I welcome anything Spike Jonze makes. He wrote the screenplay himself, without Charlie Kaufman, thank you. I have a feeling it’s being released in November for good reason – Awards Season. You know it’s going to be quirky, but I think Spike Jonze has a very accessible quirkiness about his work. The film is described as being “a sweet tale” and it’s something like this that Phoenix needs to add to his resume if he ever wants to break into the hearts of the audience. Her also stars Rooney Mara, Samantha Morton, Olivia Wilde, and Amy Adams.

Click here to view the embedded video.

Don Jon looks like a very promising film. Obviously, Joseph Gordon-Levitt is playing anything but a squeaky clean character here, but his charisma is undeniable. His voice was almost unrecognizable in the voiceover, and had me thinking he could pull off a nice Ray Liotta impression. I laughed a few times in the trailer, but did they just completely ruin a few cameos? Also, how about Scarlett Johansson? I would not peg her to pull off the New Jersey attitude, and accent, but it seemed flawless. Don Jon will hit theaters on October 18, 2013.

Click here to view the embedded video.

Hey Bartender tells the story of a very visible but unappreciated figure: your neighborhood bartender.  Specifically, it follows the story of an injured Marine who hopes to work in the greatest cocktail bar in the world and a man who leaves his job to keep afloat a corner bar in his hometown.  Douglas Tirola has done several other documentaries, and they tend to keep an eye on social outliers.  Hey Bartender will find its way into a few theaters on June 7th but I hope its a film people watch at home, in order to learn something about the woman behind the bar they visit without knowing every weekend.

Just remember that he or she gave her life to the night to keep others awake in the morning.  An oh, tip your bartender.

The site also states that Inherent Vice has a cast of 20+. Fans of Boogie Nights and Magnolia will know that Paul Thomas Anderson is no stranger to large ensemble casts. Let’s run down this list once again: Joaquin Phoenix, Owen Wilson, Benicio Del Toro, Reese Witherspoon, Martin Short, Jena Malone, and Kevin O’Connor are all listed in the cast thus far. The addition of Penn will be a pretty big one, and apparently he was going to play the role that Philip Seymour Hoffman played in Punch Drunk Love, but dropped out. Many years later he will finally work with PTA. I expect this one to be confirmed in upcoming days because the fansite is pretty reliable when it comes to anything Paul Thomas Anderson.

NOTE: Due to my lack of preparation, the jury and the feature is a little thin this week. 

The Jury:
Nick of The Cinematic Katzenjammer
Alex of Cinemaniac Reviews
Colin of Move Flubs
Vivek of The Cinematic Katzenjammer
Daniel of Daniel’s Film Reviews
Joe of Two Dude Review
Fernando of Committed to Celluloid
Steve of Chocolate Raisins
Kristen of Journeys in Classic Film

“A young woman’s world unravels when a drug prescribed by her psychiatrist has unexpected side effects.”
Directed by: Stephen Soderbergh, Rated: R, 106 minutes

Nick: Rent It
Vivek: Rent It
Alex: Rent It
Joe: Rent It
Daniel: Buy It
Fernando: Rent It
Colin: Rent It
Steve: Rent It
Kristen: Rent It

“The leader of a drug cartel busts out of a courthouse and speeds to the Mexican border, where the only thing in his path is a sheriff and his inexperienced staff.”
Directed by: Jee-woon Kim, Rated: R, 107 minutes

Nick: Rent It
Vivek: Rent It
Alex: Skip It
Joe: Rent It
Daniel: Rent It
Fernando: Skip It
Colin: Rent It
Steve: Skip It
Kristen: Skip It

“Ethan longs to escape his small Southern town. He meets a mysterious new girl, Lena. Together, they uncover dark secrets about their respective families, their history and their town.”
Directed by: Richard LaGravenese, Rated: PG-13, 124 minutes

Nick: Burn It
Vivek: Skip It
Alex: Rent It
Joe: Skip It
Daniel: Rent It
Fernando: Skip It
Colin: Rent It
Steve: Skip It
Kristen: Rent It

Other Releases

Parker
Stand Up Guys
The ABCs of Death

Here’s everything that happened in the order it was announced.

They begin with a speech about how the living room is too complex and too slow. They want to combine it all to be one (there it is) experience between movies, TV, games, and social media.

