THE OTHER SISTER A film review by Steve Rhodes Copyright 1999 Steve Rhodes RATING (0 TO ****): ***
Carla Tate, played with an inviting spunk by Juliette Lewis, has gotten her own apartment. Although generally not unusual for a woman who's about twenty, it is for her since she's a mentally challenged young woman just out of a boarding school for those with diminished capacities. Described by her doctor as someone who "pushes the edge of the envelope," Carla wants to explore the world on her own, and she even has her first boyfriend, Daniel, played equally realistically and charmingly by Giovanni Ribisi from SAVING PRIVATE RYAN. Carla and Daniel have been taunted all their lives as "retards," but, now grown, they are really enjoying their lives and their newfound freedom.
As directed by PRETTY WOMAN's Garry Marshall and written by him and Bob Brunner, THE OTHER SISTER is two movies for the price of one, but only one is worth paying for. Watching Carla and Daniel's beautiful but naturally awkward love affair and experiencing their coping with the world provides a wonderful movie-going experience that is alternately sweet, poignant, romantic and humorous. It does all this without ever falling into crass manipulation. Unabashedly uplifting, the movie never stoops to exploiting the vulnerability of the leads' conditions.
Carla and Daniel are as natural and believable as the supporting characters are plastic and clichéd. As Carla's mother, Diane Keaton is a rich busybody, who likes to flip rapidly through the pages the "American Art" magazine in reverse. She orders Carla around like a 6-year-old, not the independent woman Carla thinks she is. Tom Skerritt plays Carla's loving Dad, a reformed alcoholic, who wants the best for Carla. Scenes vaguely link his old drinking habits with some of Carla's difficulties. In completely unnecessary plot embellishments, the family also has two other daughters, one a lesbian and one about to be married, and a longtime, live-in maid, who serve only to clutter up the storyline and take screen time away from the leads.
Although her mother pooh-poohs all of her ambitions, Carla enrolls at the Bay Area Polytechnic so that she can eventually become a veterinarian's assistant. It is at school that she meets Daniel. Their first date is to a bus terminal. Daniel's passion is college bands, and it is from the bus station that he takes the bus to the games. Every destination placard is music to Daniel's ears since it reminds him of the college nearby. Daniel, who likes to play loud marching band CDs in his apartment, doesn't understand Carla's preference for dead blues singers. Nevertheless, they hit it off marvelously, and the quirky, romantic chemistry between them is a joy to behold.
Having never dated, sex - what they call "doing it" - is constantly on their minds, but they don't rush it. Approaching it like a subject in school, they get "The New Joy of Sex" book and discuss which page numbers they like and which they don't. This is done so seriously and sweetly that it will have you doubling over with laughter.  "I think it was Madonna," he replies seriously.)
The movie works best in its many innocent moments. On Halloween, Daniel, dressed as a cute little puppy, comes to pick up Carla, as a swan, for the Halloween party. With self-mocking humor, he laughingly assures Carla's fastidious mother with her multimillion dollar, spotless mansion, "Don't worry, cause I've been housetrained."
The movie builds toward an emotional crescendo that will fill you with tears, many of joy. Even if the last act is full of predictable scenes, they are so exuberant that they are delightful. Every time the movie approaches the mawkish line, it manages to avoid stepping over it, mainly through the strength of the astonishing acting by Lewis and Ribisi.
"I love you more than band music and more than cookie making," Daniel tells Carla. That a movie could make a line like that sound genuine is all the testimony it needs.
THE OTHER SISTER runs a bit too long at 2:10. It is rated PG-13 for thematic elements involving sexuality and would be fine for kids around 12 and up.
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belongs to the author.
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getresuid, getresgid - get real, effective and saved user/group IDs
#define _GNU_SOURCE /* See feature_test_macros(7) */
#include <unistd.h>
int getresuid(uid_t *ruid, uid_t
*euid, uid_t *suid);
int getresgid(gid_t *rgid, gid_t *egid, gid_t
*sgid);
getresuid() returns the real UID, the effective UID, and the saved
set-user-ID of the calling process, in the arguments ruid, euid,
and suid, respectively. getresgid() performs the analogous task
for the process's group IDs.
On success, zero is returned. On error, -1 is returned, and errno is set
appropriately.
- EFAULT
- One of the arguments specified an address outside the calling program's
address space.
These system calls appeared on Linux starting with kernel 2.1.44.
The prototypes are given by glibc since version 2.3.2, provided
_GNU_SOURCE is defined.
These calls are nonstandard; they also appear on HP-UX and some of the BSDs.
