Census Bloodbath: Re-Modeled

Note: The only copy of this movie that I could access was in unsubtitled Hindi, so take my review with a huge grain of salt.

Year:
1984
Director:
I.V. Sasi
Cast:
Kamal Haasan, Reena Roy, Tina Munim
Run Time:
2 hours 10 minutes

Plot: Karishmaa follows photographer Sunny (Kamal Haasan, who also starred in the 1981 Kollywood movie of which this is a remake, Tik Tik Tik) as he befriends a group of models and begins dating one of them, Nisha (Reena Roy). When they begin dying one by one, he becomes the prime suspect.

Analysis: It is not uncommon for successful regional Indian films to be adapted into full-scale Hindi-language Bollywood productions, so it was perhaps inevitable that we'd be retracing our steps with an Indian slasher at some point. Although the Tamil-language movie Tik Tik Tik was not a success in its original run (nor did it really deserve to be), a Telugu-language dub later found a major audience, and I guess that was enough for Bollywood to snap it up, along with its original star.

Considering the fact that it's the same guy giving the same performance in the same story, it's a little hard to review Karishmaa on its own merits. In fact, it's practically a scene-for-scene remake (down to the weird moment where the horse shot glasses behind the main character's head trigger a neighing noise on the soundtrack whenever they appear), so the only texture comes from the slight differences between the two movies.

For instance, thanks to some careful tweaking, Karishmaa is even less of a horror movie than Tik Tik Tik, instead amplifying the action scenes. While this was annoying for the purposes of Census Bloodbath, it at least allowed for certain pleasures like the stately Bond villain of the original movie being transmogrified into an Evil Karate Guy.

Unfortunately, a great many of the changes that were made are for the worse. The main character is still a pathetic sleazebag (even more so, in fact) and they've given him a disgustingly precocious child sidekick this time around, just to rub salt in the wound. Plus, while the lingering specter of rape culture was present in every scene of the previous movie, Karishmaa adds a sexual assault element to the opening murder that pulls the subtext into text in a particularly gross way.

There are some good changes, at least. The kills we do get are slightly more grody and intense, which elevates the slasher element somewhat in spite of the fact that horror in general is hardly a priority here. Also, the musical numbers here are actively good rather than being bland lumps of nothing. 

The choreography (which includes a number where Nisha keeps teleporting around Sunny, and a fun moment where the couple is dancing with one another face-up on the ground) is creative and well-performed. Actually, Kamal Haasan is such a charming dancer that I almost liked his character more than I did in Tik Tik Tik.

That said, I enjoyed watching Karishmaa slightly less overall, presumably because I was essentially watching the exact same movie within a few hours of seeing the original. The changes aren't major enough to stand out, and the more or less even balance between good and bad changes results in the whole thing being kind of a wash.

Killer: Evil Karate Guy and His Henchmen

Final Girl: Sunny (Kamal Haasan) feat. Nisha (Reena Roy)

Best Kill: Even though I object to it lacking the operatic melodrama of the villain's death in Tik Tik Tik, Evil Karate Guy is crushed by a statue that falls on him, which is still a pretty exciting way to go.

Sign of the Times: The opening credits sequence is a disco meltdown featuring Sunny dancing in silhouette as eye-searing colors surge across the screen.

Scariest Moment: Sunny takes photos of Nisha while a fan is blowing her skirt up, and we're meant to like him. (This doubles as a secondary Sign of the Times.)

Weirdest Moment: Sunny discovers an important clue because he is woken up by it while napping on the beach.

Champion Dialogue: N/A

Body Count: 5; not including a goon who gets dragged on the ground by horses, but whose fate we never specifically learn.

1. Model #1 has a diamond carved out of her with a knife.
2. Model #2 is stabbed in the chest offscreen.
3. Goon is shot.
4. Bearded Guy dies of wounds sustained in a fight.
5. Evil Karate Guy is crushed by a falling statue.

TL;DR: Kharishmaa is a mostly useless remake, with the good changes and bad changes largely canceling each other out.

Rating: 5/10

Census Bloodbath: Boom

Note: The only copy of this movie that I could access was in unsubtitled Tamil, so take my review with a huge grain of salt.

