Willett / Release Date : October 21st

“Someone slap me in the face with the Devil’s nutsack!” If you thought it was impossible for exorcism movies to get any worse than The Devil Inside, then ye have little faith. The Cloth is rapidly shaping up in terms of public opinion (check the movie forums) as not just the worst exorcism movie ever made, but perhaps the worst film ever made per se. Whilst we at Starburst might not necessarily be that damning, we are however struggling to find one point of recommendation for The Cloth, a single reason why readers would want to fork out hard-earned cash for this mess, except, of course, in order to see for themselves how bad it really is. Trust us, it’s bad. Depressingly bad.

The Cloth ‘stars’ Danny Trejo, he of Machete fame. And by ‘stars’, we mean that Machete has the smallest of cameo roles, so astonishingly fleeting, that by the time you have asked yourself, “is that Danny Trejo? What the hell is he doing in this piece of crap?” his presence has vanished from the film forever, never to return. Perhaps Danny owed someone a favour, or just needed the money. Even sadder, however, is the appearance of Eric Roberts, as a priest (there are lots of priests in The Cloth, including Danny Trejo). Eric ain’t no Max von Sydow either, though, and this is a far cry from the halcyon days of his working for Dusan Makvejev on The Coca-Cola Kid. His role in The Cloth, like that of Danny Trejo, is inconsequential to say the least, and short-lived (did we mention that if you blink you’ll miss Danny Trejo?) Top billing, then, is no reason why you should waste your time with this.

The real star of The Cloth is, in fact, someone named Kyler Willett, making his screen debut as Jason, a reluctant and surly young man recruited into the cloth to battle demons (quite why this honour is bestowed upon him is anyone’s guess, being, as he is, so reluctant and surly). Willett spends most of the film wearing an oversized Celtic cross over a black leather vest, resembling an unpaid extra in an amateur dramatic production of Richard The Lionheart. The film’s hyphenate writer-director, Justin Price casts himself as the bad guy, the demon Kasdeya. Winningly, Price gives himself a ménage-a-trois sex scene with two hot girls that is both deeply artistic and completely necessary to the plot (PLEASE NOTE: reviewer finds it impossible not to resort to sarcasm at this point, so depressingly bad is The Cloth). Meanwhile, Jason battle demons with a laser gun. What happens after that becomes somewhat unclear due to the film’s general lack of narrative cohesion. Cinematic storytelling is evidently not writer-director Price’s strong point, although the menage-a-trois sex scene with the two hot chicks is quite well shot. Price obviously devoted much of the film’s production schedule to this all-important scene.

And so to the visual effects. Demons in The Cloth are, as mentioned, vanquished by laser gun – an obvious intertextual reference to the likes of Legion and Constantine, (and standard practice as set out in the guidelines of the Roman Catholic ritual of exorcism). Unlike the visual effects in Legion and Constantine, however, those in The Cloth appear to have been created on a Sinclair ZX Spectrum. Surprising, then, that the credits list a visual effects crew of at least six people. How many people does it take to press a button on After Effects? Unless you take delight in visual effects that make the average 1980s Charles Band B-movie look like Avatar by comparison, we urge you to stay clear. Admittedly the opening credits are quite impressive. Writer-director Price clearly thinks so too; they are repeated in their entirety as the end credits. Perhaps some of the film’s $4 million budget (estimated) was invested in this credit sequence. Or perhaps most of it was spent on Danny Trejo’s appearance – despite it lasting all of five seconds.

We give The Cloth one out of ten based on the “Devil’s nutsack” line of dialogue, a deeply moving moment. The power of Christ compels you to stay away from this turkey.

Extras: None

Review: Spiders 3D / Cert: 15 / Director: Tibor Takacs / Screenplay: Joseph Farrugia, Tibor Takacs / Starring: Patrick Muldoon, Christa Campbell, William Hope, Sydney Sweeney / Release Date: October 14th

It’s been a while since we’ve had a decent giant spider movie; there was a brief outbreak a few years ago with the likes of Arachnophobia and the underrated Eight-Legged Freaks and there have been numerous nasty straight-to-DVD efforts (yep, that’s you, Camel Spiders) which were about as welcome as… well, an Autumn spider home invasion. But here they come again. As a prelude to December’s Big Ass Spider (honestly, go and look it up) here’s a Nu Image TV movie which, as they say, does what it says on the tin. This film has spiders in it and, if you have the technology, you can watch it in 3D.

