(1982)
Still a standout horror film despite the oh-so-eighties fashions.
(2009)
Our first audio commentary out the gate. It was a bingo.
CUEING POINT: The frame after the Weinstein Co. logo fades completely to black.
FILE SIZE: 76.5 MB
RUNNING TIME: 2:43:03
(1982)
We tackle Ridley Scott's vision of Phillip K. Dick's book, Do Androids Dream of Electric Sheep, and ponder Deckard's true nature.
CUEING POINT: The frame after the Warner Brothers logo fades completely to black (before the Ladd Co. logo comes up).
FILE SIZE: 61.3 MB
RUNNING TIME: 2:10:50
(1962)
We go back to where it all began with the original James Bond.
CUEING POINT: The frame after the United Artists logo fades to black.
FILE SIZE: 58.4 MB
RUNNING TIME: 2:04:32
(1968)
Wherein we go ape for Charlton Heston and the gang.
CUEING POINT: Right after the 20th Century Fox logo has faded to black.
FILE SIZE: 59.7 MB
RUNNING TIME: 2:07:20
(1975)
We explore the workings of Pythonian humor in the dissection of Arthurian legend. And stay clear of the rabbit.
CUEING POINT: As the first frame of the British Board of Film Censors notice for "Dentists On The Job" starts coming up.
FILE SIZE: 48.6 MB
RUNNING TIME: 1:43:34
(1993)
Who said they don't make good Westerns anymore?
CUEING POINT: The frame after the Hollywood Pictures logo fades to black.
FILE SIZE: 71.3 MB
RUNNING TIME: 2:28:33
(1999)
Lola runs, we watch. And talk.
CUEING POINT: At the very end of the fadeout of the Sony Classics logo.
FILE SIZE: 43.7 MB
RUNNING TIME: 1:31:11
(2010)
We take our adrenaline shot of a movie and marvel at the almost-heroics of Kick-Ass, the obscene assassin skills of Hit Girl and Big Daddy, and the confused evilness that is Red Mist.
CUEING POINT: At the very end of the fadeout of the Lionsgate logo.
FILE SIZE: 63.4 MB
RUNNING TIME: 2:12:05
(1975)
We grok probably one of the best thrillers to come out of the 70's, with Robert Redford in top form (not to mention Dave Grusin's music score).
CUEING POINT: Just after the Paramount logo has faded to black.
FILE SIZE: 63.4 MB
RUNNING TIME: 2:12:19
(1976)
Ya know, when you really look at it, what we've come to know as the iconic boxing/underdog film is actually a character piece.
CUEING POINT: The very beginning of the United Artists logo.
FILE SIZE: 62.4 MB
RUNNING TIME: 2:10:02
(1982)
We can't stop geeking on how this film STILL rocks and how just plain iconic it is.
CUEING POINT: The very beginning of the Paramount logo.
FILE SIZE: 63.3 MB
RUNNING TIME: 2:11:54
(2008)
BIF! BAM! BOOM! We duke it out over one of the greatest film renditions of one of the greatest comic book heroes ever. And who's to say a difference of opinion isn’t good every once in a while.
CUEING POINT: As the Warner Brothers logo fades completely to black (the music will have started already).
FILE SIZE: 85.4 MB
RUNNING TIME: 2:57:51
(1995)
Best gun battle ever, best DeNiro performance ever, and some theories as to why Pacino’s character behaves the way he does ...
CUEING POINT: As the Warner Brothers logo fades completely to black.
FILE SIZE: 85.7 MB
RUNNING TIME: 2:58:30
(1982)
Milius + the-man-who-would-be-governor in his big-screen debut + Basel Pouledoris = full of win.
CUEING POINT: As the Universal logo fades completely to black.
FILE SIZE: 67.7 MB
RUNNING TIME: 2:20:58
(1974)
Film historian and lecturer Max Alvarez joins us in analyzing the ultimate modern film noir homage in what turns out to be a huge metaphor.
CUEING POINT: At the very beginning of the Paramount Pictures logo fading in.
FILE SIZE: 71.0 MB
RUNNING TIME: 2:27:50
(1999)
Our first swing at this paean to what it really means to be a guy - or at least if we were crazy. Or space monkeys.
