A disc containing the memoirs of a CIA officer accidentally ends up in the hands of two unscrupulous gym employees who decide to sell the find.
“Forget after watching”
The titular Coen brothers, having thoroughly enjoyed the triumph of the masterpiece “No Country for Old Men,” again plunged into the swamp of the mainstream. It would seem that this is very regrettable for a viewer devoted to the Coens, but their new opus is a work so ambiguous that more than one page of printed text can be discussed about the relevance of the action. On the one hand, “Burn After Reading” is a surprisingly harmonious and cynical satire on the topic of world idiocy, in which characters, delightful in their stupidity, express themselves in a very recognizable language. On the other hand, this is an indigestible skit, where in each episode there is a share of genre torture, and not a trace remains of the sense of style and proportion.
For some reason, watching it, I clearly remember the provocative and anti-bourgeois antics of the Danish dogmatists. Be it “Triumph” by Thomas Wittenberg or the infamous “The Idiots” by Lars von Trier. In the latter, for example, a small group of people literally pretended to be crazy. According to the plot, they naively believed that in this way they could free themselves from all sorts of social frameworks and subsequently find banal human happiness. The heroes from “Burn After Reading” are a little luckier: they simply don’t need much to be happy, and they don’t have to play the fool at all, since they themselves are fools.
Idiocy in the film is elevated to an absolutely ordinary state of any human individual. It would be hard to say that at least one of the characters in the new film by the Coen brothers has common sense. For some it interferes with their lives, for others it helps. However, in any of the cases under consideration, such a norm does not insure against anything. Actually, only the lack of morality in this fable may prompt the viewer to ask a logical question: what is all this for? The Cohens, of course, will not give a specific answer. You will have to diligently speculate, and soon come to the conclusion that what happened on the screen should be considered as an unkind verdict delivered in the simple form of an anecdote to all living things.
Meanwhile, of course, you notice that the new picture of the brothers, oddly enough, very closely in the viewer’s associations has something in common with “Playing the Victim” by Kirill Serebrennikov. By the end, John Malkovich's character utters dissatisfaction with his surroundings with exactly the same intonations as Vitaly Khaev's character: nervously, hopelessly and infinitely truthfully. Everything else in the film is almost in the spirit of sarcastic animated sketches from “South Park”: they speak beautifully with the required insolence, and you laugh desperately even at what is obviously unfunny.
In addition, the film is also rich in magnificent images, amazingly played by a galaxy of Hollywood stars. The actors do not pull the blanket over each other, thanks to the skillfully written characters of each character. Apparently this is why the characters organically coexisting in one film, despite all the exaggerated images, look like real and living people. The coolest of all is not even the enchantingly foul-mouthed Malkovich, but the unfading Frances McDormand, who in her sheepish obstinacy is disgusting and charming at the same time. The touchingly aged Brad Pitt stunningly re-acts the role of the infantile imbecile athlete. However, it overacts in such a way that it’s worth watching. Tilda Swinton is extremely confident in her role as a cold and selfish bitch who is also a pediatrician. Well, after the phrase “Nothing but negativity comes from you,” George Clooney really wants to give an Oscar.
Actually, reveling in the acting ensemble, the brilliant cinematography and the direction, as precise as the time on an expensive watch, you again return to the question posed. For what? The answer suddenly comes when you see Brad Pitt's latest smile. Surely, the cynical Coen brothers, who firmly believe that the surrounding idiocy is eternal and inescapable, had the same thing. At this very moment, you understand that only in a nightmare can you dream of such comedies, and you evaluate the joke invented by American critics, which “after watching it, forget it” in a completely different way. Of course, the simplest thing that could be done in such a situation would be to quote the Coens' previous film. In the very place where “...and then I woke up.” However, after you were easily provoked to laugh at yourself - to say this, at least, is absurd.
Personally, it helped me take a slightly different look at the process of developing and testing my applications. And the author’s original approach to testing is, at a minimum, worthy of attention.
If you are also interested, welcome to cat.
Since Trevis arrived, you can implement continuous integration across all your PHP projects in no time. This not only helps improve code quality, but also greatly simplifies library support by providing build information directly in the pull request, thereby reducing the time it takes to receive feedback. Travis is very good, but like other testing tools, it suffers from a hereditary disease - it needs tests to do anything. Prepare to bet that you don’t have a single project that is honestly 100% covered by tests, or even close to that. I still hope that you write tests.
As you may know, I maintain a significant number of Symfony2 plugins and standalone PHP libraries. And thanks to the community (thanks guys, keep it up) I constantly receive requests for updates to my repositories. Some of the requests are completely useless, some are worthy of attention, some can be added to the main thread. But no matter how carefully the request is checked, from time to time it happens that something is added that does not work or works, but not always.