Year:
1981
Director:
Bharathiraja
Cast:
Kamal Haasan, Madhavi, Radha
Run Time:
2 hours 15 minutes

Plot: Tik Tik Tik follows photographer Dilip (Kamal Haasan, who also starred in this film's Bollywood remake, Karishmaa), who makes friends with a group of models and ends up dating one of them, Sharadha (Madhavi). When the models begin dying one by one, Dilip becomes the prime suspect. He strives to protect Sharadha and discover the identity of the real killer while avoiding the police.

Analysis: I have seen quite a few Indian slashers from the early 1980s at this point, and the majority of them are boring. While I can't say that I liked Tik Tik Tik either, it is certainly never boring.

The second half of the movie is something I can fully get on board with. It takes Indian cinema's habit of blending horror with the romance and musical genres and goes one step further by adding an action-crime component with a full-on James Bond villain thrown in for good measure (he doesn't have a cat, but he does roll around shirtless on a bed of diamonds, which is just as good).

The movie is over-the-top and kooky as hell once it really gets rolling. However, it takes a looooooong time for it to get to that point. The first hour is a real slog, for a multitude of reasons. This includes the erratic editing, which I think is supposed to build Dilip's photography into the visual schema of the movie by shoving in random still images. This almost never works, instead making Tik Tik Tik feel distracted and manic.

Also, the lead is an abrasive, bumbling, "don't take no for an answer," lecherous idiot. I was never once on his side, and it was tough to be asked to root for him on his two-hour-plus adventure. He never improves, it's just that the movie eventually adds enough other material to drown him out.

Another demerit for Tik Tik Tik is that, considering how many other subgenres it's balancing, it doesn't focus much of its time on being an effective slasher. While the erratic editing does result in a few genuinely horrific images (largely via superimposed shots that combine two of the movie's manic moments), there are no onscreen kills and the murder plot frequently takes a backseat to underbaked romance or flop-sweaty slapstick. 

Oh, and the musical numbers are pretty boring. They lack bombast and just kind of sit there taking up space.

All in all, I guess I wasn't furious that I watched it, but I don't think I would recommend it to anyone but the most slasher faithful among us.

Killer: Oberoi (Shamasundar L. Asrani) and His Henchmen

Final Girl: Dilip (Kamal Haasan) feat. Sharadha (Madhavi)

Best Kill: The ultimate death of the villain Oberoi is melodramatic as all hell. He swallows all the diamonds that he smuggled into the country (via the models that he has murdered) and shoots himself on the front steps as the police approach. It's quite a scene.

Sign of the Times: There are more corded phones in this movie than characters.

Scariest Moment: Sharadha is menaced by an underwater assailant while swimming in a pool.

Weirdest Moment: In one scene, every time Dilip moves his head to reveal the horse-themed shot glasses that are on the shelf behind him, there is a neighing noise on the soundtrack.

Champion Dialogue: N/A

Body Count: 7; give or take - it was not always easy to tell exactly what was happening, and to whom.

1. Sherley (Sarika Thakur of Sannata and Karishmaa) is killed offscreen.
2. Swapna is stabbed in the chest with a knife offscreen.
3. Radha is killed offscreen.
4. Ambulance Driver is killed offscreen.
5. Woman is shot in the back.
6. Goon is shot by the police.
7. Oberoi shoots himself in the head.

TL;DR: Tik Tik Tik is a kooky good time, but only after you slog through the first hour.

Rating: 6/10

Census Bloodbath: Paint Me Like One Of Your Final Girls

A Note: This movie was only available to me in unsubtitled Tamil, so obviously my review is to be taken with a few huge grains of salt. However, I have made a point of focusing only on visual styling, music, and slasher structure rather than plot, characters, etc.

Year:
1986
Director:
M.R. Bhoopathy
Cast:
Mohan, Revathi, Nalini
Run Time:
2 hours 13 minutes

Plot (according to a translated synopsis that matches up with what I saw): When women around town begin mysteriously dying at the hands of a killer wielding a lethally sharp palette knife, Inspector Vinoth (Nizhalgal Ravi) takes on the case and targets local painter Chandru (Mohan) as the prime suspect. Chandru's new girlfriend Annam Poornima (Revathi) finds herself caught in the middle.

Analysis: As Census Bloodbath continues plowing through the slasher movies of the 1980s, we're kicking off 1986 proper in December, and I can hardly think of a better way to mark that occasion than by starting with a review of the Indian slasher December Pookkal (December Flowers).