CUEING POINT: Right after the Regency logo has faded to black.
FILE SIZE: 75.7 MB
RUNNING TIME: 2:37:39
(2008)
The vampire myth is rewritten WAAAAAYYYYY better than in that recent vampire film that shall not be named.
CUEING POINT: Right after the EFTI logo has gone to black.
FILE SIZE: 60.5 MB
RUNNING TIME: 2:05:59
(1973)
Just in time for Halloween, we test out the Ring theory again on the film that brings us horror at its most elemental level.
CUEING POINT: As the "A William Friedkin Film" title card fades up (after the Warner Brothers logo).
FILE SIZE: 69.7 MB
RUNNING TIME: 2:25:14
(1977)
We relive for the 834th time the film that changed science fiction movies and basically capped off fine 70’s filmmaking. And we still love it.
CUEING POINT: The very beginning of the drumroll at the beginning of the 20th Century Fox theme at the top of the film. PLEASE NOTE: this is an aural cue, not a visual cue.
FILE SIZE: 69.2 MB
RUNNING TIME: 2:24:05
(2006)
Powerful, beautiful yet overlooked film which gets us quite philosopical. Heavy stuff, man, heavy stuff.
CUEING POINT: When the Regency logo fades completely to black.
FILE SIZE: 51.1 MB
RUNNING TIME: 1:46:31
(1972)
We take on this modern American classic and its particular vision of the American Dream.
CUEING POINT: When the Paramount logo fades completely to black; the music will have already started.
FILE SIZE: 93.4 MB
RUNNING TIME: 3:14:30
(1972)
We grok the film that introduced the world to Norma Desmond in what is essentially a made-up True Hollywood Story.
CUEING POINT: The very beginning of the film.
FILE SIZE: 61.1 MB
RUNNING TIME: 2:07:11
(1981)
The post apocalypse never looked better. Or worse. And with lots of cars. And mohawks.
CUEING POINT: The very end of the Warner Brothers logo, when it fades to black.
FILE SIZE: 53.0 MB
RUNNING TIME: 1:50:22
(1993)
We get into the Christmas spirit with this classic tale of what appears to be career-angst or is it perhaps some psychological displacement?
CUEING POINT: The very end of the Walt Disney Pictures logo, when it fades to black.
FILE SIZE: 44.5 MB
RUNNING TIME: 1:32:45
(1946)
We explore the Christmas spirit some more with the saga of George Bailey.
CUEING POINT: The very first frame of the film (before the Liberty Films logo comes up).
FILE SIZE: 69.6 MB
RUNNING TIME: 2:24:58
(1983)
We triple dog dare you to listen to this commentary.
CUEING POINT: When the MGM logo fades to black.
FILE SIZE: 50.6 MB
RUNNING TIME: 1:45:21
(2005)
It doesn't get shinier than this movie. Well, maybe the original TV series.
CUEING POINT: As the universalstudios.com URL fades up in the Universal logo.
FILE SIZE: 60.5 MB
RUNNING TIME: 2:06:06
(1999)
We take another go at Fight Club, only this time strictly from a woman's perspective.
CUEING POINT: Right after the Regency logo has faded to black.
FILE SIZE: 70.4 MB
RUNNING TIME: 2:26:33
(1952)
The droogs get together to contemplate this musical classic.
CUEING POINT: The very beginning of the MGM logo just as it's about to fade up.
FILE SIZE: 57.7 MB
RUNNING TIME: 2:00:16
(1979)
We're so impressed we fill out the standard Rich and Famous Contract for the Muppets for this their first motion picture outing.
CUEING POINT: Right after the Jim Henson Studios logo drops suddenly to black.
FILE SIZE: 53.3 MB
RUNNING TIME: 1:51:05
(2000)
You think going in that it's a slasher flick that sticks it to the '80's, and you come out realizing it's not only a satire but something completely else. Hmm.
CUEING POINT: When the Lionsgate logo fades completely to white.