The console is unveiled, the all in one home entertainment center:
The XBOX ONE

The console looks like a big rectangle box. Shiny black finish. Looks like an oversized cable box. The controller looks slick, basically a new iteration on the 360 controller which the masses love. Controller upgrades: updated battery, new triggers, and an improved d-pad (finally). It actually just dawned on me that the 360 controller never got a revised version. The only noteable feature is that the battery should be internal now. And the new kinect looks like it ate 3 old kinects.

A long demo commences of the voice commands for the new and improved Kinect. Microsoft seems to be doubling down on this peripheral. The instant switching between TV, internet, game, and music, and home was actually really cool. I was impressed with how instant everything was. Hardly any hesitation going from game to tv and back, like it were another window on a computer or another channel. However, then the demonstrator had to use his arms to full-screen the movie. I don’t want to have to wave my arms around every time I use this thing.

Interactivity is stressed over an over again. They ability to interact with live ESPN sports is pretty freaking awesome. By using voice commands you can see the player stats and even your fantasy score right there at the same time.

Some specs on the system are that it now packs a Blu Ray disc drive, the system is supposedly silent, different power states, 3 operating systems in one. The different power states are what I assume they meant by “always on” in the leaks leading up to the reveal. I wonder if it will never be “off” but just in standby.

They keep saying “Kinected.” Stop that.

Speaking of Kinect, one will come packed in with every XBOX ONE. Kinect is in 1080p, and the motion detection is so high-tech it can read your heatbeat.

Then we got a 3 minute discourse about photons.

They touched on Smartglass breifly, to use the tablet as a remote control. But there was no demonstration or anything more than that.

New Xbox Live features. They said that it will be “under the same membership as today” which probably meaning pricing will continue as it exists. There are currently 15,000 servers running the 360 version of Xbox Live, and the Xbox One will have 300,000 servers powering it. Your content will be stored in the cloud and “can be accessed anytime, anywhere”. Live will act as a gaming DVR, to capture things you play.

Halfway through the presentation not a single game had been spoken of. But that changed when an EA big wig presented four sports games: FIFA, Madden, NBA Live, and UFC and “showed” what they could do. I say it in quotes because they were all prerendered cutscenes, no gameplay. None were cited as launch titles, just launch window or within the first year. These games are not exclusive to Xbox One (*giggle*, sorry I still can’t say it).

Then they show a video of Forza 5, Microsofts title racing game. The video looked fine, but again, not gameplay. Just a prerendered cutscene. The big news here is that Forza 5 will be a launch title. This is a good idea as racing sims are a good way to show off graphical prowess.

Remedy has a new IP called Quantum Break. It’s similar to the upcoming Beyond: Two Souls, but they didn’t have anything to show but a live action trailer with some animated destruction pieces. I hopw it’s futher in development than that if it’s going to make it to the Xbox One any time soon.

Microsoft promises 8 brand new franchises in the first year of the console. Other than Quantum Break, however, they didn’t name or show any of them.

They go back to talking about interacting with television shows, and then bring out a Halo rep. I would have hoped the rep would be the for the games segment, but sadly that’s not to be. They announce a Halo TV series, and pair it with an interview with Steven Spielburg. It was unclear if he would have any involvement with the series, and it was also unclear if the show would be exclusive to Xbox Live. By the way, this was for a Halo Tv show, not a game. TV show.

Coming full cycle they return to watching live sports on the Xbox, and the Microsoft partnership with the NFL. They revisit features life onscreen stats and fantasty football league details right there on the screen.

XBOX ONE will come out “later this year.”

They then invite everyone to come to E3 where you’ll actually see the games, not tv shows.

Then finally the big finale that everyone came to see. The world premier of Call of Duty: Ghosts. They introduce the team who made it and go into a video documentary about the game’s development. They finally get to the full trailer and it has, you guessed it. No gameplay.

There was no outro or anything, but as soon as the trailer was done, the live stream ended.

My Impressions:

Microsoft did a lot of trash talking following the PS4 reveal event. “Where’s the box” or “A hardware reveal without the hardware!” were some of the more common ones. Well MS went in the opposite direction and did ONLY the console. The name of the console is hilariously bad. My tweet right after they said it was something like, “XBOX ONE!?!?!?! Bwahahahahahahahahahahahahahahaha #XboxReveal” -LinksALefty. If you try and Google Image search “Xbox One” you get (guess what?) pictures of the first Xbox. The name is a disaster. I never thought I’d prefer “Durango.”