And by that, I am referring entirely to the title featuring the word "December," because otherwise, I have generally found that the vibe of the Indian film industry's output in the 1980s allowed for very few genuinely thrilling horror movies. While Cheekh and Haveli had their moments, for every mildly sparkly diamond you unearth, you find multiple grimly mediocre efforts like Sansani. Or Sannata. Or Saboot. Or, god help you, Moodu Pani. Are you catching my drift?

December Pookkal certainly follows in the footsteps of those latter titles when it comes to its quality as a slasher. Even though it has a nice giallo-esque touch by featuring a black-gloved killer with a unique weapon, its kills are infrequent, bloodless, and so elliptically edited that, while you're aware that the killer has a consistent M.O. (putting the sharp palette knife in the general vicinity of a victim's neck before striking), you never understand even once what actually happens to the victims.

Simply put, it's a shit slasher. Thankfully, it's not a half-bad musical dramedy. The choreography is quite lovely, in fact. Particularly when it comes to the first big romantic number. That sequence, which places Mohan and Revathi in a forest of towering trees, mimics the push and pull of the early stages of a romance in a way that is completely charming, if not entirely inventive.

The movie's innate sense of rhythm isn't limited to its musical moments, either. Both the laughs and the thrills benefit from a strong sense of timing. The comedy is mostly driven by the performers and their rat-a-tat back-and-forth line deliveries, while the thrills are elevated by the rhythmic editing that punctuates moments like an early torture scene and a disorienting party where Poornima gets overwhelmed as the dancing and drinking around her spin wildly out of control.

This all makes for an exceedingly pleasant watch. But don't misunderstand me. I'm not saying that December Pookkal is some kind of masterpiece. I appreciate the kinda twisted romantic denouement and the fact that characters keep randomly getting hit by cars, but the slasher scenes are never anything more than boring, for one thing. And there are too many characters populating the periphery of this story, forcing the movie to stop dead whenever it periodically drags them back in.

It's just not quite a good movie, even though it approaches being one in a variety of ways. Certainly not one that's good enough to be worth overlooking the language obstacle for non-Tamil speakers.

Killer: Chandru (Mohan)

Final Girl: Annam Poornima (Revathi)

Best Kill: I usually abhor gun deaths in slashers, but the other deaths are so bland and samey. So I'm picking Chandru's demise, where he is shot by the police and subsequently milks his death throes, thrashing and squirming for what feels like a full minute and a half.

Sign of the Times: Two characters listen to a radio report via the biggest boom box I've ever seen.

Scariest Moment: Chandru and Poornima stroll along the beach while giant waves are crashing to the shore, and I became increasingly worried that they might get swept out by the tide.

Weirdest Moment: A character wanders into some sort of art collective/den of sins, where a dude is covered in fake cobwebs and a little person is poking the ceiling with a giant stick. 

Champion Dialogue: N/A

Body Count: 5; I think? The kill scenes weren't super legible, and my lack of understanding of the dialogue may have led me to misread a discrete kill as a flashback explaining the preceding one. But I'm pretty sure my count is correct.

1. Well Woman is stabbed in the neck.
2. Woman is drowned offscreen.
3. Shower Woman is stabbed in the neck.
4. Blue Dress Woman is stabbed in the neck.
5. Chandru is shot.

TL;DR: December Pookkal is a reasonably charming Indian musical drama, but offers very little in the realm of slasher fun.

Rating: 5/10

Word Count: 839

Census Bloodbath: Goa Way

Year: 1985

Director: Keshu Ramsay

Cast: Rakesh Roshan, Marc Zuber, Aaloka

Run Time: 1 hour 59 minutes

Plot: Haveli follows an undercover policeman following four suspects of a string of murders to a luxury hotel in Goa, India.

Analysis: A Note: This movie was only available to me in unsubtitled Hindi, so obviously my review is to be taken with a grain of salt, though I have made a point of focusing only on visual styling, music, and slasher structure rather than plot or acting.

So, I haven't really found a place in my heart for the early slashers out of Bollywood, as much as I love Indian cinema in general. However, 1985 seems to be the year that they really pulled out all the stops, between Cheekh and Haveli. This entry hails from another member of the Ramsay family, Keshu, whose brothers Tulsi and Shyam previously collaborated on the largely underwhelming Sannata and Saboot.