FILE SIZE: 59.4 MB
RUNNING TIME: 2:03:40
(1971)
We rock the Charlton Heston version of Richard Matheson's classic sci-fi novel, I Am Legend. No CG here.
CUEING POINT: The very first frame of the film.
FILE SIZE: 60.6 MB
RUNNING TIME: 2:06:13
(1970)
Apes, mutants, the doomsday bomb, the return of Charlton Heston as Taylor, and the best movie ending ever - or is it?
CUEING POINT: The very first frame of the film.
FILE SIZE: 64.1 MB
RUNNING TIME: 2:13:38
(1971)
Zira and Cornelius take over the Ape franchise, well, at least for one film. And what the frak is infinite regression? Really?
CUEING POINT: The very first frame of the film.
FILE SIZE: 58.8 MB
RUNNING TIME: 2:02:29
(1972)
It was 1991, 8 years after the cat and dog plague, and apes were our servants/slaves. And then they took over. We remember it well ...
CUEING POINT: The very first frame of the film.
FILE SIZE: 53.0 MB
RUNNING TIME: 1:50:30
(1973)
The last film in the series stands the test of time pretty well, portraying a day in the life of the planet of the apes. That is until they bother the mutants.
CUEING POINT: The very first frame of the film.
FILE SIZE: 63.0 MB
RUNNING TIME: 2:11:12
(1993)
We discover Tarantino without Tarantino is still awesome. And that Clarence Worley is Tarantino's version of Ferris Bueller.
CUEING POINT: As the Morgan Creek logo fades completely to black.
FILE SIZE: 70.4 MB
RUNNING TIME: 2:26:44
(2010)
If you're gonna use spirituality as a plot device, then you just gotta read it like that all the way through.
CUEING POINT: As the Warner Brothers logo fades completely to black.
FILE SIZE: 69.3 MB
RUNNING TIME: 2:24:28
(1974)
Giant stone god heads. Yeah, and it's with a post-Bond Sean Connery too.
CUEING POINT: As the 20th Century Fox logo fades completely to black.
FILE SIZE: 62.8 MB
RUNNING TIME: 2:10:53
(1988)
Great animation, but make this classic into a live action film? Hmmm.
CUEING POINT: Just as the Akira Committee Production title card cuts to black.
FILE SIZE: 67.3 MB
RUNNING TIME: 2:20:12
(1963)
Sean Connery's second go at James Bond - more spycraft, less gadgetery, and lots of women. It was a different time.
CUEING POINT: As the MGM/UA logo fades completely to black.
FILE SIZE: 65.1 MB
RUNNING TIME: 2:15:39
(1997)
Yeah, but where are the frakkin' aliens? And don't tell me the beach scene is going to cut it.
CUEING POINT: As the Warner Brothers logo fades completely to black.
FILE SIZE: 78.6 MB
RUNNING TIME: 2:43:46
(1984)
Once you get past the early-era CGI, this is some pretty darn decent mid-80's sci-fi.
CUEING POINT: As the Universal logo fades completely to black.
FILE SIZE: 62.1 MB
RUNNING TIME: 2:09:17
(2003)
We examine this fine fine example of bloody righteous revenge at its most kickass.
CUEING POINT: As the Miramax logo fades completely to black.
FILE SIZE: 61.6 MB
RUNNING TIME: 2:08:23
(2004)
We examine this fine fine example of bloody righteous revenge at its most kickass, volume 2.
CUEING POINT: As the Miramax logo fades completely to black.
FILE SIZE: 72.2 MB
RUNNING TIME: 2:30:28
(2004)
Superpowers? Nah, it's all about family.
CUEING POINT: As the Walt Disney Pictures logo fades completely to black.
FILE SIZE: 64.7 MB
RUNNING TIME: 2:14:49
(1964)
Practically perfect in every way, indeed.
CUEING POINT: As the Walt Disney Pictures logo fades completely to black.
FILE SIZE: 76.8 MB
RUNNING TIME: 2:39:55
NOTES: "Expialidocious", Pogo's remix of the film's music, can be found at http://www.youtube.com/watch?v=L0sOCl9lV60.
(1980)
One of the greatest sequels ever, Serge finally cops to this being better than "Star Wars". Unfortunately it also produced the most expectations ever (see "Jedi, Return of the").