A couple of months ago I tried to change this situation, the idea was quite simple: create a system that checks the update request code and gives feedback. I made a prototype pretty quickly and added a couple of simple checks to it. Then, I wanted to add more complex ones, for example, checking whether a method can be called. To understand the benefit of such a check, look at the following example:
loadUser($user->getUsername())) ( throw new RuntimeException(sprintf("User "%s" was not found.", $user->getUsername())); ) return $user; ) )
And so, the method refreshUser gets an object of the User class using the method loadUser and returns this object. And if the object is not found, it throws an exception. Everything seems simple, but is it really so? And if I’m asking about this, then apparently not, and many of you have already noticed the mistake. Inside the if block $user is null and we cannot call a method on it getUserName. To find these kinds of errors, I tried several simple solutions, but it quickly became obvious that they only work in very specific cases. I needed something better.
Type Inference of PHP Code
I spent quite a lot of time delving into the concepts of data flow, control flow, and abstract interpretation. Which in itself looks quite complicated and is beyond the scope of this article. But let me give you just a few examples to give you a general idea of these concepts.Control Flow Analysis
Analyzing this flow allows you to determine in what order the various blocks of your code will be executed.0) ( echo "foo"; ) else ( echo "bar"; ) )
For this code, the control flow would look like this:
We start in if, then move to "foor" or "bar" and finally exit. In itself, this is unlikely to help us in any way, but it will serve as the basis for the next step.
Data Flow Analysis
Data flow analysis allows us to determine how the execution context changes while we move along the pattern we defined in control flow analysis.format(); // everything is fine here, we know that $x is an instance of DateTime ) else ( $x = 0; ) $x->format(); // $x is a DateTime instance or an "integer", depending on this // the method may or may not be called
Without knowing the order in which the code is executed, we can only conclude that $x could be null, a number, or a DateTime. But this will not help us figure out whether the method can be called format.
Abstract Interpretation
For our case, this concept boils down to the question “What assumptions can we make if we know the result of a conditional expression?” Let's look at another example:logger = $logger; ) public function doSth() ( if (null !== $this->logger) ( $this->logger->log("doing sth"); ) ) )
In this case, the “conditional expression” will be null !== $this->logger. If this condition is true, then our question can be rephrased as follows: “If the expression null !== $this->logger is true, then what assumption can be made about $this->logger?” As we already found out, $this->logger can be null or Logger. But thanks to the abstract interpretation, we can be sure that inside the "if" block, $this->logger will always be an instance of Logger, hence the method can be called.
Automatic verification system
What's the point of all this, you ask. At the beginning of the article I said that my goal was to create an automatic code review system. And I think that now it is ready for widespread use and discussion. I tested leading PHP libraries with my system, such as Zend Framework 2, Symfony2, Doctrine, Propel and many others. It contains over 100 validation rules that you can use and configure. If you have a PHP project on Github you can easily try it. Just log in to http://jmsyst.com/automated-code-reviews and select the desired repository. And if you don’t like it, you can turn it off at any time.If anyone now says that PHP programmers don't take code quality too seriously, send them to me.
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The legendary seers of antiquity - they were just very observant people. Based on the shades of the sunset sky, it is easy to imagine what the morning was like and calculate the weather for tomorrow. In the eyes of an eccentric girl you can see what kind of woman she will become, and what her most important childhood memory is. An experienced swordsman can be seen just by the way he holds his chopsticks. If a person is not able to pay for lunch, but still goes to the teahouse, the matter will not be limited to a cup of water. And if it’s an Okinawan with a sword, and it’s either the 17th or 19th century in the yard, that means the spirits of ancestors futuki(or in Okinawan, fafuji) have been waiting for this guy for a long time.
In the works of art of the postmodern and eclectic era, predictions are generally easy: the roads are clogged with wandering plots, familiar melodies and traditional characters. So “Samurai Champloo” begins in a completely unoriginal way: a passer-by stands up for an innocent, disrupts the usual course of things and, logically, gets into trouble. A banal cliche - or an impeccably polished masterpiece that will not become dull from repetition, just as works of art reproduced in reproductions do not lose their inspiring power. Moreover, there are repetitions: ronin Jin helps, however, not for free, a bankrupt official - and the Okinawan Mugen bravely rushes into battle, counting bonus portions as he goes manju. Dad's sad faces look like a pathetic duplicate. daikana and his “major” son, and poor waitress Fuu twice makes an attempt to save her pugnacious heroes - and also for a reason.