Debris from a Russian space station/research laboratory crashes to Earth, dumping its cargo of mutant spiders (DNA recovered from a crashed spaceship spliced with that of our favourite eight-legged lovelies) in a New York underground tunnel. They start to grow and multiply and before long they’re making their way up to the city streets and not even the combined might of nearly six soldiers can fight them off. Subway control chief Jason (Muldoon) and his scientist ex-wife Rachel (Campbell) are reunited – ahhh – as they try to save their teenage daughter who’s trapped in her home in the quarantine zone.

Look, you don’t care about the plot; you just want to know if the spider FX are any good. Yeah, they’re not bad. They don’t look a lot like your common-or-garden domestic spider – they’re all different colours and they roar like lions – but that’s explained away by the alien DNA plot device which allows them to do everything normal spiders do and a lot more. And let’s face it, everyone’s creeped out by spiders so they only need to be animated halfway decently for them to give us (i.e., this reviewer) the heebie-jeebies. To be fair, the talented Mr Takacs (previous credits: Meteor Storm, Megasnake) has crafted a perfunctory, workmanlike story populated by zero-interest humans – the acting’s terrible – and convincing-most-of-the-time scuttling spiders which leap on their victims who are variously ripped to bits and disembowelled. Eventually the big queen spider gets loose and the real low-budget carnage begins. There are some decent action sequences, especially a chase around a deserted storage warehouse, along with an explosive denouement and the inevitable promise/threat of a potential sequel.

Inoffensive and rubbishy, Spiders 3D can’t help but provide a few cheap thrills, but if you’re looking for a classier, crazier kind of spider movie, 1955’s black-and-white Tarantula is still the one to watch. You can probably find it on the Web.

Extras: Making of / Cast interviews

Review: Star Wars – The Clone Wars – Season 5 / Cert: PG / Director: Dave Filoni, Steward Lee, Kyle Dunlevy / Screenplay: George Lucas, Chris Collins, Brent V. Friedman / Starring: Tom Kane, Dee Bradley Baker, Matt Lanter, James Arnold Taylor, Ashley Eckstein / Release Date: October 14th

After the announcement that it was now in the Star Wars business, Disney wasted no time in putting an Order 66 on Cartoon Network’s Clone Wars series after Season 5. It would be a shame if this is the last because, despite some great moments, this season is sadly a slightly dull affair.

The 20 episodes that make up this season are broken up into 5 standalone story arcs. The first sees Ahsoka guiding some rebels as they attempt to regain control of their planet. It’s a rather dull storyline to open with and has been done better before in earlier seasons.

The second arc sees Ahsoka (again) taking charge of some younglings as they create their lightsabers and have a run in with Hondo and his band of pirates. It’s a little heavy handed with the morals, but is quite entertaining – even when it turns into Pixar’s A Bug’s Life in its 3rd part – and features David Tennant, which is always good.

The third arc follows a group of Droids (including R2-D2) known as D-Squad and their mission to steal an encryption module from the Separatists. This is very much the part of the series aimed at younger viewers (the part that would usually feature Jar-Jar) and works quite well as a story arc, although it could’ve done with being an episode or two shorter.

What you’ve really been waiting for since Season 4 though is to see the return of Darth Maul and the fourth arc delivers. It’s this season’s strongest arc and probably the one it should’ve opened with (picking up nicely where Season 4 left off), shifting the tone back to the older kids with a darker – and brutal in places – story that sees Maul seeking revenge on Obi Wan Kenobi.

Ahsoka has been the overriding focus of this season and the last arc of this season finally gives her something more to do than stand by and dispense advice or get captured. Ahsoka has largely been underserved by the series in the past, but in this story her character actually comes into her own and takes her in an interesting direction that opens her up for some great future use within the Star Wars Universe.

The overall problem with Season 5 is that it feels like a bit of a backward step after Season’s 3 & 4, feeling more like a season of filler stories rather than moving the series forward. There’s good stuff here, it’s just that it feels like they were holding the best stuff back for Season 6 (which judging by the promo videos released online; was probably the case). Fingers crossed we get to see it one day!

Review: From Up on Poppy Hill / Cert: U / Director: Goro Miyazaki / Screenplay: Various / Starring: Sarah Bolger, Anton Yelchin, Chris Noth / Release Date: Out Now

Goro Miyazaki may have the least enviable job in cinema. His father, Hayao, is effectively the grand wizard of all things animated and glorious and following his act must be like competing with the sun in a ‘be hot’ competition. Tale of Earthsea was a shaky debut, but with the Old Master laying down his sword next year, it’s up to his son to pick up the family mantle. From Up on Poppy Hill marks a confident stride in the right direction.