CUEING POINT: As "A long time ago in a galaxy far, far away" starts fading up.
FILE SIZE: 72.8 MB
RUNNING TIME: 2:31:43
(1976)
We're all over 30, so does that make us Runners?
CUEING POINT: As the MGM logo fades completely to black.
FILE SIZE: 68.7 MB
RUNNING TIME: 2:23:12
(1979)
What is it about living by a black hole that seems to drive people crazy in the movies?
CUEING POINT: As "Distributed by Buena Vista Pictures Inc." fades completely to black.
FILE SIZE: 56.9 MB
RUNNING TIME: 1:58:27
(1982)
Still a standout horror film despite the oh-so-eighties fashions.
CUEING POINT: As the MGM logo fades completely to black.
FILE SIZE: 75.2 MB
RUNNING TIME: 2:36:38
WHAT'S FILM GROK?
Film Grok is where we (film professionals/enthusiasts) get together to record our own film commentaries for you to listen to as mp3 files. If it's ever been a favorite, it's likely we'll do a commentary on it. And they come out weekly too.
OKAY, SO WHAT DOES "GROK" MEAN?
The expression "grok" comes from the Robert Heinlein book, Stranger In A Strange Land.
AND HOW DO I LISTEN TO ONE OF YOUR COMMENTARIES IN SYNC WITH A FILM?
Find the film you're interested in, click through to the film's detail page and click "Download" to launch the mp3 file, or right-click to save it to your computer. Cue up the film to the cueing point we've established and pause it (you'll find this info on the film's detail page and also in the commentary). Then start playing the mp3 and listen for our cue for you to start the movie in sync with us. Or you can just listen to the commentary without watching the movie - it's fun that way too.
HMM, WHAT'S THAT FONT YOU'RE USING?
So you noticed. The font used for the logo and navigation elements is Futura, which was the font Stanley Kubrick used for the titles and credits in "2001: A Space Odyssey". Which we'll no doubt do a commentary on someday too.
WHAT'S THAT MUSIC IN THE PODCAST?
The music at the top of the podcast was composed and recorded by Peter Fox for Film Grok.
WILL YOU BE ADDING MORE FEATURES?
Yes, after the "shakedown cruise", we'll be adding links to affiliates as well as looking into forums/comments etc.
APE WEEK IS HERE!
February 7, 2011
In celebration of the 43rd anniversary of the release of Planet of the Apes, we present you this week with Ape Week. First up: Beneath the Planet of the Apes, Tuesday Escape from the Planet of the Apes, Wednesday Conquest of the Planet of the Apes, and Thursday Battle for the Planet of the Apes. Go Ape!
NEXT WEEK, APE WEEK!
January 31, 2011
Yes folks, in preparation for the 43rd anniversary of the release of the original Planet of the Apes (Feb. 8, 1968), next week we bring you Ape Week, where from Monday through Thursday we'll bring you a new commentary for each of the sequels: Monday is Beneath the Planet of the Apes, Tuesday Escape from the Planet of the Apes, Wednesday Conquest of the Planet of the Apes, and Thursday Battle for the Planet of the Apes. And to whet your appetite, this week we do the commentary thing for another of Charlton Heston's sci-fi classics, The Omega Man.
Grok on.
HO HO HO
December 20, 2010
As the Christmas season comes to a close, we here at Film Grok want to thank you all for coming by since our launch in July, and look forward to having you back in the New Year. We've got 26 commentaries under our belt so far (!), and have some extra special goodies coming up soon, including the shiniest commentary this side of Persephone for Serenity (12/27), our all-women's Fight Club commentary (1/3), and in time for the 43rd anniversary of the release of Planet of the Apes, watch in February for Ape Week, where we'll bring you a new Ape series commentary each day of the week.
Grok on.
