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Uncut Gems
7.4 out of 10 stars - 434 votes
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user Ratings: 8,7 of 10 24033 votes directors: Josh Safdie Uncut Gems is a movie starring Mesfin Lamengo, Suin Zhi Hua-Hilton, and Liang Wei-Hei Duncan. A charismatic New York City jeweler always on the lookout for the next big score makes a series of high-stakes bets that could lead to the genre: Thriller release date: 2019. Saw the memes before the movie. I didn't picture him saying it that way. Watch Movie Joias brutes. 23:15 - Academy Awards 2020 37:46 - Wizards (Spoilers.

Uncut Gems Theatrical release poster Directed by Josh Safdie Benny Safdie Produced by Scott Rudin Eli Bush Sebastian Bear-McClard Written by Ronald Bronstein Josh Safdie Benny Safdie Starring Adam Sandler Music by Daniel Lopatin Cinematography Darius Khondji Edited by Production company Elara Pictures IAC Films Sikelia Productions Distributed by A24 (United States) [1] Netflix (International) [2] Release date August?30,?2019 ( Telluride) December?13,?2019 (United States) Running time 135 minutes [3] Country United States Language English Budget $19 million [4] Box office $50 million [5] Uncut Gems is a 2019 American crime thriller film [6] directed by Josh and Benny Safdie, who co-wrote the screenplay with Ronald Bronstein. The film stars Adam Sandler as Howard Ratner, a Jewish jeweler and gambling addict in New York City's Diamond District, who must retrieve an expensive gem he purchased to pay off his debts. The film also stars Kevin Garnett, Idina Menzel, Lakeith Stanfield, Julia Fox, and Eric Bogosian. Filming took place from September to November 2018. The original score was composed by Daniel Lopatin. Uncut Gems had its world premiere at the Telluride Film Festival on August 30, 2019. It entered into a limited release in the United States on December 13, 2019, before a wide release on December 25, by A24. The film received critical acclaim, with its screenplay, direction, editing, Sandler's performance and Darius Khondji 's cinematography receiving much of the praise. It was chosen by the National Board of Review as one of the top ten films of 2019, with Sandler also winning the Independent Spirit Award for Best Male Lead. It became A24's highest-grossing film domestically with $50 million. Plot [ edit] In 2010, Ethiopian Jewish miners retrieve a rare black opal from the Welo mine in Africa. In 2012, gambling addict Howard Ratner runs a jewelry store in New York's Diamond District. He struggles to pay off gambling debts, including the $100, 000 he owes to his loan shark brother-in-law Arno. His domestic life is split between his estranged wife Dinah, who has agreed to divorce him after Passover, and his mistress Julia, who works at his store. Basketball player Kevin Garnett visits the shop. Howard has ordered the Ethiopian opal and plans to auction it for an estimated price of $1, 000, 000. He shows the opal to Garnett, who becomes obsessed with it, insisting on holding onto it for good luck at his game that night. Howard reluctantly agrees, accepting Garnett's NBA championship ring as collateral. Howard pawns the ring and places a bet on Garnett playing extraordinarily well in that night's game. Howard wins the lucrative bet, but is ambushed at his daughter's school play by Arno and his bodyguards, Phil and Nico. Arno reveals that he placed a stop on Howard's bet, as it was made with money owed to him. Phil and Nico strip Howard naked and lock him in the trunk of his car, forcing him to call Dinah for help. Howard calls his employee Demany, who is at a party hosted by The Weeknd. Demany tells him that Garnett still has the opal. When he finds Julia and The Weeknd together in a nightclub bathroom, Howard demands that she move out of his apartment. After an awkward Passover dinner, Howard asks Dinah to take him back, but she insults him. Garnett returns the opal and offers to purchase it for $175, 000, but Howard refuses, given the substantially larger appraisal. Just before the auction starts, Howard discovers the opal has been appraised for significantly less than his estimate. He convinces his father-in-law, Gooey, to bid on the gem to drive up the price, but the plan backfires when Garnett bows out early and Gooey wins. Arno, Phil, and Nico confront Howard outside the auction house and assault him. At the shop, Julia finds Howard sobbing, and they repair their relationship. Howard is informed that Garnett still wishes to purchase the opal. As soon as Garnett buys it, Howard decides to bet all the money on Garnett's game that night. He has Julia board a helicopter to Mohegan Sun, narrowly escaping Arno, Phil and Nico, who have come to collect. The thugs threaten Howard, but he refuses to call Julia to cancel the bet. The three attempt to pursue her, but Howard locks them in the store mantrap. Howard and the group watch the game on TV, and Howard wins over $1. 