There are plenty of such reprises in the series, which is quite consistent with the hip-hop soundtrack. Double fights and repeated meetings, scenes and reflections, quotes and direct borrowings, whimsical patterns of local color on the established basis of detective, action, mysticism or comedy. As stated in the name, champloo is a mixture, a stew, a mosaic. However, even okroshka requires an experienced cook, and the label “mash” does not explain anything. Any work can easily be called “a whimsical kaleidoscope where motifs, styles and plots are fused” and placed on the “Inexplicable” shelf. But upon careful study, “Samurai Champloo” turns out to be a completely logical and balanced work.
Genre road movie, the characteristics of which are meticulously reproduced in the series, goes back to a time when there was neither cinema nor the English language. But even then, this ancient universal genre was more than just a scattering of stories connected by a road and a goal. Odysseus, Don Quixote, King Arthur's knights and Frodo - for them and for many others, the journey meant more than just moving from point A to point B.
Another episode, another meeting, another story, someone changes you, someone you change - or kill. Every day and night, side by side with your fellow travelers, brings you so close that you can no longer remember how it all began, and whether it is worth sacrificing your life for the sake of a seemingly complete stranger. Is there any meaning to this road? Only those who have walked it to the end will understand. Hardships and troubles, miracles and difficult decisions, new friends and shadows from the past - every step is like a minute lived, and the journey becomes a metaphor for life.
So a moon and a couple of stars can fit in a puddle. Thus drawn characters are able to embody the characters and destinies of living people. Thus, in a small island state, lost at the edge of the world in the rays of the rising sun, the whole world is reflected with all its wars, trade and politics, eras and revolutions, states and the destinies of individual people.
And no national color, no historical details will prevent you from seeing universal, but remaining truthful stories. Love, hope, betrayal, loyalty, death and revenge do not require translation. Children sacrifice themselves for their parents, and parents sacrifice themselves for their children, boys commit reckless acts, scammers deceive, and where there are scammers, look for detectives on the trail and undercover cops, braggarts will get theirs, and there will always be a fighter for the toughest fighter cooler...
And in the same way, without additional notes, beauty is clear. The rising sun rising from behind the mountains over the foggy shell of the bay, lush greenery and piercing midday blue, golden threads piercing the branches of trees and freezing in an intricate pattern on a tapestry of fallen leaves and flowers, proud asters in the courtyard of the old dojo in the lacy shadow of reddening maples, the emerald fur of pine needles against the backdrop of an amethyst sunset sky - all this is like a declaration of love, like a praise of harmony, like a banal, but still boring traditional Japanese comprehension of nature.
However, to be honest, without knowledge of Japanese history and Japan in general, “Samurai Champloo” will not be so interesting. This whole trippy-breakdance-rhythm-and-beat samurai cocktail is full of hints, little things, tips and jokes. According to the concept road movie, the series is distinguished by a serious set of characters, minor and episodic - almost every episode has its own set. And since each episode has its own plot, in addition to appearance and voice, the characters can boast of involvement in the 17th, 19th or 20th centuries. For example, the artist Hishikawa Moronobu and the legendary warrior Musashi Miyamoto are active here, Francis Xavier and the Shimabara Christian Uprising are mentioned, and Andy Warhol is parodied but undeniably recognizable. There's a zombie that looks like Brian Jones from the Rolling Stones. There is a newly invented mathematical sign. And even the names have their own meaning - like additional storylines woven into the colorful fabric of the main narrative.
“Samurai Champloo” is mockingly detailed, and already in this property it can be considered an elite anime. It's no wonder it failed in Japan, where cartoons don't tolerate complexity and brilliance! But for the corrosive gaijin, this is some kind of “golden mine” and a celebration of the soul. Understand monk on Jin's kimono - Takeda or not Takeda? Meticulously analyze Mugen's techniques. Catch real historical figures and separate them from the heroes of television series. Arguing over whether it was realistic to organize the clandestine production of guns, and which Europeans managed to swim to the Japanese Islands...
Such elaboration and thoughtfulness amazes and sometimes intoxicates, sometimes preventing you from completely immersing yourself in what is happening. Knowledge of history can help, or it can confuse, since along with historical facts there are plenty of facts of fictitious and obvious anachronisms. But, as the main culprit of this phantasmagoria said in an interview with Newtype magazine: “The time of action is the Edo era, approximately 60 years after the end of the turmoil after Sengoku, a period of civil strife and conflict. But forget about the historical details. Think of it as a time period 60 years after the end of the war.”
So, the series is supposedly set in 1675. But it’s hardly worth sticking to this date seriously. Rather, it is some hypothetical year “60 years after the end of the war.” Everyone has become accustomed to peace and order, but they still remember the troubled times. However, along with the war, something important goes away, something that is called “honor”, “valor”, “readiness to die for someone”.
A familiar, repeating situation when the world becomes different, and you are used to what was before. A familiar, eternal feeling is the desire to be born in another century. The fates of indomitable fighters and fundamentally honest warriors who happened to live in an era of prosperity and compromise.
