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28.02.2016
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The graphic below breaks down basic English grammar into eight branches, and then breaks down each branch a bit further. Color and creativity of the image appeals to people who’ve already internalized most grammar. By now, saying that “the iPad is a great tool for customizing the classroom” wouldn’t exactly be breaking news. The explosion of social networks and consumer-generated media over the last few years continues to have a significant impact on advertising as consumers’ reliance on word-of-mouth in the decision-making process – either from people they know or online consumers they don’t – has increased significantly.According to Nielsen’s latest Global Trust in Advertising report, which surveyed more than 28,000 Internet respondents in 56 countries, 92 percent of consumers around the world say they trust earned media, such as recommendations from friends and family, above all other forms of advertising—an increase of 18 percent since 2007. JONAH HEX may not turn out to be the worst blockbuster that Hollywood inflicts upon us this summer, but it certainly seems likely to be the most disappointing. Unfortunately, the sequence is oddly truncated, as if the filmmakers were even more afraid that we might be bummed out if Hex’s personal tragedy were actually allowed to register on an emotional level.
If this opening miscalculation were just a matter of the film getting off to a shaky start, we could try to forget it and move on, but the sequence turns out to be symptomatic of the rest of JONAH HEX, which feels like an all-out assault on narrative coherency. Or more likely, the film feels eerily reminiscent of THE INVASION (2007), the adaptation of Jack Finny’s The Body Snatchers that the Warner Brothers studio turned over to the Wachowski Brothers in post-production. The two fight-to-the-death scenes with Hex and Turnbull are intercut, the justification (provided in voice over) being that the desert sequence is a near-death hallucination, to which Jonah is flashing back.
Whether JONAH HEX was in fact largely reshot and recut, I cannot say, but I certainly hope it was – because I would hate to think that the film was designed from the ground up to be this way. This leads to a lengthy but not particularly exciting climax filled with enough idiocy to make you wonder whether JONAH HEX isn’t some kind of extremely well-disguised self-parody. This indifferent approach to even the semblance of continuity and common sense perfectly encapsulate the narrative strategy of JONAH HEX.
In a desperate effort to enliven this leaden lack of exciting gunplay, Marco Beltrami’s dramatic score is intermixed with metaloid music by Mastadon. In a development so unexpected it almost makes JONAH HEX worth seeing, Malkovich is overshadowed (even if only briefly) by Fox, who manages to show one decent glimmer of human warmth in a scene with Jonah, letting us know she really loves him (unlike her other clients). The real scene-stealer is Michael Fassbender, as the crazy Irish, violence-loving henchmen to Turnbull.
As scrambled as the narrative of JONAH HEX is, even more scrambled is the underlying attitude toward the character. Lest we conclude that JONAH HEX is endorsing racist sentiments, the filmmakers includes an official Hollywood disclaimer in the form of the token black man from whom Hex purchases weapons. Cinefantastique's Los Angeles Correspondent from 1987 to 1993 and West Coast Editor from 1993 to 1999.