2 million. Howard frees the trio from the mantrap. Phil, enraged, shoots him dead. Arno protests and tries to escape, but Phil kills him too. Julia leaves Mohegan Sun with the winnings, while Phil and Nico loot the store. Cast [ edit] Adam Sandler as Howard Ratner, a Jewish-American Diamond District jeweler who is addicted to gambling Lakeith Stanfield as Demany, Howard's assistant, who recruits clients Julia Fox as Julia, Howard's employee and girlfriend Kevin Garnett as himself, a power forward for the Boston Celtics Idina Menzel as Dinah Ratner, Howard's wife Eric Bogosian as Arno, Howard's brother in law and a loan shark Judd Hirsch as Gooey, Howard's father-in-law Keith Williams Richards as Phil, Arno's quick-tempered henchman Jonathan Aranbayev as Eddie Ratner, Howard's older son Noa Fisher as Marcel Ratner, Howard's daughter Abel Tesfaye as himself, a then-rising R&B star better known as The Weeknd Mike Francesa as Gary, Howard's bookie Jacob Igielski as Beni Ratner, Howard's younger son Wayne Diamond as Wayne, a wealthy gambler who takes a liking to Julia Josh Ostrovsky as Noah Benjy Kleiner as Aaron Pom Klementieff as Lexus Tommy Kominik as Nico Louis Arias as Buddy Keren Shemel as Elline Goldfarb Sahar Bibiyan as Ida Lana Levitin as Ruth Additionally, John Amos, Ca$h Out and Trinidad James appear as themselves. Natasha Lyonne and Tilda Swinton have brief voice appearances as a Celtics staff member and an auction house manager, respectively. [7] Production [ edit] Josh and Benny Safdie conceived the film in 2009, and approached Adam Sandler to star; however, he declined the role. [8] In May 2016, it was announced that the Safdies would direct the film, from a screenplay they wrote alongside Ronald Bronstein. [9] The film was executive produced by Emma Tillinger Koskoff and Martin Scorsese, with Elara Pictures and RT Features producing the film. [9] In May 2017, Jonah Hill joined the cast, with Scott Rudin, Eli Bush and Sebastian Bear-McClard joining as producers, and A24 distributing. [1] In April 2018, Sandler replaced Hill. [10] In August 2018, Eric Bogosian and Judd Hirsch joined the cast. [11] [12] In September 2018, Lakeith Stanfield and Idina Menzel joined, with Netflix acquiring international distribution rights. [13] [14] In October 2018, it was revealed that The Weeknd, Trinidad James and Pom Klementieff had joined, [15] [16] followed by Kevin Garnett in November 2018. [17] Kobe Bryant, Amar'e Stoudemire and Joel Embiid were also considered for Garnett's role. [17] Principal photography began on September 25, 2018, in New York City, [18] and concluded on November 15, 2018. [19] The film was shot by Darius Khondji on 35 mm film. [20] Daniel Lopatin composed the original soundtrack. [21] He also recorded several songs with the Weeknd for the film, which went unused. [22] The score was released on December 13, 2019, on CD and vinyl, and digital streaming services. [23] According to Josh and Benny Safdie, the opening and closing sequences were inspired by the gemological photomicrography of Eduard Gübelin and Danny J. Sanchez. [24] [25] Release [ edit] The film had its world premiere at the Telluride Film Festival on August 30, 2019. [26] [27] It also screened at the Toronto International Film Festival on September 9, 2019. [28] It was released in limited theaters the United States on December 13, 2019, and had a nationwide release on December 25, 2019. [29] It was released worldwide excluding the United States on Netflix on January 31, 2020. [30] Reception [ edit] Box office [ edit] In its limited opening weekend the film made $537, 242 from five theaters for a per-venue average of $107, 448, the highest ever for A24 and the second-best total of 2019. [31] It then made $241, 431 in its second weekend. [32] The film made $5. 