They had the perfect chance to fill in all the gaps that Sony had missed (hardware, date, price). That’s all we wanted, and we didn’t get it. They catered to a bit of the “bro” crowd by stressing football, Madden, and Call of Duty. But for gamers this did nothing. They even have a more vague release window of “sometime this year.” At least Sony said PS4 would drop in Fall 2013.

And from all this I arrive at a scary conclusion: Microsoft wasn’t ready. Sony came out so early that MS had to hurry and put this together. Tech-wise they may have been prepared, but not a single game was ready to be shown. We didn’t get a single second of gameplay, which means we as gamers have no idea what this will do for us. Try again at E3 Microsoft. You better bring it.

Directed By:  Florian Henckel von Donnersmarck  Rated: R, 137 min

Watching a movie, do you ever get a flash of what you look like?  Eyes wide, mouth open, elbows propped on knees, leaning towards the screen where people live on the other side of reality’s coin.  Or maybe you’re in your room in the dark with your headphones on, neck bent, desperately ignoring the sounds of your body’s operations, looking hard at your desk so you can emblazon someone else’s words on the back of your eyelids, words you never knew you missed and from now on will live by.  A bookmark once told me that he who reads – or watches movies, for that matter – lives a thousand lives before he dies, while the man who never reads lives only one.  The search for meaning keeps us peeping in windows through pages and movie screens and sometimes into real lives.  It makes us voyeurs.

Meet Hauptmann Wiesler.  He has lived only one life for all his life, or maybe he’s lived less than one, for in some places and some times, it’s hard to tell the difference between one life and none.  Hauptmann is a spare man, clean sided and useful as a scalpel.  He keeps his hair short and his fingernails clipped.  He dresses in well made, if unremarkable, clothing and lives in an apartment marred by a single fingerprint, left in red ink.  Looking at him, wearing his slightly cold, aware, and mildly severe expression, you begin to think he would have made a better knife than he would a man.  He knows people the way that a lie detector knows them, by measurable pressures, weaknesses, points so small and exact they can be charted on paper.

It is 1984 in Berlin and the Wall stands.  Wiesler teaches Stasi (Secret Police) recruits how to interrogate.  He teaches them to break a man with the dispassionate attendance to method of an old man teaching a young man how to split a walnut.  At a play, Hempf, the minister of Culture, drops a hint to Wiesler’s superior that he suspects Dreyman, a socialist playwright, of subversion.  He glances at Christa, Dreyman’s beautiful girlfriend, contemplatively and recommends something be done about it.  Wiesler bugs Dreyman’s apartment and sets up an operation in the attic room above it.  He sits in a room upstairs, wearing a pair of headphones, bent forwards in his chair, eyes closed, listening to Dreyman and Christa, and finds in himself something more than professional interest.

As he combs for evidence of subversion, the forces of love and loyalty and dishonesty and honor Wiesler uncovers in Dreyman and Christa’s lives serve as a catalyst for him.  Wiesler is a blank slate of a man who has straggled to the present with no more substance than an iron silhouette.  Describing his past would be as useless and easy as printing a bullet point list and you only have to take a peek into his apartment, at the bland flotsam of furniture and utensils to see that no one lives there.  The attic room contains no more than a chair, a desk, a listening station but to Wiesler, it is full of people with momentous lives.  He chalks an exact floor plan of their house on the floor so he can imagine where they stand.

Sitting in the attic room with his ear pressed to the pulse of other lives, Wiesler learns the sound of a heart.  He takes guilty sips of the overfull life below him and the more he takes from them, the more he makes decisions that endanger his invisibility.  As Hempf’s jealousy beset the charming life that Dreyman and Christa have carved out for themselves, Wiesler turns into a vague grey presence that navigates the currents of their deceit and trust.  In one memorable scene, he discovers his own sense of justice when he perceives a tragedy befalling an unwitting Dreyman and he rings a doorbell.