He clearly saw what his brothers were doing and felt the same way that I did, because Haveli is the most focused, genuinely slasher-y entry that Bollywood has produced yet. For one thing, the killer is actually delivering kills at a consistent pace and wearing a mask the entire time, which seems like a low bar if you haven't seen as many Bollywood slashers as I have. But also the mask is fucking cool, showing a pale face frozen in a hawklike cry, something like a cross between a Japanese oni and the Bride of Frankenstein.

I wouldn't say there's anything particularly substantial about the kills themselves, but there is always something reasonably exciting happening in Haveli, and for an early '80s low budget slasher that's two hours long, that's no small feat. 

Killer: A Man (shocking)

Final Girl: Not applicable, or at least not really

Best Kill: This one guy is "hanged" for all intents and purposes, but the killer uses their own hands instead of a rope. It's a whole thing!

Sign of the Times: Teased hair on the beach seems like a great idea to me.

Scariest Moment: A man is in his car when the killer smashes the windshield.

Weirdest Moment: The film is randomly set at Christmas, and one musical sequence keeps zooming in on a random giant cutout of Santa Claus.

Champion Dialogue: N/A

Body Count: 8

1. Woman is drowned in a bathtub.
2. Car Man is garroted. 
3. Man is killed offscreen.
4. Man #2 is hanged with hands.
5. Man #3 is slashed in an elevator.
6. Constable is stabbed.
7. Mustache Guy is shot.
8. Handcuff Man is defenestrated.

TL;DR: Haveli is another solid slasher out of Bollywood from 1985.

Rating: 6/10

Word Count: 442

Census Bloodbath: Run Of Tamil

Year: 1980

Director: Balu Mahendra

Cast: Prathap Pothen, Shobha, Malasia Bhaskar

Run Time: 2 hours

There is a slight issue I come across sometimes in my journey to watch every single slasher movie released during the 80's: foreign countries like to make movies too, and sometimes if you want to watch a slasher released in a language you don't speak over 40 years ago, you have to take what you can get. And sometimes subtitles aren't a part of that package. So it's entirely possible that the screenwriter of the Indian Tamil-language film Moodu Pani (AKA The Mist) is the next Shakespeare. We're not here to review the story today, we're here to look at the 1980 porto-slasher as a purely cinematic and visual object, which is kind of the point anyway, wouldn't you say?

...This still might not be the best movie to do that with.

Moodu Pani is another "hero killer" movie, like that same year's Maniac, centering around the psychology of its twisted protagonist Chandru (Prathap Pothen). Chandru hates women because his dad cheated on his mom, as far as I can tell. I will give that motivation the benefit of the doubt that maybe it's given more layers in the actual dialogue. But, knowing the state of the slasher film in this period, it probably doesn't. Anyway, he either is a taxi driver or frequently poses as a taxi driver (because he also works on a film set at one point, though never again), and he visualizes many of the women in his car as his dad's mistress and attempts to strangle them. There's also a woman who spends a full hour of the movie sitting on a porch chatting, and he's in love with her for some reason so he kidnaps her, leading to a prolonged series of escape attempts. 

To be fair, I would probably be just about as confused about the plot if I could understand everything.

The film would probably be much more successful at delivering any kind of atmosphere if its killer wasn't one of the most milquetoast screen presences in the history of cinema. Pothen plays Chandru like a stammering geek, and while I understand this approach is meant to highlight the vastness of the evil living inside him, the (infrequent) killings are staged in a way that highlights their artificiality and don't pack the visceral punch of something like Maniac. That said, I could at least understand a woman initially trusting Chandru, rather than Joe Spinell's Frank in Maniac.

There are only two moments where Chandru seems like an interesting cinematic figure in any way, and both of them use the same technique to heighten the fright. Chandru seems to get stuck on a single phrase, begging a character for something he wants, repeating the same words over and over and over in an increasingly shrill plea. It's an outward expression of how he gets stuck inside an obsession and compulsively must act out his urges no matter what anybody around him thinks.

Unfortunately, I'm going to have to cut this review a little shorter than I prefer, because there's literally nothing else about Moodu Pani to talk about. Other than the novelty of being made in India, which has a gorgeous landscape and architectural tradition, the film has absolutely zilch to look at. It's understandably low budget, considering it doesn't even have the backing of the Bollywood machine, which wasn't as flush with cash in 1980 as it is now. But there isn't even a single angle the camera takes that makes a choice beyond merely staging the action in the center of the frame, lit with even, sanitized sitcom brightness. 