There’s something uniquely heartwarming about a Ghibli film. Outside of their obvious and abundant outward beauty – all lush, bright colours and vivid aesthetics – there’s an infectious sense of life. Poppy Hill excels on a technical level, not just in a calculating pragmatic sense, but in the legitimately heartwarming, ‘I’m smiling like a goofball’ way too.

The scene tracking lead protagonist Umi (Bolger) and her friend as they first explore their school clubhouse is beguiling in its clarity of vision; with snapshots of barmy, idiosyncratic characters and a backdrop of chaotic academia all set to a jaunty jazzy tune, it crafts an utterly intriguing cinematic experience.

This is a more intimate and grounded tale than Ghibli’s norm, leaving the fantasy worlds and beasties behind. The focus here is on teenage love and relationships in 1960s post-war Japan, centred on Umi and mystery sailor’s boy Shun (Yelchin) as they come together in saving their school’s historical clubhouse from demolition. But that isn’t to say it lacks that sense of heartfelt whimsy that so characterizes the beloved studio.

The universe of adolescence is a hard thing to get right in cinema, often laughably mishandled, but Poppy Hill isn’t afraid to pay its respects with characters who at once feel real and change believably, guided by a skilled script littered with vivid voices. A few particular images and scenes are rather ham-fisted – those dream sequences, oh dear – but they’re a fleeting irritation at worst.

Poppy Hill’s is a soft touch, slow burning and it never really starts to boil. It’s an exercise in restraint and nuance, and while it may miss the mark on occasion – there’s a deus ex machina at play here – it develops like one of the jazzy piano tracks that so enlivens its score; ostensibly beautiful and full of life, with a depth of character for those willing to open their ears (or eyes) and find it.

There may be no real stakes at play – it’s forever destined for Ye Olde Land of Happily Ever After – but that’s beside the point. Poppy Hill commands its niche with all the authority and charm you could hope for from a Ghibli production. Goro’s well on his way.

Extras: None

Review: Much Ado About Nothing / Cert: 12 / Director: Joss Whedon / Screenplay: Joss Whedon / Starring: Amy Acker, Alexis Denisof, Sean Maher, Clark Gregg, Fran Kranz / Release Date: October 7^th

Filming in his very own house, Joss Whedon puts an accessible and contemporary twist on Shakespeare’s classic tale starring a whole host of familiar faces from the Whedonverse. Amongst the many are Amy Acker, Alexis Denisof, Nathan Fillion, Tom Lenk, Sean Maher, Reed Diamond, Clark Gregg and Fran Kranz. Phew. That’s a lot of Whedon personnel and that’s exactly why this film is so on point and has proved to be a hit with fans and critics alike.

Whedon’s version differs from the original Shakespeare classic in that Beatrice and Benedick have a romantic past together before the events of the film begin. The film opens with Benedick leaving Beatrice alone in bed. For those that are unfamiliar with the story, Much Ado tells the story of Beatrice and Benedick (Acker and Denisof) who are both resistant towards love and even more resistant to each other but as the narrative progresses they realise there may be some passion under all that fire. Along with other incidents such as Hero and Claudio’s impending marriage and Don Jon’s villainously scheming ways (played perfectly by Mayer), Much Ado proves to be entertaining from start to finish.

Alexis Denisof and Amy Acker, best known for playing lovers Fred and Wesley on Whedon’s Buffy spin-off series Angel, resurrect their chemistry as they reunite in a newer version of this much beloved tale. Acker, in particular, has a charming presence within the film and let’s hope her career continues to prosper after this charismatic portrayal.

In terms of aesthetic, Much Ado About Nothing probably has to be the most visually pleasing of all of Whedon’s work. The use of different angles, the shooting in black and white combined with a classic soundtrack turns the film into something truly beautiful to look at. The thing about Whedon is that he has this wonderful ability to bring wit and humour to anything he touches. The framing of Benedick and Claudio in a child’s room, play-fighting on a child’s bed is just one of many examples of this. With Whedon as the director of the moment working on mega-budget, SFX-filled projects such as Avengers Assemble and Agents of S.H.I.E.L.D, it is remarkable to see him offering up this simple, low-budget masterpiece.

Extras: None

What is there to say about John Carpenter’s Halloween? To try and describe it really wouldn’t do it justice. One of the all-time classic horror films, Halloween is a movie where terms like ‘iconic’ and ‘legendary’ are most definitely applicable. Starburst is going to go out on a limb and assume that everybody who reads this mag has seen the film – unless you’re here purely for the Who-ness – so going too deep into the plot would seem like a bit of a waste of energy. If you’re not in the know, the film pretty much goes like this: child kills his sister, gets locked away for over a decade, breaks out, returns ‘home,’ stalks and kills teenagers in his own neighbourhood.