WELCOME TO FILM GROK
July 29, 2010
Welcome to our new website celebrating our grokness for film. How do we express this grokicity? By making our own audio feature-length commentaries and sharing them with you (whom we assume also grok film). We're starting off this whole thing with 5 commentaries for your listening enjoyment, and will bring you a new commentary each week after that. How does this all work? Head on over to What? for answers to some of your questions. What else is there to do here? Click on Blah for the occasional missive (like this one). Want a t-shirt? Swing by Swag. Who are we? Check the Credits. How do you get in touch with us? Go to Hey.
Thanks for stopping by, we think you'll like it here.
COMING SOON - T-SHIRTS!
Yes, we'll be offering t-shirts soon enough, so you can parade the Film Grok logo proudly. Stay tuned!
SERGE DELPIERRE has worked in the entertainment industry for a number of years and blames his filmmaker tendencies on a love of movies nurtured early in his life by the likes of Mary Poppins, Chitty Chitty Bang Bang and 2001: A Space Odyssey (Or was it his in utero experience one week before being born when his mother went to see Gone With The Wind, whereupon he kicked every time the cannons went off during the burning of Atlanta?). Faced ex utero with a vast, geekish knowledge of all things film, Serge sees Film Grok as an inevitability that had to happen, where he can finally talk through the whole damn movie. Claims to fame include appearing in an episode of The District, working on American Idol and running into Joss Whedon on the street. Serge's greatest professional joys are to be found being on set or in the editing bay.
TIM MCMILLAN has deep affection for both the craftsmanship and artistry of cinema - and is a sucker for anytime dialogue is replaced by the camera to tell a story. He leans toward films from the classic age and counts as some of his favorite directors David Lean, Max Ophuls, Jules Dassin, John Ford, Akira Kurosawa, Michael Powell, Anthony Mann, Alfred Hitchcock, Billy Wilder and William Wyler. His two favorite art forms being film and music have led him to a lifelong love of film scores - "the best of both worlds'. He can't imagine a time when his life was without the music of three film composers in particular - John Williams, John Barry and his personal favorite Jerry Goldsmith (whose work he considers to be "the sound of film").
HEIDI HILLIKER attributes her deep and all-encompassing love of film to her childhood exposure by her grandparents to classics like GiGi and The Greatest Show on Earth and by her father to such cult hits as Total Recall and Spaceballs. Film Grok provides a much needed outlet for her education, experience and dust-collecting film degree. Most importantly, it gives her the opportunity to share her philosophies and theories with other film nerds both in the studio and, thanks to the internet, around the world. Other interesting facts about Heidi include her love of hot dogs, comic books and classic rock, her artistic passion for creating and performing, her ability to make a clover with her tongue, and her yearly trek to Comic Con as Wonder Woman.
JOHN HRUBY had the incredible desire to control everything when he was growing up in Cleveland, Ohio, so he logically became a writer. But a funny thing happened on the way to Tatooine: John stumbled upon spirituality and a deep understanding of screenplay structure, giving him the ability to see the Matrix of screenplay writing in ways he had never anticipated, but now seems so Spock-logical. John now coaches writers and artists to SEE and USE screenplay structure to tell whatever story they want to tell. His participation with Film Grok is one of his ways of giving back to the world of writers, talking about structure, plot points, what happens on page 15, setups, payoffs, character arcs, etc. When you're ready to learn more about writing, you're invited to visit John at www.StructureNotFormula.com (opening Fall 2010).
CURTIS NELSON was born in OK, USA. Curtis is a double threat Hillbilly with roots in Oklahoma and Arkansas. Raised on basic cable reruns of the 70s, 80s and 90s. His inspirations are Clint Eastwood and his imagination. Thought that would be good enough to give the acting thing a try.
One day hopes that his creative insight and ability to think outside the box will be taken seriously.
DUNCAN K. FRASER spent his formative years in small-town America. Lacking the finer things in life, he turned inward to the study of Christianity and martial arts, and to living vicariously through his favorite films (The Empire Strikes Back, Star Trek III: The Search for Spock, UHF, Bloodsport, Batman, and Commando, to name a few). He later moved to Hollywood to see if he could start actually making movies, working many jobs, from production assistant to producer, and from stuntman to actor. But his fondest memories are of working on Star Trek: Enterprise where he portrayed the character Ensign Walsh. Film Grok is one of the few places where Duncan can bring all of his experiences into play at once. And though the breadth of films he appreciates has grown exponentially, he still holds a special place in his heart for the most existential of genres: science fiction and fantasy.