9 million on the first day of wide release (including $1. 1 million from previews on Christmas Eve), the highest single-day gross in A24's history. [33] It went on to make a total of $18. 5 million over the five days ($9. 6 million in the weekend), finishing sixth at the box office. [34] In its second weekend of wide release the film made $7. 5 million, finishing eighth. [35] It has currently made $23. 5 million domestically and $29. 7 million internationally Critical response [ edit] Adam Sandler 's performance garnered widespread critical acclaim, with several critics deeming it the best of his career. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 92% based on 314 reviews, with an average rating of 8. 4/10. The site's critical consensus reads: " Uncut Gems reaffirms the Safdies as masters of anxiety-inducing cinema?and proves Adam Sandler remains a formidable dramatic actor when given the right material. " [36] Metacritic assigned the film a weighted average score of 90 out of 100, based on 56 critics, indicating "universal acclaim". [37] Audiences polled by CinemaScore during the film's limited release gave it an average grade of "A?" on an A+ to F scale; upon going wide, it earned a "C+" score, as well as an average 2 out of 5 stars on PostTrak. [31] [34] Eric Kohn of IndieWire gave the film a grade of A, calling it "a riveting high-wire act, pairing cosmic visuals with the gritty energy of a dark psychological thriller and sudden bursts of frantic comedy". [38] Jake Cole of Slant Magazine gave the film 3. 5 out of 4 stars, writing, "As in Good Time, Uncut Gems finds the Safdies working in genre rooted in the grimy, character-oriented crime films of the '70s. " [39] Radheyan Simonpillai of Now commented that "there's so much propulsive, forward momentum even whe Robert Pattinson: alright, Im ready for tenant Stephenie Meyer: What? No, this is called Twilight.

A legend with a humble personality, not a game that made him a king but the heart! ?. Jexi looks based of a Monsters episode where the phone was actually a female creature obsessed a single guy.

Love the Sandman! Well deserved. Watch Movie Joias brunass. Watch Movie Joias brunasse. Watch Movie Joias bruts. Here after Robert Pattinson Batman announcement. This trailer alone gives me confidence. Critic’s Pick In the Safdie brothers’ new movie, Sandler plays a jewelry-store owner and compulsive gambler running for his life. Credit... A24 Uncut Gems NYT Critic's Pick Directed by Benny Safdie, Josh Safdie Comedy, Crime, Drama, Mystery, Thriller R 2h 15m “Uncut Gems, ” the latest from the brothers Josh and Benny Safdie, blows in like a Category 4 hurricane. It’s a tumult of sensory extremes, of images and sounds, lurching shapes, braying voices, intensities of feeling and calculated craziness. So, naturally it stars ? why not? ? Adam Sandler as a cheat, liar, loving dad, bad husband, jealous lover and compulsive gambler who can’t stop, won’t stop acting the fool. The Safdies, two of the more playfully inventive filmmakers working in American cinema, won’t stop, either, which makes “Uncut Gems” fun if also wearying and at times annoying. It doesn’t seem to add up to much ? a little man lives his life ? but this is just enough. It’s easier to admire than to love, and I hate the ending, but the Safdies clearly like working your nerves. They’re not interested in the dumb, easy stuff movies give you ? the likable, relatable characters, the sermonizing and moralizing; they’re too busy deploying color and noise, pushing the form, testing their (and our) limits. Amid this enjoyable chaos, Sandler plays Howard Ratner, who has a small jewelry store in the Diamond District of Manhattan. He has a few employees, one of whom is his mistress (Julia Fox), and an aggrieved wife (Idina Menzel) who’s fed up with him. He’s a careless family man, but he dotes on his sons and still clocks in for homey obligations. There’s a leisurely Passover Seder in the middle of the movie that’s suffused with love and alive with squalling kids, bustling women and well-padded men chewing cigars. But Howard has his plagues: He’s a gambler and presumably an unlucky one given the heavy debt that he’s carrying. Lots of stuff happens, lots and lots, and some of it can be hard to track. But the bedlam is intentional and amusing. All you need to do