John Carpenter’s breakthrough film, Halloween is simply a stunning horror film. The shooting style, pacing and technique of Carpenter, combined with his own unique, now iconic, score, all mix together to make a fantastic viewing experience for horror aficionados. The cast are great in their roles, with Jamie Lee Curtis becoming a fully-fledged ‘scream queen’ here, and Donald Pleasance is ridiculously over-the-top in his fantastically indulgent, intense, playful portrayal of Dr Sam Loomis.

Enough about the plot, direction and performances, though. Halloween originally hit screens in 1978, meaning we’ve seen a plethora of variants and re-releases of this iconic film over the decades (this writer already owns 7 different versions), so the nitty-gritty of this review is what really does make this new ‘35th Anniversary Edition’ worth your time. Firstly, this new release is a completely new transfer of the film, created by long-time Carpenter collaborator and cinematographer Dean Cundey. Simply put, Halloween never looked so good. As crisp and fresh as an autumn evening, the film is radiant. The only way it could look any better is if we saw it through the eyes of John Carpenter himself. Leaves are remarkably crisp, colours shine bright, yet the film manages to still keep its dark, sinister and slow-burning edge.

In terms of extras, this set boasts a brilliant hour-long featurette on Jamie Lee Curtis’ one-off appearance at a horror convention, with the footage chronicling Jamie Lee arriving, taking part and leaving. It’s a great little insight for long-time Halloween fans, and there’s also a gaggle of familiar Halloween faces thrown in for good measure. The rest of the extras mainly involve featurettes and spots that have been included in previous releases of Carpenter’s iconic film.

Yes, there are literally dozens of previous releases of Halloween, but this is a must for all fans of the Halloween series, and I’d urge any genre fan to pick this up as soon as they can.

Extras: Three Featurettes / Trailer / TV Spots / Radio Spots

Halloween – 35th Anniversary Limited Edition Steelbook / Cert: 18 / Director: John Carpenter / Screenplay: John Carpenter, Debra Hill / Starring: Jamie Lee Curtis, Donald Pleasance, P.J. Soles, Nancy Loomis / Release Date: October 21st

DVD Review: Fate/Stay Night Unlimited Blade Works (2010) / Director: Yuji Yamaguchi / Cast: Ayako Kawasumi, Kana Ueda / Distributor: Manga Entertainment / Release Date: September 30^th

Fate/Stay Night Unlimited Blade Works is the movie version of the Fate/Stay Night anime series, which in itself is an adaption of a video game pitched at a firmly adult audience. Alas, it’s very clear from the first five minutes of this feature that a lot has been lost in translation.

Though movie takes a different direction for the animated series, the core idea is still the same; seven spirits of ancient heroes are summoned to Earth by magus in order to battle it out and determine who should rule the world; in essence, a hybrid of Highlander and Pokémon. The work it is based on is dense and contains multiple alternate story paths and endings. The TV series followed one of these paths, and the movie tries to tell another such route. Unfortunately this means that the whole thing is a bit of a mess. Rather than simply picking the best bits and making a movie, they attempt to condense a very long story into 107 minutes. The result is messy, poorly paced and confusing.

If you aren’t into anime it’s highly likely that this will leave you cold; the style of storytelling is uneven and it relies on the viewer taking a lot in very quickly. In addition, significant details from the series are glossed over or dealt with too quickly for a casual viewer to catch. This makes for a confusing and disappointing display that swiftly becomes boring. Fans of anime who are new to the franchise should have fun with this, though they are advised to seek out the series first, as this is not a good introduction.

Those familiar with the series and who have played the “visual novel” it’s based on will enjoy identifying the various plot twists and deliberate differences. Fate/Stay Night Unlimited Blade Works has fantastic looking action sequences that will make you want to watch them again and again. However the journey getting to these scenes can be tedious and plodding.

There are some nice touches, however: the naive and damaged magus Shiro contrasts nicely against the bitter and jaded spirits he deals with, and the action scenes are certainly quite fun. The voice acting is adequate, but there’s a little too much emoting through yelling rather than actual acting, and the dub is a little samey in parts. It is quite gory in parts and really does rely on the same sequence of shocks and emotions to keep the viewer watching. Overall, this is one for the fans.

Review: Creepshow / Cert: 15 / Director: George A. Romero / Screenplay: Stephen King / Starring: Hal Holbrook, Adrienne Barbeau, Fritz Weaver, Leslie Nielsen, Ted Danson, Stephen King, E.G. Marshall / Release Date: October 28^th

Inspired by the popular, lurid EC horror comics of the 1950s and 1960s, George Romero’s Creepshow – five unconnected gaudy horror stories courtesy of Stephen King – just about stands the test of time where other 1980s film crumble under the weight of their cast’s mullets and painfully dated pounding synthesiser soundtracks. 31 years has diluted its impact as a horror movie though – this is largely campy stuff – but its primary-colour comic book framing device (reflected in the eye-catching DVD cover) effectively strings together King’s typically ramshackle stories to create a generally enjoyable, if uneven, whole.