MICHAEL SMITH's love for film began at the age of eight when his uncle showed him a laser disc copy of Close Encounters of the Third Kind played through a set of large speakers so powerful the sound of the alien ships shook the entire house. From that day on Michael was forever a fan of the movies and he spent far too many hours of his childhood huddled in a beanbag chair watching everything from Rashomon to Killer Klowns from Outer Space. He now spends his time working in the entertainment industry as a Production Manager and Location Manager, availing him of such production experiences as shooting dance numbers late at night in the streets of downtown Los Angeles with the comedy troupe Upright Citizens Brigade, filming a resident of New Orleans' Lower 9th Ward fight to rebuild his neighborhood in a documentary for Australian television, standing in the hot sun of the Santa Clarita desert for an episode of House M.D., and roaming the Las Vegas strip late at night with a reality crew after wrapping a shoot on Playboy’s Playmate of the Year event.
LEAH TUTTLE’s earliest memory is sitting in a movie theater in 1979 watching John Badham’s Dracula. Apparently her mother (who had a massive crush on Frank Langella) thought that a 2-year old would either sleep through the film or not remember it. This was not the case and Leah’s fascination with film started at that very inappropriate age.
Almost 20 years of obsessive movie watching later, Leah’s studies brought her to the University of Rochester where she got an internship at the George Eastman House International Museum of Photography and Film, which forever changed her life. It was there that she realized that what she wanted to do was preserve and archive films. She now works at MGM, where she ensures that audiences around the world will continue to enjoy Road House and Showgirls for many, many years to come.
LAURA THOMPSON has an all-encompassing love for film and performance arts, which began when she saw Disney’s Cinderella when she was 2 years old. Apparently, she was so excited and inspired by this first film experience that she ran all around the movie theater. As the years progressed, her film taste expanded from animated films to include live action movies, and now her list of favorites includes films such as Amadeus, The Princess Bride, the Lord of the Rings Trilogy, the (Original) Star Wars Trilogy, The Shawshank Redemption, Glory, Amelie, and Sense and Sensibility (yes, she loves her some 19th century literary adaptations). Laura’s love for film and performance has spilled over into her life in many ways, and at various points she has worked as an actress, writer, director, singer, dancer, stage manager, prop-master, TV Show recapper, freelance film journalist, script reviewer, film archivist … and now, Film Grok commentator.
NICOLE GUSTAS has earned the nickname "Nikkipedia" for her encyclopedic knowledge of, well, everything. She read the Encyclopedia Britannica when she was 8 and hasn't stopped reading since. She turned her geekitude into a job working as a researcher for documentary TV productions. She left the industry a few years ago for a different industry where geekiness is truly rewarded: the Internet. Favorite films include The Empire Strikes Back, J.J. Abrams' Star Trek, Secretary, Vicenzo Natali's Nothing, and (just to prove she's a girl) Gone With the Wind and Titanic.
MAX J. ALVAREZ is a film historian, writer and lecturer who has been a lifelong disciple of the cinema and its infinite possibilities. He has lectured on film history for The Smithsonian Institution and numerous cultural organizations in Washington, DC and is the former film programmer for the National Museum of Women in the Arts. Max has written about the earliest days of motion picture history for Film History: An International Journal, reviewed film and theater for the now-deceased Milwaukee Journal and covered home entertainment technology for the Chicago Tribune. He is currently the president of SEC Roughriders, a premier speakers club in New York City. He also recently completed his first 35mm film short, Cimmerian Darkness.
Website and podcast produced by Serge Delpierre. Serge Delpierre produced by Mr. & Mrs. Delpierre (yes, that was a Bambi Meets Godzilla reference).
The Film Grok theme was composed and recorded by Peter Fox.
Special Thanks to the guys at Down In Front who did it first and so well that they inspired me to imitate them (and I hope they consider this all the highest form of flattery), and Colleen Rice Nelson at The Ultimate Answer and Ian Gilman for their invaluable help and feedback.