The original Linux getresuid() and getresgid() system calls
supported only 16-bit user and group IDs. Subsequently, Linux 2.4 added
getresuid32() and getresgid32(), supporting 32-bit IDs. The
glibc getresuid() and getresgid() wrapper functions
transparently deal with the variations across kernel versions.
getuid(2), setresuid(2), setreuid(2), setuid(2),
credentials(7)
This page is part of release 5.05 of the Linux man-pages project. A
description of the project, information about reporting bugs, and the latest
version of this page, can be found at https://www.kernel.org/doc/man-pages/.


You can contact us via email at<EMAIL_ADDRESS>, on facebook by messaging BreakingMathPodcast, or tweet us at @breakingmathpod.


OCTOBER A film review by James Berardinelli Copyright 1994 James Berardinelli Status: O Rating (0 to 10): 7.9
Date Released: No U.S. release currently planned Running Length: 1:37 Rated: No MPAA Rating (Language, violence, mature themes)
Starring: Hugo Dube, Luc Picard, Pierre Rivard, Denis Trudel, Serge Houde Director: Pierre Falardeau Producers: Bernadette Payeur and Marc Daigle Screenplay: Pierre Falardeau Cinematography: Alain Dostie Music: Richard Gregoire No U.S. Distributor; Released in Canada by C/FP Distributors In French with subtitles
The events surrounding the kidnapping and murder of Quebec's labor minister Pierre Laporte in 1970 by the Front de Liberation du Quebec (FLQ) is a matter of national history for Canadian citizens. However, for those outside the country, details surrounding this incident may be little-known, or not known at all.
The FLQ was a terrorist organization operational in Canada during the late 1960s and early 1970s. Participants favored the separation of Quebec from the rest of the country, and were willing to use violence to press their claim. The group's most infamous action occurred during October of 1970 when four FLQ members from the Chenier cell kidnapped Minister Pierre Laporte. Eight days later, after the government refused to meet a list of seven demands, Laporte was killed. OCTOBER details the events during that long week from the perspective of the abductors.
As is inevitable for any sympathetic portrayal of terrorists, OCTOBER has stirred the cauldron of controversy. In Canada, the movie has been called everything from an amazing portrait of the loss of innocence to blatant FLQ propaganda. In reality, it's some of both.
Writer/director Pierre Falardeau is a separatist sympathizer, and this film is based on the account of one of the four kidnappers, with whom Falardeau is friendly. At times, the film maker's political agenda interferes with his story, especially during the first half, when the characters are wont to spout FLQ slogans (which sound exactly like the kinds of things all terrorist organizations say). While it's necessary for the audience to understand why the characters act as they do, Falardeau apparently wants to force a sympathy not only with them, but with their movement as well.
Where this movie really shines is in the interaction between the four terrorists (played by Hugo Dube, Luc Picard, Pierre Rivard, and Denis Trudel) and their victim (Serge Houde). The relationship that develops is complex and multi-layered as the basic humanity of all involved is uncovered. Falardeau eschews simplistic terms like "good," "evil," "right," and "wrong." Laporte is not the "scumbag" he was believed to be, and the FLQ don't really want to kill him. In their own words, they are militants, not killers.
The no-win situation that arises when the government refuses to honor the FLQ's demands fuels the ultimate conflict of conscience that comprises the final act. Killing Laporte, in addition to being morally reprehensible, would hurt the FLQ's image. Freeing him, however, would give the organization a reputation for backing down--and to back down is to be defeated. In war, the undermanned side cannot afford defeats.
Motion pictures depicting the terrorist's point-of-view are not especially popular, for obvious reasons. Like Neil Jordan with THE CRYING GAME, Pierre Falardeau faces a momentous challenge in getting his audience to identify with individuals who bear such a negative label. While the director may have played somewhat loose with the facts (as Jim Sheridan did in IN THE NAME OF THE FATHER), it's difficult to deny the dramatic impact of his finished product. Only those blinded by personal involvement in the issue are likely to deny the effectiveness and skill with which OCTOBER's tragedy is illustrated.
- James Berardinelli<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


lang is a suite of tools for ease of use checks against common practices that are otherwise a much longer check.
Often times we find ourselves doing this check over and over:
Lang tools look to simplify that in several different ways. In the above case, you can simply use lang.isNullish()
to check for all of those things at once:
import * as lang from '@flippydisk/tools/lib/lang';
if (!lang.isNullish(item)) {};
Alternatively, you can also get the individual items only if you do not want the entire suite:
import filterHTMLTags from '@flippydisk/tools/lib/utils/lang/filterHTMLTags';
Supported methods are:
isEmptyString() {returns Boolean}
isUndefined() {returns Boolean}
isNumber() {returns Boolean}
isNull() {returns Boolean}
isNullish() {returns Boolean}
isStringy() {returns Boolean}
isEmptyObject() {returns Boolean}
getStringSafely() {returns String}
filterHTMLTags() {returns String}
getPropertySafely() {returns value of the property if it exists, or undefined}
Importing and Instantiation
Add @flippydisk/tools to your project.