Things get off to a slightly underwhelming start with the first two short stories. Father’s Day is a silly and inconsequential tale which sees Romero return to his familiar zombie stomping ground as a formidable old patriarch lurches crumbling from the grave to exact fearful vengeance upon his family, and in The Lonesome Death of Jordy Verrill, King embarrasses himself with his gurning portrayal of a country bumpkin farmer who has a close encounter with a fallen meteorite which releases alien goo which slowly turns him into living vegetation. Fortunately things start to perk up with Something to Tide You Over, in which Leslie Neilsen gives an uncharacteristically sinister performance as a cuckolded husband exacting a terrible watery revenge upon his wife and her lover (played by a young Ted Danson). The Crate sees college Professor Henry Northrup (Halbrook) discover a ravenous beast in a long-lost crate which he later uses to rid himself of his bitchy, nagging younger wife (Barbeau). So far, so tepid, but the final yarn, They’re Creeping Up On You, still makes the flesh crawl as E.G. Marshall’s obsessive, reclusive company boss finds himself waging war against cockroaches which find a way into his sterile, isolated sanctuary.

Creepshow is of its time, naturally. Tom Savini’s make-up effects are colourfully ghoulish but the horror content is remarkably tame; despite all its gore and blood-letting, The Crate is undermined by its silly, far-from-freaky imprisoned snarling monster and, apart from the naturally repugnant cockroaches of the last story, only the watery zombies of Something To Tide Me Over elicit the occasional chill due to the way Romero presents them as shambling, creeping, relentless harbingers of death. It’s a bitty and uneven collection, but Creepshow, pinpoint sharp in this new Second Sight Blu-ray release, is still good fun guaranteed to provide safe shivers for horror novices this Halloween season.

Extras: Two commentaries / ‘Making of’ documentary / Behind the Screams featurette / Deleted scenes / Trailers / TV spot / Gallery

Review: Zombie Hunter / Cert: TBC / Director: Kevin King / Screenplay: Kevin King, Kurt Knight / Starring: Martin Copping, Danny Trejo, Claire Niederpruem, Jarrod Phillips / Release Date: October 21st

Blood flows and sprays liberally and frequently – and often bright pinkly – in this micro-budget Grindhouse zombie movie which is largely charmless and yet manages to provide mild diversion by virtue of some decent action sequences and impressive, if entirely unexplained, Ray Harryhausen-style monsters which provide a welcome respite from the relentless tide of drooling, slobbering undead.

You surely know the score by now. There’s been a zombie apocalypse, this time courtesy of a street drug called ‘natas’ (this is as subtle as the movie gets) which turns its users – apparently everyone on Earth – into ugly gibbering flesh-eaters. That’s zombies to you. Our hero/narrator is ‘Hunter’, a nameless survivor trundling around in a beaten-up car six months after the outbreak, with just a boot full of booze and bullets for company. Eventually he falls foul of a grubby group of survivors (led by Machete’s Danny Trejo) searching for the sanctuary of a town called Dahmer (which surely rivals ‘natas’ in the subtlety stakes) and together they fend off constant attacks by traditional zombies, raging CGI zombie beast-creatures and, oddly, some bloke with a chainsaw who may or may not be a zombie who seems to have wandered in from a Chainsaw Massacre movie.

Zombie Hunter sure isn’t a good movie but it’s competent enough in its own relentlessly lowbrow way. Copping’s a fairly convincing leading man (although his narration doesn’t make sense by the end of the film) and King’s co-written script gives an enthusiastic cast the chance to run screaming from and/or ingeniously exterminate the zombie horde. But despite the blood which all-too regularly spurts across the camera and the scantily-clad females generally filmed running from behind (if you get our drift), Zombie Hunter just isn’t quite sleazy enough. Regardless of its tiny budget, the film’s almost too well-made when it could have done with a bit more clumsiness and earthy grubbiness to fully satisfy the late night crowd it’s clearly aimed at. We’ve seen worse zombie movies here at Starburst HQ – and God alone knows we’ve seen enough of the damned things – and we can only warn you that if you choose to spend your pennies on this one, you’ll find it’ll provide a few cheap thrills but you’ll have forgotten it by the time the end credits have finished rolling. That’s just the way it is sometimes.

Extras: None