It also does the thing that some Indian musicals do where they only justify shoehorning in music numbers during diegetic performance moments, which limits the fantastical inspiration that they usually are capable of exhibiting. While Moodu Pani has a performance or two, it couldn't really be classified as a musical in the way that the Hindi slasher entry from 1980 - Saboot - could. This prevents the film from wasting even more time, because those numbers wouldn't have been any good, but as such it lacks even the basic spark of joy that something like Saboot's swoony romantic number during a search for the corpse of the singing woman's father.

Killer: Chandru (Prathap Pothen)

Final Girl: Blue Shirtdress Girl, who if I had to guess based on who gets top billing is probably Rekha (Shobha)

Best Kill: Pass. But if I had to choose, as my article word count demands, I suppose the first strangling, which is rendered amusing by the fact that the lady's hands somehow end up super bloody despite her not being stabbed.

Sign of the Times: Chandru is rocking the mustache, clear glasses, ring tee vibe.

Scariest Moment: In one scene, a character is talking to Chandru but their voice is drowned out by a screeching in his own head.

Weirdest Moment: Again, maybe I'm misinterpreting events, but Chandru appears to solicit a prostitute via a six-year-old pimp.

Champion Dialogue: N/A

Body Count: 2

1. Yellow Sari Woman is strangled.
2. Brown Dress Woman is strangled.

TL;DR: Moodu Pani is a movie I didn't get to experience in full due to a lack of subtitles, but I don't think it would have made much difference in me finding it aggressively bland.

Rating: 3/10

Word Count: 899

Census Bloodbath: Run Of The Mill

Year: 1980

Director: Shyam & Tulsi Ramsay

Cast: Navin Nischol, Vidya Sinha, Kaajal Kiran

Run Time: 2 hours 12 minutes

Well, hello there 1980. Now that we're done covering all the films of 1983, I figured the time was ripe to swing back around and catch somme films that I missed in my first pass of slasher research way back in 2013. I have now completed my second and third (hopefully final) pass at that research, so I've discovered a whopping 18 films from '80, '81, and '82 that I missed in my initial investigation, and thus we need to swoop back and cover. A lot of those films are foreign titles that slipped past some America-centric lists I was starting with, and the very first one we're here to cover, Saboot (AKA The Evidence),  is indeed an entry from the grand old land of Bollywood!

This does of course mean that there are some musical numbers in this one, and I truly think pretty much every slasher could be improved with the addition of musical numbers.

Being a pre-Friday the 13th slasher film, and one from the Bollywood sphere that is more interested in drama and romance anyway, Saboot is a very unique hybrid with a particularly labyrinthine plot. I'm gonna try to get us through just the basics as quickly as possible.

Asha (Vidya Sinha), is married to Vikas (no actor listed in English credits), who dies in plane crash. Then her father Dharamdas (no actor listed) is murdered by Dhanraj (Prem Chopra), the man who wants to buy Vikas' mill, but was turned down after taken out a massive loan. His accomplices are the sexy singer Rita (Padma Khanna), former mill manager Ashok Gupta (Narendra Nath), and former secretary Manmohan Saxena (Roopesh Kumar). 

Naturally they begin to die one by one after witnessing what appears to be the undead corpse of Dharamdas, which is being investigated by Inspector Anand (Navin Nischol) - Vikas' childhood best friend, who is currently deep in the process of falling in love with Asha's sister Kajaal (Kaajal Kiran). Comedy cops Constable Dukhiram (Rajendranath Malhotra) and Constable Sukhiram (Paintal) are also on the scene to help in no way whatsoever. Ajit Roy (Om Shivpuri), who is either the sisters' uncle, or one of the many elder men respectfully called uncle, is the main suspect, and he doesn't do much in the way of clearing up that suspicion. 

Not that Anand is noticing much of anything that isn't Kajaal.

Now I will be the first to admit that I know next to nothing about Bollywood cinema before 2000. I don't have a lot of context for what the industry may have looked like outside of this particular film at the time, but from what I understand, Saboot is structured pretty traditionally and is a teensy bit more low budget, but by what degree I couldn't begin to guess. But what I do know is slasher films, and Saboot is certainly doing something interesting even if it isn't particularly focused on being one.

