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If a made-up language sounds like gibberish to you, that may be the point. Where do these secret codes and languages come from, and why do we create them? It might all start with gibberish

Taal movie dog crack#

Now, you donвЂ™t need to be an expert in cryptology to crack Pig Latin (and watch out, parents, when your little ones do), but there are hordes of other invented forms of communication that can be more challenging to those who arenвЂ™t in the know. Plenty of parents still use it to speak about things they donвЂ™t want little ears to hear.

The appeal doesnвЂ™t dissipate as we grow older, either. Whether you devised it with a sibling or wrote in a diary only you could translate, there was an allure in concealing your communication in code. Stolen land - TREATY NOW.It seems like a rite of passage for most kids: your first made-up language. I acknowledge the Wurundjeri People of the Kulin Nation as the custodians of the unceded land on which I work, live and play. Member of the the Australian Academy of Cinema, and Television Arts and the Alliance of Women Film Journalists Owner and creator of the database Generation Starstruck: Australian Women's Filmmaking 1980-1999. Masters in Cinema Studies from La Trobe University. PhD in Screen Studies from the University of Melbourne. Member of the Advisory Board for the Miskatonic Institute of Horror Studies (LA, NYC, London).ДЄdjunct Professor in Film + Television at Deakin University. Two-time Bram Stoker Award Finalist who writes and edits books, book chapters, provides audio commentaries and writes video essays for home entertainment releases, and lots, lots more. Specialises in gender, genre, representations of sexual violence, cult and horror film, and women's filmmaking What it does is something so much better: it loves it and celebrates it with charm, skill and devotion. John Wick: Chapter 2 doesnвЂ™t radically subvert the genre, but it doesnвЂ™t intend to.

ReevesвЂ™s carefully constructed blankness renders Wick the role he was born to play, and combined with StahelskiвЂ™s obvious film literacy вЂ“ like the original movie, John Wick: Chapter 2 is stacked from go to whoa with intertextual references вЂ“ each carefully constructed action vignette has the advantage of functioning as a stand-alone master class in genre filmmaking, while blending together seamlessly enough to make the film just coherent enough to stand as a whole. John Wick belongs to Keanu Reeves, who plays the role with straight-faced determination and a real understanding of the rhythms the genre demands. What the second film lacks in similar eloquence, it makes up for with audacity: this time around Wick is involved in a far more convoluted storyline that sees him as the quarry of a $7 million contract, leading a whole bevvy of one-time colleagues in pursuit of him to claim their money. The first is effectively a traditional revenge narrative where the title character вЂ“ a retired assassin вЂ“ avenges the murder of his dog Daisy. Narratively, the John Wick films are deliberately light on the ground. While not exactly ballet as such, there is an argument to be made that the pleasures offered by action films of this calibre stem less from narrative as they do from the thrill of experiencing grace-in-motion, albeit with less tutus and more AK47s. That stuntman Chad Stahelski directed both the first John Wick film in 2014 and its recent sequel therefore comes as little surprise: these are movies that understand on a molecular level the cinematic potency of bodies in motion. There is a choreographic elegance to a really good action film that grants it a grace and confidence arguably paralleled only in the musical.