is latch onto Howard as he runs from here to there, yelling greetings, taking calls, making deals, always moving amid jump cuts, zooms and lurid close-ups. (The superb cinematography is by Darius Khondji, shooting on 35-millimeter film. ) Howard’s dodging some toughs who work for a mystery man whom he owes big; the men are scary, bruisers with cruelty etched in their faces and no trace of the usual movie manicuring. One (Keith Williams Richards) punches Howard in the kisser, which is almost understandable. Written by the Safdies with their regular collaborator, the filmmaker Ronald Bronstein, “Uncut Gems” opens with a prologue, a familiar enough narrative strategy. It’s unusual, though, for the Safdies, as is the site: a mine in Ethiopia, where throngs of men are scrambling around a gravely wounded worker. The location shooting initially seems pointless (what happens could be conveyed in dialogue), and like the casting of Sandler, it broadcasts that they’re working with a higher budget. Structurally, the opener echoes the clichéd place-setting in Hollywood adventures, the ones with dashing heroes, offensively exoticized extras and maybe a mummy or two. More specifically, the dusty, enigmatic opener in “Uncut Gems” drolly echoes the start of “The Exorcist” (1973), where a priest at an archaeological dig in Iraq unearths the demonic relic that sets off the ensuing horror, the possession and spewing vomit. The magical discovery here is made by two Ethiopian miners, who sneak away from the bedlam to dig out a similar-looking lumpy rock. This turns out to be a huge black opal that soon ends up in Howard’s possession, though not for long. Like the “Exorcist” relic, the opal proves an ominous if more contemporary fetish with a near-magical, increasingly dangerous hold on everyone who comes in contact with it. Howard believes that the opal will save him ? he plans to sell it at auction ? but like good fortune, the precious lump keeps slipping from his grasp. For the most part, the Safdies seem to enjoy mucking up Howard’s plans, intensifying his rotten luck, bad choices, collapsing home life and squabbles, pointless or otherwise. They bat him around, dunk him in a fountain, almost break his nose. He’s a Rabelaisian figure, absurd, lewd, excessive, and while the Safdies are obviously fond of him (the scenes with his children are a tip-off), they don’t cut him much slack. Life is solitary, poor, nasty, brutish and short; the movie mostly is too, though at 135 minutes it’s not short. Sandler makes a persuasively unsteady hub for this pinwheeling anarchy. It’s an intensely physical role ? Howard racks up the miles ? and generally a reactive one. Every so often Sandler gets to expand the character’s emotional register, in lulls and moments of tenderness and real feeling. Then boom! He’s off again, diving into the clamor, trying to hustle the basketball star Kevin Garnett (as himself) or manage an unruly partner in his hustle (an excellent Lakeith Stanfield). Garnett delivers a speech to Howard about race and exploitation, which brings the story back to Ethiopia. Garnett’s sincerity may resonate with you, but with Howard? Not so much. Howard is running too quickly to really listen, and he doesn’t really care. The world is what it is, dog eat dog flimflam man, get rich or die trying. The Safdies don’t judge Howard or, worse yet, ask us to. Instead, they situate him in a specific historical moment (the year is 2012), throwing him into a late-capitalist, wholly transactional, anxiously insecure world. Deeply immersive, that world carries the imprint of its cinematic influences ? bards of excess like Abel Ferrara, James Toback, Tony Scott and Gaspar Noé ? but it is also and finally its own rough and glittering thing of beauty. Uncut Gems Rated R for gun violence, bloodletting and gambling. Running time: 2 hours 15 minutes.
For a moment I thought Megan Fox was a Tomb Raider reboot. then I thought she was turning into an autobot. Then I saw her turning into a generic CGI video-game character. then the trailer stopped and I was just like heh? wtf. I am just confused as to why Phil killed Arnold as well. Throughout the entirety of the film, I had thought Arnold was the big boss of the debt collectors. Kevin Hart and Dwayne Johnson need to do a remake of twins. Watch Movie Joias brutal. Watch Movie Joias brutal legend.