Even though each branch can be fairly linear, something about the whole branching visualization of it doesn’t usually speak to me.
Online consumer reviews are the second most trusted source of brand information and messaging, with 70 percent of global consumers surveyed online indicating they trust messages on this platform, an increase of 15 percent in four years.The survey also showed that nearly six-in-10 global online consumers (58%) trust messages found on company websites, and half trust email messages that they signed up to receive. This echo of Ennio Morricone (who scored Sergio Leone’s great Italian Westerns) is the first and last time we will feel any sense of anticipation in JONAH HEX, because anticipation requires a narrative confidence that this film utterly lacks.
Jonah Hex (Josh Brolin) should be introduced as a man of mystery, but the film seems afraid of letting us figure out his back story along the way, so instead it is spelled out in an opening montage, with helpful voice over from the character.
So what we get is the telegraph version: Hex family killed stop Hex face branded stop Hex recovers from near death stop Hex now able to communicate with dead stop Hex becomes bounty hunter full stop. It’s as if Nicolas Roeg got stuck with a boring work-for-hire assignment and decided to sabotage the production with his patented fee-association montage approach. But more than that JONAH HEX feels like a movie that was shot twice, and the editors could not decide which pieces to use, so they intercut both of them. For all the talk of CLASH OF THE TITANS being radically revised at the last minute, the seams that show are relatively forgivable. Turnbull, who has been delivering his standard-issue evil-villain-victory-speech to his men on the deck of his iron-clad ship, suddenly produces Lilah out of nowhere, like a poker player revealing an ace up his sleeve. But the film fails to deliver even the basic popcorn entertainment. Jimmy Hayward cannot direct action. JONAH HEX feels shot-by-numbers, but Hayward seems to have used the same numbers over and over. It’s almost enough to make you expect something interesting from her character, before she descends to being plot device. Hex fought for the South, and turned against his comrades only when his commanding officer (Turnbull) ordered attacks on civilian targets, including a hospital. Currently the webmaster of Cinefantastique Online, I also run a website called Hollywood Gothique that covers Halloween Horror and Sci-Fi Cinema Events in the Los Angeles area. While that’s fine (and I literally cringe when I see people misuse apostrophes), sometimes I think that we need to give grammar a little bit of a break. On the Web, four-in-10 respondents rely on ads served alongside search engine results, 36 percent trust online video advertisements, and one-third believe the messages in online banner ads—an increase of 27 percent since 2007.
The pacing is weirdly schizophrenic – a fact that becomes evident in the opening prologue. JONAH HEX Take One was apparently about a loner cowboy whose only companions were a horse and a dog, and it ended with Hex and his enemy Quentin Turnbull (John Malkovich) duking it out in the desert. The canine is introduced as if it will feature prominently: Hex evens the odds with some idiots who are tormenting the creature, which shows its gratitude by following him of its own accord. In JONAH HEX, however, the film feels stitched together like a bad mad scientist’s experiment.


For instance, footage of Hex riding across the open range exhibits a generic quality, as if it were all shot on a single day and intercut at random throughout the film. Unfortunately, the voice over robs him of the mystery that such a character should maintain; we should read his pain buried somewhere deep behind his eyes, not hear it spoken to us directly. You wonder if the filmmakers feel the same way, because they are absolutely unable to wring any satisfaction out of his death scene, which plays almost like something that was edited for television. If not, why put the song in at all, especially at the very end, when most viewers will have left the theatre? This makes no sense (after all, the South had a government that told Hex to put on a uniform and fight the North). English grammar can be tough – it is a language full of as many exceptions as there are rules, and especially for those who are learning English as a second language, the grammar piece can be rough. When I was teacher of History and Geography in a junior high school, I started to use mind mapping and concept mapping with my pupils . Sponsored ads on social networks, a new format included in the 2011 Nielsen survey, are credible among 36 percent of global respondents.Display ads (video or banner) on mobile devices such as tablets and smartphones are trusted by one-third of global respondents, which is slightly higher than the reported consumer trust level of text ads on mobile phones (29%). JONAH HEX Take Two gives Hex a sometimes girlfriend, a hooker with a heart of gold named Lilah (Megan Fox) and ends with Hex and Turbull duking it out aboard an iron-clad vessel. He is equally unable to capture that Sergio Leone feel of the calm before the storm, the delicious anticipation of violence, when the hero will finally deliver the payback so richly deserved. Whether Jonah is heading to meet Lilah or to  track down Turnbull, he always rides at the same pace, and with the same expression. He hates the North, but it’s not clear that he really wants to help the South (in one of those obligatory movie-villain scenes, he kills an ally for no other reason than to remind us that he is the villain). Now I develop projects and I train about Innovation in Education with mindmapping, concept mapping and digital tools.
While the reported consumer trust level in mobile phone advertising is still low, it increased 61 percent since 2007 and 21 percent since 2009.When it comes to traditional, paid media, while nearly half of consumers around the world say they trust television (47%), magazine (47%) and newspaper ads (46%), confidence declined by 24 percent, 20 percent and 25 percent, respectively, between 2009 and 2011. The poor pup’s apparently abbreviated role suggests one of those old time co-stars whose best scenes were cut out to salvage the vanity of the headliner afraid of being upstaged. Not that it looks bad, but it never becomes a part of the performance the way that, for example, Heath Ledger made use of the Joker’s scarred mouth. It is simply referenced to allow Hex off the hook for fighting on the wrong side of the Civil War, without coming to terms with what the fight was about. Still, in 2011, overall global ad spend saw a seven percent increase over 2010, according to Nielsen’s most recent Global AdView Pulse.



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