Mugen, Jin and Fuu are the main characters of Samurai Champloo, the leitmotif, the basis and the occasion. These three have absorbed so many characteristic classic features that they may seem like the average anime characters come to life. (There is something mockingly mocking about this, the familiar style of Watanabe Sensei: to make seemingly stereotyped characters more than credible and alive).
A mysterious and romantic introvert, a wild and cocky dork, a girl who wants to be the most beautiful, learn everything and eat a lot and more often. Each of them, as expected, has a past, which is quite specific and is, in fact, the bottom, invisible part of the iceberg. On the day they met, they were not “blank slates,” although they tried to seem so. But it is precisely this “load of heavy thoughts,” memories and debts that fills their journey with meaning and determines its completion.
Restrained, ceremonious, elusively silent, like a fish, ronin Jin is a student of a famous master whom he once surpassed; unfairly slandered, as befits a “bad good”, he is forced to constantly pay for his actions and listen to accusations of betrayal with a straight face. It’s a paradoxical pattern, but a person who puts honor above all else has to live with the stigma of dishonor. There is no future, it’s better not to think about the past, if you can hope for something, it’s to die in battle with a worthy opponent.
Disheveled, restless, pugnacious as a rooster, Mugen is a pirate from the Ryukyu, who does not part with a sword, despite the strict ban on Okinawans to carry weapons. No family, no friends, no one to trust, nowhere to return to. The only joy is to fight with someone truly strong. It is clear that one day you will meet someone too strong, but is it worth worrying about?
Fuu is Fuu. All she has is a tame squirrel, childhood dreams, appetite and resentment. In the end, resentment becomes the goal, because if you are unable to help a loved one, you can at least try to take revenge on the one who is to blame for your troubles. And when the prospect is to work as a waitress in a teahouse (or maybe sell her to a brothel), then the most elusive goal will seem achievable. For example, find a samurai who smells like sunflowers.
They had nothing to lose. But how amazing is the fact that this story is woven together by the tenacity of the girl from the tea shop! Coincidence. Or a combination of secret desires. For Mugen and Jin, so different and at the same time terribly similar in their stubborn doom, Fuu became a reason to live on. Do not strive for death, do not search and, in the end, find someone to break your neck about, do not wait for the avengers - but move somewhere, do something, hope for something, even if not for yourself.
Without it, they would have to fight - to the death, as each of them realized at the first fight. They saw their death in each other's eyes. The search is over... But, apparently, in each of them something strived for life - this is how Jin discovered love for himself, this is how Mugen argued with the spirits.
The most vulnerable and weak, helpless and in need of constant protection, even for a short time, Fuu filled the lives of two tramps with meaning. Moreover, she allowed them to atone for their sins and free themselves from the past. Because both Mugen and Jin experienced this amazing feeling of being needed by someone.
From the outside it all looks pretty funny. A lover of women with big tits allows himself to be beaten because of a worthless and, in addition, flat-chested girl. The ruthless Kariya Kagetoki, “Hand of God,” still did not understand why Jin was going to certain death - but there, on the edge of a cliff, stood Fuu, who during her travels had become such a close person, and then there is Mugen, and how can you look at it later? in his eyes?..
It turned out that Fuu helped them go through death and rebirth - unexpectedly Christian motives in an era of persecution of Christians. Mugen's sin is from the times when he was a pirate and killed without pity or regret. Jin's sin is from the times when his sword was “for him alone.” The past remained on the shore of Ikitsuki along with the fragments of swords - and from now on, free Mugen and Jin went in different directions.
This is how it should have been - and it is not a matter of a “simple” solution to the supposed love triangle, although this primitive but understandable scheme seems to explain everything. Fuu probably thought about this on the last night around the fire, when she “shared secrets.” There's more to it than just attraction. There is intimacy greater than passion. And in order not to destroy the acquired kinship, it is necessary to separate - to check how effective this connection and this rebirth are.
For Fuu herself, the rebirth was the meeting with the “samurai who smells of sunflowers” - an impossible miracle, but they told her that sunflowers don’t smell! But a miracle happened, she made it in time and received her answer. And freed from childhood grievances, she moved on - to grow and become a fatal beauty. And, probably, to look for your complete hero, for Jin and Mugen were only halves: a romantic and a fighter, two extremes, from which it is impossible to choose one.
This is how the seemingly chaotic and incoherent series turns into an amazing interweaving of battles, philosophy, feelings and just adventures. The road in the world and the road within. Plus a stunning soundtrack. Plus a great ensemble of voice actors. Plus amazing depiction... I should watch it again.
I express my heartfelt gratitude Tenar And Verbnic for help in editing the review
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