So I started this advice column called Dear Mona, where people would write to me with questions and concerns and I would try to answer them with data. So I really wanted to show people the way that data relates to their everyday lives. Here's a clip from Mona to get us started: I am so excited for you to hear from her today. We met when she interviewed me in New York City years ago for one of the stories, and since then I have always been so impressed with her take on the world and how she uses data to always leave me with so much to think about. She uses her artwork, her data visualizations, and her journalism to make sure that we dig into the data, we check our sources, and we end up with stories where it did happen exactly like that. Now, Mona Chalabi, today's guest, is all about making sure that we look at reality accurately. As she said, “When you hear Chris say something on stage, you gotta just remember five little words: didn’t really happen that way.” Perfect toast. In fact, at my wedding, my mother-in-law gave this hilarious toast that was a huge hit where she just took one of the jokes that I told on stage, a story that involved her, and she broke down all of the ways in which I had exaggerated or compressed things for comedic value. I care a lot about making sure that anything that I say is a good, entertaining, funny story, and I care maybe a little bit more about that than that it is exactly accurate. That's important to note because, sometimes as a comedian, I can get a little squishy with my facts. I'm your host, Chris Duffy, and this podcast has been fact-checked by professionals. Running time: 104 MIN.This is How to Be a Better Human. Reviewed at AMC Southdale 16, Edina, Minn., Feb. McLeod sound (Dolby Digital/DTS), Jay Meagher supervising sound editor, Robert "Chopper" Shoup visual effects supervisor, Glenn Neufeld visual effects, Worldwide FX stunt coordinator, Johnny Martin assistant director, Steve Danton second unit director, Martin casting, Nancy Nayor. Lussier music, Michael Wandmacher music supervisor, Selena Arizanovic production designer, Nathan Amundson costume designer, Mary E. Screenplay, Todd Farmer, Patrick Lussier.Ĭamera (color, HD, 3D), Brian Pearson editors, Patrick Lussier, Devin C. Co-producers, Ed Cathell III, Zach Schiff-Abrams, Josh Bratman. Executive producers, Avi Lerner, Danny Dimbort, Trevor Short, Joe Gatta, Boaz Davidson, John Thompson. Produced by De Luca, Rene Besson, Adam Fields. Toting a devilish shotgun called the “God-killer,” Milton himself is being pursued by cops as well as by the Accountant (William Fichtner, enjoyably hammy), a natty dresser who’s in cahoots with the man downstairs.Ī Summit Entertainment release presented in association with Millennium Films of a Nu Image, Michael De Luca production, in association with Saturn Films. King, who keeps the deceased’s femur bone for fun, plans to sacrifice Milton’s baby grandson under a full moon by way of creating hell on earth. On the road, Milton monosyllabically explains to Piper that he’s chasing Jonah King (Billy Burke), sleazy leader of a satanic cult that Milton’s kid had tried to escape in her final hours. Quitting her job at a Colorado diner run by lecherous Fat Lou (Jack McGee), then breaking her engagement to philandering Frank (co-writer Todd Farmer), kicking-and-punching Piper agrees to drive weirdo Milton to Louisiana in her ex’s ’69 Charger, one of several vintage hot rods fetishized in the film. The film’s most outrageous setpiece, shot in blatantly cheesy slo-mo by co-writer/director Patrick Lussier (2009’s “ My Bloody Valentine”), has Cage’s immortal badass dispatching a succession of blade-twirling goons in an Oklahoma motel room while sporting dark shades, sucking a cigar, slurping from a whiskey bottle and, er, staying in the closest possible proximity to a naked one-night stand.Ĭage’s Schwarzenegger-esque turn as terminator Milton is well matched by Heard’s playfully physical perf as Piper, a natural-born butt-kicker whom Lussier treats with unusual respect by the sexist standards of modern action fare.
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