The Lives of Others works best when it, like its character, is spare and bony.    It examines where sympathy comes from, where love and trust come from, and loyalties are formed.  All around him, people fight for ideals that turn them into monsters while Wiesler puts together the first building blocks of the human heart.  He is extremely fortunate, or unfortunate, that he learned to live a life slim enough to fit into a manilla folder while the people around him, that he listens to and interrogates, make mistakes, get angry, and are broken.   Wiesler doesn’t know how to even begin to live his life.  His few attempts fail and he goes back to living vicariously through Dreyman and Christa, like a grey shadow they throw on the wall.  It’s as close as he will get to real life.  When it’s threatened, he will protect it.  It’s a strange love story, but the strange love stories are the most honest.

The problem with the movie, as so often happens with double layered narratives, is that what Wiesler listens to, so fascinated, wasn’t as fascinating as him.  Some of the love making scenes, shot in sepia against the background of a note, with Dreyman’s shirt half unbuttoned, struck me as overdone.   I didn’t care much for Dreyman and what I did care about him, came from the circumstances of the GDR’s inhumanity rather than his character. He was important to me as a man, and not a personality and I felt time drag through his scenes.  I think the movie would have done better if we only knew Dreyman through Wiesler’s headphones, because then he became a small bright heartbeat in a wide darkness.

As Wiesler found himself fascinated, I found myself fascinated to watch Wiesler balance Dreyman’s fate against envy and sympathy. Like Wiesler, I considered Dreyman arrogant for the things he had that others didn’t.  While other artists starved and struggled, and were discovered hanging in closets from nooses, he grew fat on hand outs through no fault of his own but luck. From Wiesler’s perspective, where you can perceive the traps set around the writer, its infuriating to watch Dreyman move through pitfalls so recklessly, with out a word of thanks for Wiesler and only a sense that he has a mission to say something important.   Of course, Dreyman is unaware of his pitfalls.  Wiesler actively prevents him from knowing about the danger surrounding him, and wards off the police.  We’re jealous of Dreyman the way we’re jealous of all lucky people.

Some people have all the luck.  They live many lives, as lovers, writers, friends, mothers, fathers, athletes, poets, professors and actresses.  They live a thousand restless lives, each at one time better than the other and impossible to weigh and sometimes they might give up every life they have for the sake of one.  Some men don’t get a thousand lives though.  They weren’t born with luck.  Somebody taught them to live as sparely and tepid as a grey afternoon shadow.  And maybe they get the shot to live one life, and live it correctly.  Some people have all the luck. Other people have to be the luck.

The Good: The soundtrack blew me away at times and left me flat only very rarely.  The film also offers insight into what seems now a completely foreign country – GDR Germany.

The Bad: Dreyman and Christa get a little too much screen time and get hot and bothered about it.

The Most Intensely Listened To: Wiesler’s slow growth into a human being is fascinating to watch.  The bones of this film are beautiful.

Overall: 8.0

Click here to view the embedded video.

Click here to view the embedded video.

So, you really don’t need to thank me. I can’t lie and say I didn’t laugh. That’s pretty good because I really didn’t want to. It is kind of odd that Craig Robinson is in two apocalyptic comedies (This is the End) being released relatively close together. I thought John Francis Daley’s line about “why not forever” was pretty good. I like the cast which also includes Rob Corddry, Rob Huebel, Paul Scheer, Ken Jeong, Thomas Lennon, and Tyler Labine. That’s quite the comedic lineup, but God does the production look horrible. Rapture-Palooza is scheduled for release on June 7, 2013. Here is the part where you tell us what you think about the trailer for Rapture-Palooza in the comments below?

Firefly – Not Rated, 2002, 14 Episodes

Set 500 years in the future, Firefly follows the crew of the Serenity as they smuggle cargo in their space ship to and from planets and moons on the outskirts of a star system under Alliance control.  The captain of the ship, Mal, a former soldier in the war against the Alliance, runs the ship and its crew outside of Alliance control and are constantly trying to avoid being caught after taking on a special passenger.

This short-lived series, created by Joss Whedon (Buffy The Vampire Slayer (Also on Netflix), The Avengers), created a large cult following with its mix of space and western genres, as well as engaging performances from Nathan Fillion as the leader Mal, Gina Torres as the second-in-command Zoe, Alan Tudyk as Hoban the pilot and Summer Glau as the mysterious River Tam.  There are many great performances in Firefly, endearing the viewers to each character and their plight, as they try to scratch out a life under the scrutiny of an iron fisted government.  Originally aired on Fox in 2002, Firefly was unceremoniously dumped after airing 11 of its 14 episodes, most of which were aired out of sequence, at times leaving the audience confused as to what was going on.  Although only 14 episodes exist, the fan response to the show led to a theatrical release called Serenity (Available on Netflix), which attempted to tie up some of the loose ends from the series.  Despite the feature film, fans still clamor for more and this show is ripe for a relaunch.