YouTube. Adam Sandler was excellent in this film. Screw you Oscars for snubbing him. Just realized how young the Safdie brothers are. | Sheila O'Malley December 25, 2019 "Everything I do is not going right. " So sobs Howard, the adrenaline-junkie diamond dealer gambling addict played by Adam Sandler in "Uncut Gems. " Taking place over the course of a couple of days, "Uncut Gems, " directed by Josh and Benny Safdie, hurtles along a narrow track over a yawning abyss, following Howard as he attempts to pay down his huge gambling debts by, of course, placing increasingly risky bets. There's the hope that once he pays it all off, he'll wipe the slate clean, and repair some of the bridges he's burned. But everyone around Howard knows this is a fantasy. His addiction is too entrenched. The dazzle of the "uncut gems" in the title is not a surface shine. It glows at the center of the earth, it burns in Howard's core. Advertisement It makes sense, then, that "Uncut Gems" would start with a sequence where the camera goes inside a black?opal (dug out of the Welo opal mines in northern Ethiopia) which then morphs into the inside of a human colon. The colon of Howard, to be exact, as he endures a colonoscopy. The images on the hospital monitor look similar to the fantastical space of the opal's innards, its curves and layers. This is metaphor writ so large it's brazen, a theme hammered home with refreshing rhetorical candor. The opal is inside Howard, his need for it comes from the basest part of him. He lives in a state of "gold sickness" or "dragon sickness" (so vividly described by J. R. Tolkien in The Hobbit), the hypnotic power of gems luring men into madness since the beginning of time, seeking pirate's gold, El Dorado, the Holy Grail, on doomed colonialist adventures. Howard's black opal is the same as any long-besought gem: it emanates a magical pull on all who look upon it. Its power is almost wholly symbolic. Co-written by the Safdies and regular collaborator Ronald Bronstein, "Uncut Gems" immerses you in Howard's nutty cacophonous world. Howard's jewelry shop in New York's Diamond District is a tiny space with the atmosphere of a three-ring circus. The double entrance to his shop?requiring two buzzes?is a buffer between Howard and the world, giving him (at the most) 10 seconds lead time against anyone looking for him. His assistant Demany ( LaKeith Stanfield) hustles clients who might be interested in the flashy items in Howard's inventory, and the latest lure is Boston Celtics star Kevin Garnett (playing himself), waiting in the shop when Howard returns from the colonoscopy. Howard can't resist showing Garnett his latest acquisition: the opal, just arrived from Ethiopia, which Howard is putting it up for auction later in the week (at a hugely inflated price). He tells Garnett about how he feels connected to the Ethiopian Jews who dig up the opals, and his enthusiasm is so passionate it's catching. Garnett asks if he could borrow the opal for good luck at the upcoming Eastern Conference finals, and Howard says yes. Howard saying "yes" is the first of the many, many terrible choices he makes over the next 135 minutes. He owes so much money that goons follow him around, showing up at his office. These people mean business. His wife ( Idina Menzel) seethes with hatred for him. His daughter can barely tolerate him. He's put up his young mistress ( Julia Fox) in an apartment he's rented for her. Howard is always on the go, always running out of rooms, racing down sidewalks, charging across lobbies. And that's the thing about addiction, the thing that "Uncut Gems" really understands. On some level, the stress is the point. The nerve endings are so frayed they need the stress. Howard is useless without panic. So is his mistress, who also suffers from a form of "gold sickness. ” It is their main bond. This is not a "cautionary tale" about the dangers of gambling. It's more like a virtual-reality game where you step into Howard's experience. The Safdies use New York City in ways that haven't been seen since films in the '70s. The city has been so cleaned up and gentrified and homogenized it might be easy to forget that so much goes on at street-level, so much chaos, the marginalized and lost seeking a foothold, the grifters and hustlers slipping through the cracks, working their angles. The?Safdies' " Heaven Knows What " was documentary-like in its approach, but their follow-up?" Good Time " was a race-against-the-clock thriller, its action sprawling over the five boroughs. The Safdies are nervy, funny, and comfortable with discomfort. Their characters have no access to comfort, and yet in every moment they're striving to escape, hustle, talk their way out of things, talk their way into things, get what they need, what they want. Veteran cinematographer Darius Khondji (a changeup from the Safdies' regular collaboration with Sean Price Williams) brings out the sickly gleam in this world, the green-fuzz of the interior lighting, the glamour of some of the interiors juxtaposed with the sleaze of the others. In a recent conversation between Adam Sandler and Brad Pitt for Variety's Actors on Actors series, Pitt observed that even though Howard makes all these bad choices in "Uncut Gems, " you worry about the guy. It is Pitt's contention that this is because of Sandler's "warm-heartedness, " something you always feel, no matter the material. I think there's something to that. You hear people expressing surprise when Sandler gives a good performance. There should be no surprise. When he's given good material, like Paul Thomas Anderson's "Punch Drunk Love, " or Noah Baumbach's "The Meyerowitz Stories" (to name just a few), he's as good as it gets. Behind his humor is pain and rage, both of which he is able to tap into. Here, as Howard, complete with goatee, fancy glasses, "club" clothes, he is a portrait of a man living on the edge. He never stops talking. He never stops striving, scheming, shouting, hustling. In his eyes is the devotional gleam of the big score. "Self-delusion" is a redundant term. All delusions come from a willingness to buy into a fantasy, an off-chance, a long shot. In a delusion, your brain is a cage, and you are your own prison guard, monitoring the perimeters of allowable thought. Delusion feeds addiction, and addiction needs a constant supply of delusion. "Uncut Gems" shows this electrified-fence feedback loop like no other film in recent memory. It's excruciating and exhilarating. Reveal Comments comments powered by.