The kills themselves aren't particularly well-executed (it's a lot of the "blood splatters on the wall" type cutaways), but the thing is that they all take place in some pretty great setpieces. We start from the murder on the train car, peak at a victim in a falling elevator (sure, it's no Damien: Omen II, but you gotta love a falling elevator kill), but don't drop too far when that one is followed by a death in a frozen storage facility full of Stonehenge-like blocks of ice that turn everything into a prismatic funhouse. 

There are even some moments that are - dare I say it - kind of spooky! It's not a scary movie (maybe 1 in 100 slasher films actually are), but there is effective macabre imagery left and right, largely as the image of Dharamdas's corpse - which is basically just a zombie mask over bloody clothes - is tastefully abstracted by shadow and lightning or viewed through a kaleidoscopic block of ice. There are also some effective nightmare sequences involving a shower head spraying blood, and a severed head under a tea tray.

This is not a picture of anything I'm describing, but it turns out that still frames from a 40-year-old Bollywood horror movie aren't just littered around Google.

So that's the horror part. But we're dealing with Bollywood here, so there's a lot more to talk about. 

Saboot is also an action film. This is another area that has its major flaws (notice how every attacker has their move blocked, then stands perfectly still waiting for the counterattack), but is saved by superlative Bollywood flair. These scenes come out of absolutely nowhere, but anytime your horror-slasher can be livened up by the hero beating up four purse-stealing vagabonds out of nowhere is a good scene.

Saboot is also a comedy. This is the thing it is worst at being, at least across the oceans of cultural standards, personal tastes, and shifting values across time that bring it to me. Comic relief cops are standard in cinema across eras and all over the world, and while Constables Dukhiram and Sukhiram aren't any worse than, say, the ones in The Last House on the Left or Halloween 5, they're certainly not characters I want to spend any time with. Take the joke where Dukhiram offers to cook for Anand. He opens a tray and a live chicken comes flying out. Get it? Isn't he so bad at cooking? It's just not to my taste.

Saboot is also a musical. I've already stated I love the insertion of musical numbers pretty much anywhere, though the ones this film has to offer are pretty anemic. This is the first Bollywood musical I've seen where I haven't wanted to add at least one of the songs to my iTunes library. The one big choreographed production number involves the constables and thus sucks, and the rest is mostly scattered love ballads where the lovers in question smile wanly at one another from across negative space (although one such number is staged in a spooky misty forest while they're searching for the hidden grave of her father, so that's... well it's something).

Saboot is a lot of things, but it doesn't really have the budget to achieve one of them perfectly, let alone all of them. For instance, this is a movie where time wantonly slips from day to night like our characters are a bunch of Billy Pilgrims unstuck in time. At least some of the mistakes fit in with the heightened Bollywood storytelling style: ie. a scene of a lawyer stepping into frame three different times in three consecutive cuts is certainly on purpose and it is terrific, and thus the scenes with random blue or red tint that is probably an accident feel of a piece with it. It's certainly interesting to watch, but with the typical 2 hour plus run time of Bollywood, it's just not fun enough to sit with it quite that long.

Killer: Ajit Roy (Om Shivpuri), though most of the body count deaths are accidental

Final Girl: Kaajal (Kaajal Kiran), I guess - it doesn't really apply here

Best Kill: I can't help it, I love me an elevator kill.

Sign of the Times: While mixing a drink at home, Manmohan sings "Venus," but not the one by Bananarama because it didn't exist yet.

Scariest Moment: The shriveled corpse of Dharamdas appears outside the elevator grate as Manmohan is going downstairs.

Weirdest Moment: Constable Dukhiram goes investigating in the rain while wearing a pair of goggles with little windshield wipers on them.

Champion Dialogue: "Rosy, my darling, my chicken pieces..."

Body Count: 5

1. Dharamdas is stabbed in the gut and then slashed with a cane sword.
2. Manmohan is killed in a falling elevator.
3. Rita is killed offscreen.
4. Ashok Gupta is attacked by birds and falls onto his own pickaxe.
5. Dhanraj is shot in the head.

TL;DR: Saboot is attempting to be a lot of things, but doesn't really have the budget to achieve any of them.

Rating: 5/10

Word Count: 1349