The social media icons found on this website can be found at http://icondock.com/free/vector-social-media-icons.
WANT TO CONTACT US DIRECTLY?
Email us at: filmgrok@gmail.com
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a. YOUR USE OF THE SERVICE IS AT YOUR SOLE RISK. THE SERVICE IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS. COMPANY EXPRESSLY DISCLAIMS ALL WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT.
b. COMPANY MAKES NO WARRANTY THAT (i) THE SERVICE WILL MEET YOUR REQUIREMENTS, (ii) THE SERVICE WILL BE UNINTERRUPTED, TIMELY, SECURE, OR ERROR-FREE, (iii) THE RESULTS THAT MAY BE OBTAINED FROM THE USE OF THE SERVICE WILL BE ACCURATE OR RELIABLE, (iv) THE QUALITY OF ANY PRODUCTS, SERVICES, INFORMATION, OR OTHER MATERIAL PURCHASED OR OBTAINED BY YOU THROUGH THE SERVICE WILL MEET YOUR EXPECTATIONS, AND (V) ANY ERRORS IN THE SOFTWARE WILL BE CORRECTED.
c. ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SERVICE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE TO YOUR COMPUTER SYSTEM OR LOSS OF DATA THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.
d. NO ADVICE OR INFORMATION, WHETHER ORAL OR WRITTEN, OBTAINED BY YOU FROM COMPANY OR THROUGH OR FROM THE SERVICE, SHALL CREATE ANY WARRANTY NOT EXPRESSLY STATED IN THE TOS.
YOU EXPRESSLY UNDERSTAND AND AGREE THAT COMPANY SHALL NOT BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, CONSEQUENTIAL, OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO DAMAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA, OR OTHER INTANGIBLE LOSSES (EVEN IF COMPANY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES) RESULTING FROM (i) THE USE OR THE INABILITY TO USE THE SERVICE; (ii) THE COST OF PROCUREMENT OF SUBSTITUTE GOODS AND SERVICES RESULTING FROM ANY GOODS, DATA, INFORMATION, OR SERVICES PURCHASED OR OBTAINED OR MESSAGES RECEIVED OR TRANSACTIONS ENTERED INTO THROUGH OR FROM THE SERVICE; (iii) UNAUTHORIZED ACCESS TO OR ALTERATION OF YOUR TRANSMISSIONS OR DATA; (iv) STATEMENTS OR CONDUCT OF ANY THIRD PARTY ON THE SERVICE; OR (v) ANY OTHER MATTER RELATING TO THE SERVICE.
SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF CERTAIN WARRANTIES OR THE LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES. ACCORDINGLY, SOME OF THE ABOVE LIMITATIONS OF LIABILITY MAY NOT APPLY TO YOU.
THE SERVICE IS PROVIDED FOR INFORMATIONAL PURPOSES ONLY AND NO CONTENT INCLUDED IN THE SERVICE IS INTENDED FOR TRADING OR INVESTING PURPOSES. COMPANY SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE ACCURACY, USEFULNESS, OR AVAILABILITY OF ANY INFORMATION TRANSMITTED VIA THE SERVICE AND SHALL NOT BE RESPONSIBLE OR LIABLE FOR ANY TRADING OR INVESTMENT DECISIONS MADE BASED ON SUCH INFORMATION.
The TOS constitute the entire agreement between you and Company and govern your use of the Service, superseding any prior agreements between you and Company. You also may be subject to additional terms and conditions that may apply when you use affiliate services, third-party content, or third-party software. The TOS and the relationship between you and Company shall be governed by the laws of the State of California without regard to its conflict of law provisions. You and Company agree to submit to the personal and exclusive jurisdiction of the courts located within the county of Los Angeles, California. The failure of Company to exercise or enforce any right or provision of the TOS shall not constitute a waiver of such right or provision. If any provision of the TOS is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties’ intentions as reflected in the provision and that the other provisions of the TOS remain in full force and effect. You agree that, regardless of any statute or law to the contrary, any claim or cause of action arising out of or related to use of the Service or the TOS must be filed within one (1) year after such claim or cause of action arose or be forever barred.