Coming off of Safdie brothers' Good Time in 2017, I had high hopes for Uncut Gems. And just like with Good Time, I had a few doubts about this movie, but they were fortunately blown away by this cinematic work of art.

I even had some doubts due to this being an Adam Sandler picture, who has had some questionable projects in the past. But with his incredible performance (which certainly deserves an Oscar nomination) an unconventional plot, Scorsese in production and a nostalgia-inducing cameo by The Weeknd, this film hits the mark. It even has the ability to make a person who isn't into basketball stay glued to the seat and give them chills with a basketball game. The story is simply breathtaking and Sandler shines in every single scene. Uncut Gems can definitely maintain a place on top with the other good movies that came out this year, having closed off such an unforgettable decade. I can fairly say that as time passes, it will age like fine wine.

The 2 people looting the store are going to get arrested anyway, so what's the deal getting the jewel if the cops are there. NEVER a DULL moment - Full of Anxiety, 1 minute of Relief & BANG - now your Quiet, your Eyes get Big as your Head shakes. More like the weeknd getting beaten up scene. Watch Movie Joias brutus.

This ending left me very shocked but overall happy for him, everyone wants to die in their happiest moment and without warning or fear. He didnt live with much fear and even though he died, his love got all that money. But when they shoot richard was really when the film started to shock a bit, its very raw yet surreal and beautiful.

What I like about brad Pitt is he seems like hes genuinely interested in other people. Hes a mega star probably more so than other people he usually encounters but he is not arrogant about it. I saw this twice already in theaters and I swear Im going to buy to dvd the second its out. Its really that good. I cant help myself I love it when tony punches the police officer I didnt put spoiler because its in the trailer.
Kevin is so in telling stories ? I never know if it actually really happened or not but it's always hilarious ?. I must see this. Its like all of Hollywood was paid so much they went fully stupid and incompetent and stop caring a decade ago. Has anyone seen Idiocracy. Robert has proved himself as an actor. Norman is 97 years young. I really would love a sequel to this movie but this is one of those kinds of movies that doesnt get one.
Watch Movie Joias brucas. Watch Movie Joias brutale. I'm getting a bit of Tycho vibes at 5:50. This was the jewiest movie Ive ever seen. If you are super, super bored, or if you really love Adam Sandler, or if you really love synthesizer soundtracks from cheesy 1960's sci-fi space movies, or if you really just love horribly made movies, this might do it for you.

As a film, as cinema, as a movie, this is without a doubt one of the top ten worst films ever made with an A-lister in a lead role. If this were a series, it'd be cancelled after one season. There's literally no point to the story. None. It's a train wreck from beginning to end accompanied by a grating, completely out of place score, and with an ending that does nothing to resolve anything that transpired. Aside from the fact that there is ZERO character arc with respect to the protagonist, he's extremely unlikeable. One could feel some sympathy or even empathy for the guy, but you can only hang in with a guy who never stops screwing up for only so long. In fact, one would have to wonder how in the world he ever managed to achieve so much in the first place. My guess is Sandler knows the director or his family and agreed to do the film as a favor since really, he doesn't need the money and it's not like making another awful film is going to hurt his reputation.

I have been waiting years for KINGSMAN and ZOMBIELAND 2. Dirty Work rules. William jackson harper saying isn't that right thrice is so Chidi. Why does it seem like Alexander Skarsgard was born to play every roll he takes.

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