Terriers – TV-MA, 2010, 13 Episodes

Hank Dolworth is a recovering alcoholic, recently relieved of his duty from the Ocean Beach Police Department, who becomes a private investigator with his best friend and former thief, Britt Pollack.  While attempting to put their lives back together as PI’s, the duo discovers a case of corruption and murder and race to solve the crimes.

Although short lived on FX, Terriers was an extremely tense and engaging show, as well as a critical success.  The ever underrated Donal Logue plays Hank with a subtle unease, sometimes comical in his actions, but always working to hide the pain of losing his wife and his job to alcohol.  Michael Raymond-James (True Blood) is also solid as Britt Pollack, a former criminal and Hank’s best friend, trying to live his life on the straight and narrow and  working to make a life for himself and his girlfriend.  The premise of the show gives the viewer the impression that Terriers is as an episodic program, but quickly the audience learns, as more complex and intriguing plot lines evolve, this is a linear storyline that will leave the viewer wanting to watch multiple episodes in one sitting.  There have been rumors of a possible TV movie, but as of now they are just rumors.  Until then we are left in awe with these 13 episodes.

The Good Guys – TV-14, 2010, 20 Episodes

Dan Stark, a former hot shot detective, is teamed up with the straight-laced Jack Bailey in the Dallas PD Property Crimes unit, as Dan is being put out to pasture while Jack is being punished.  The old school Stark and the by the book Bailey, as expected, clash often, as their low level property crimes inevitably turn into major crimes involving drugs, theft and murder.

The Good Guys was a guilty pleasure, in the Summer of 2010, as there was not much else on, but it steadily grew into a solid show.  With its success during the Summer, the show was picked up for Fox’s fall schedule, but was cancelled after airing 20 episodes.  Although the plot of the show is formulaic and mostly episodic, the chemistry between Bradley Whitford (The West Wing – available on Netflix) as Dan Stark and Colin Hanks (Orange County) as Jack Bailey is great.  Both actors play off each other extremely well and it carries over into the other performances on the show.  Jenny Wade (The Feast horror movies) turns in a good performance too, playing Liz Traynor, Jack’s ex-girlfriend and the assistant district attorney who often provides convenient assistance to Stark and Bailey on their cases.  Aside from the comically endearing character portrayals, the series employs many hard rock songs from the 70′s and early 80′s, lending an often humorous boost to the action scenes.  This may seem an odd show to want relaunched, but everyone involved could easily step back into their roles and provide more laughs and excitement with this rare hour long comedy.

Several short-lived shows available on Netflix should, at one time, have been relaunched as well, but for one reason or another, it would be unlikely to do so now.  These are still fantastic shows and should be considered for viewing:  Freaks and Geeks, Undeclared, The IT Crowd, Jericho, Spaced, Life, and Caprica.  Though all of these shows are recommended, it is advised you may not want to watch them, as it might make viewers upset that there is not more available for these excellent series.

In Mud, McConaughey plays a drifter who finds a boat in a tree on an island in the Arkansas River. Bad men are after him and he’s patiently waiting for the love of his life, Juniper (Reese Witherspoon), to give him word that it’s time for them to get out of town together. As he scavenges and idly sits by, two young boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland) discover the boat, and plan on taking it as their own. Unfortunately from them, it’s Mud’s home, and he’s not willing to give it up that easily. So Mud makes a promise with the boys. If they can feed him and help him with Operation: Juniper, he’ll give them the boat.

Driven by its performances, Mud is a small-budget, beautiful, little masterpiece. McConaughey delivers, perhaps, his best performance to date, and seeing him struggle both mentally, physically, and emotionally really pulls at your heart strings. Mud is a simple man, yet his love for Juniper is true, and as misguided as he may be, it’s hard not to sympathize for the man. McConaughey fits the role perfectly, and given prosthetic teeth, a magic shirt, and enough backwater wisdom and the fear of God inside him, he completely becomes Mud.