@flippydisk/tools is in the npm registry, so it should be as simple as the
following:
npm i @flippydisk/tools --save-dev
However, if you run into any issues, or simply want a "main" branch version, you can alternatively add this manually
to your package.json under the dependencies{} section:
Once it's in your project, you can either import all of the lang methods, or pick and choose. lang utilities are individual functions, so there is no instantiation needed.
import * as lang from '@flippydisk/tools/lang';
or as individual items:
import { isNull } from '@flippydisk/tools/lang';
Use
Add any Boolean method, like lang.isNumber(1), inline to any of your scripts and it will run the necessary checks
(which vary based on the method you use) to return a Boolean value for the ease of use in an if check or switch
case. Alternatively, there are also two methods that will return string values, with safety checks to avoid the NaN
error when only using .toString(). Finally, there is also a method for stripping HTML tags and returning a string.
ex:
Boolean values:
- `lang.isEmptyString(''); // returns true`
- `lang.isEmptyString('something'); // returns false`
- `lang.isEmptyString(object.item); // returns false, as it is not a string`
String values:
- `lang.getStringSafely(1); // returns '1'`
- `lang.getStringSafely(true); // returns 'true'`
- `lang.getStringSafely(object.item); // returns string value of object.item`
HTML filtering:
const html = 'The words I want & more.';
- `lang.filterHTMLTags(html); // returns 'The words I want & more.'`
Tests
lang/index.spec.js tests against all functions, objects, strings and boolean values to be defined, to be the correct
typeof, and their expected values to be what they should be.
$ npm run test -- lang
><EMAIL_ADDRESS>test
> cross-env npm run lint && jest "lang"
PASS src\lang\index.spec.js
Lang
√ will provide defaults on initialization (2ms)
and its dependencies should
√ be defined (3ms)
functions should always return the correct result.
√ isEmptyString should return Boolean (1ms)
√ isUndefined should return Boolean (1ms)
√ isNumber should return Boolean (1ms)
√ isNull should return Boolean (1ms)
√ isNullish should return Boolean with the leeway of also checking for null, undefined, NaN and empty strings (1ms)
√ getStringSafely should return the string if it can decipher it, or null if it cant (1ms)
√ isStringy should return the string if it can decipher it, or null if it cant (1ms)
√ filterHTMLTags should return a string without any HTML tags (1ms)
√ isEmptyObject should return a boolean value (1ms)
Test Suites: 1 passed, 1 total
Tests: 11 passed, 11 total
Snapshots: 0 total
Time: 0.953s, estimated 6s
Ran all test suites matching /lang/i.
Overview
lang
is a suite of tools for ease of use checks against common practices that are otherwise a much longer check. Often times we find ourselves doing this check over and over:Lang tools look to simplify that in several different ways. In the above case, you can simply use
lang.isNullish()
to check for all of those things at once:Alternatively, you can also get the individual items only if you do not want the entire suite:
isEmptyString()
{returns Boolean}isUndefined()
{returns Boolean}isNumber()
{returns Boolean}isNull()
{returns Boolean}isNullish(
) {returns Boolean}isStringy()
{returns Boolean}isEmptyObject()
{returns Boolean}getStringSafely()
{returns String}filterHTMLTags()
{returns String}getPropertySafely()
{returns value of the property if it exists, orundefined
}Importing and Instantiation
Add
@flippydisk/tools
to your project. @flippydisk/tools is in the npm registry, so it should be as simple as the following:npm i @flippydisk/tools --save-dev
However, if you run into any issues, or simply want a "main" branch version, you can alternatively add this manually to your
package.json
under thedependencies{}
section:"@flippydisk/tools": "git+ssh://git@github.com:flippydisk/tools.git"
Once it's in your project, you can either import all of the
lang
methods, or pick and choose.lang
utilities are individual functions, so there is no instantiation needed.or as individual items:
Use
Add any Boolean method, like
lang.isNumber(1)
, inline to any of your scripts and it will run the necessary checks (which vary based on the method you use) to return a Boolean value for the ease of use in anif
check orswitch
case. Alternatively, there are also two methods that will return string values, with safety checks to avoid theNaN
error when only using.toString()
.


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