![]() ![]() What starts out as a straight-forward, by the numbers tale of horror, goes in a completely different direction than expected at the end of the first film (something the remake ignored completely). Having a break in between the two really does the excellent atmosphere build-up a disadvantage.ĭespite the thin characters, the series does something really interesting in terms of overall narrative. This is partially why I recommend viewing both in one sitting, REC 1 ends on a high level of tension and REC 2 starts at that level and builds on it. This is not to say the REC films are slow, they trot along at quite the brisk pace, but once the narrative takes off running, it never lets up. The films make up for this by being masterclasses in tension-building, layers of unease and atmosphere are carefully applied over the course of both movies. The camera is, for a movie of this type, relatively restrained and not nearly as nausea-inducing as it could be, though those who simply can’t stomach much camera movement in general without feeling ill should be warned that the experience still has that unpolished edge that makes first person films so divisive.Ĭharacters as a rule are not deeply developed, and moments when exposition or character building is attempted often rings hollow and comes off as a bit trite. The overall style is first person perspective, yet the story goes to satisfying lengths to justify the cameras being used in the situation, so it generally doesn’t come off as obnoxious as other films who use this camera style can be. Let’s start with things common to both movies, then we’ll go into what makes each film individual. REC 2 begins the moment REC 1 ends and intercuts unseen events that took place in parallel with the first film while continuing where it left off. The benefit of viewing REC 1 and 2 together is that they are amazingly well connected, they feel more like two chapters from the same book rather than two separate stories. There are direct-to-video sequels to Quarantine, but none of them are remakes of the sequels to REC 1.for.some reason. There is literally NO REASON to watch Quarantine while REC 1 exists. Now Quarantine and REC 1 are very similar in premise and general execution except Quarantine boasts terrible acting, a severe downgrade in camerawork, and they simply forgot to include REC 1’s memorable and unique twist in the third act. ![]() REC 1 has been remade in the United States, albeit very poorly, as the movie Quarantine. As far as REC 4 continues the story but isn’t really essential viewing like the first two. REC 3 is a VERY DIFFERENT kind of movie than its predecessors and would best be viewed and reviewed as a separate entity. There’s something lurking in the shadows and escape seems impossible, what results across these two films is a terrifying, gripping, and inventive thrill ride.įirst things first, there are four REC movies and yet I’m only reviewing the first two. Do get back incase of question further.A television crew, a group of tenants, and a team of firefighters are cut off from the outside world one night. Meaning only 10000 records will be held by last output file. Lastly, If we have more than 30000 records in input file and we didnt specify what to do for those records, so SORT will not bother about them.When we have any such criteria while splitting then below piece of code helps. In nutshell, we can make use of it, when we do not have any constraints on output record count.Say for eg, we have 40000 records in input file and we are dividing them into 3 output files, then we will be getting 10000+10000/3 records in the output file. Its implicitly splits the input file into output files 10000 records each. Of cos we can specify the count based on which split should happen, as below.If we have 3 output files for instance, the total input records divided by 3 will be record count of each input file. Deuian's SORT CARD splits the input file into output file equally. ![]()
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