Surprising enough, McConaughey is not the only standout performance. Tye Sheridan, who was introduced to the world in Tree of Life, gives one of the best performances I have seen from a kid under 15 in a very long time, and as the focus of the story is the coming-of-age of Ellis and Neckbone, he plays a vital role in the film. He’s a courageous little man with an even bigger heart than Mud’s, and seeing him try to be the hero of both his own life and that of his new found drifter friend is both honest and admirable.

Along with the performances, Mud is also a gorgeous film to look at. The director, Jeff Nichols (Take Shelter), has continued his streak of winning films and his style and reverence towards Small Town, USA is building on his filmography beautifully. Many of the visuals in Mud can be compared to that of Terrence Malick’s and Nichols manages to capture the beauty in the smallest of details. This helps Nichols turn his settings into more than just a place he films, but instead an entirely new character in his movies. Dewitt, AR becomes a place rich with life and characters, and you’re left wanting to explore every inch of the small, back-water town with Ellis and Neckbone.

Mud is easily one of the best movies I have seen this year and probably one of the best I will see in 2013. Packed with its own Southern mythologies and incredible performances, Mud packs its own mysteries and romances and helps remind us that a character-driven drama is much more effective than any high-budget blockbuster. The film is also the pinnacle of McConaughey’s career and if the man continues down this path, there will be only good things ahead. And as far as I am concerned, that means that everything is alright (alright).

The Good: Nichols’ camerawork and love for the South is just as romantic as the relationships in the film
The Better: The performances from the young cast and the focus on youth loosing its innocence, as any coming-of-age film does
The Mud: McConaughey at his finest, with his shirt on for 95% of the film (the reason it’s off actually makes sense to the plot)

Overall: 8.9/10

Click here to view the embedded video.

In 2009 J.J. Abrams was tasked with the job of rebooting the Star Trek franchise, after the disappointing box office performance of Star Trek: Nemesis. With a built-in fan bases, thanks to over 40 years of history, a great deal of scrutiny and expectation were sure to follow the film’s production. The film was made for a reported $150 million and opened domestically to over $75 million and received mostly positive reviews from both critics and fans. The film went on to gross over $385 million worldwide, and the franchise was reborn.

Four years have passed since Star Trek, which is a long time between franchise films. The decision to wait to film release Star Trek: Into Darkness seems to have been well received, because rushed films usually have the opposite effect. With the entire cast returning for the sequel, as well as a few new additions, Star Trek: Into Darkness was positioning itself to be huge. With screenings in 3D and IMAX 3D, Star Trek: Into Darkness should become the highest opening film in the franchise. I feel that $100 million opening at a minimum should be expected, and believe the film to open a bit higher than that.

Here’s my weekend Top 10

Box Office Predictions

Box Office Prediction Game

All of the players believe Star Trek: Into Darkness will open at over $100 million for the 4 day period. Trevor and Jason have the highest expectations, with each of the Movie Mavericks expecting an opening over $120 million. Nick has the ‘lowest’ expectations, believe $103 million to right. The rest of the gang, myself included, are predicting between $105 and $111 million. I’m currently sitting comfortably in the top spot and Shane’s sitting even more comfortably in last place, but the battle for positions 2 through 5 are heating up.

Click here to view the embedded video.

A trailer for a relatively low budget film Europa Report - nicknamed Europa - recently caught my eye.  Six astronauts travel to Jupiter’s fourth moon, Europa, funded by a private company, on the promise of  a living sea hidden by a sheet of ice.  The beginning of the trailer captures the mood of mankind at his best – on the outset of a great journey of discovery, standing at the meeting of past and future.  With this optimism, the crew sets forth, however, after the death of a crew member the remaining astronauts must survive deep space travel and profound revelations about life in the universe.  The distant glimmer of dreams turns out to be a horrifying thing, examined too closely.

Sebastian Cordero, the director, shot the movie like Cloverfield - with the camera held by characters, firmly within the folds of the fourth wall.  I happen to like these kinds of films because they’re completely self contained and have no escape routes.  This technique works particularly well with sci-fi/horror – though it doesn’t improve a bad script.

One other point.  Guess who’s back?  Sharlto Copley, who played Wikus in District 9 has returned, this time as the team leader.

Europa Report comes out June 27.