Trevor Zegras provides ‘Michigan’-style lacrosse aim to spotlight reel

In the most famous goal Trevor Zegras was involved (so far) he set up Sonny Milan for an alley-oop goal, essentially reshuffling the goal “Michigan” or lacrosse style. But, hey, you gotta keep the defense honest by making sure they know* you can pull off the actual move, right?* During Thursday’s game against the Canadiens, the Ducks’ rising star Trevor Zegras actually added a lacrosse-style goal from “Michigan” added to his already growing highlight role.

Trevor Zegras of the Ducks scores a Michigan lacrosse-style goal

Choose how you really want to watch Trevor Zegras take off on Michigan. Just make sure you watch it.

If you like, check out the video above the title of this post. If you prefer to go the GIF/Twitter embed route, go here:

.@tzegras11 DO THIS MICHIGAN!!

– NHL GIFs (@NHLGIFs) January 28, 2022

That raises some burning questions.

  • Which goal is better, Zegras scoring that “Michigan” goal or Zegras fielding Sonny Milano with his own version of the lacrosse style setup?

  • What tricks will Zegras have up its sleeve? for the upcoming Breakaway Challenge during NHL All-Star Weekend 2022?
  • Will we see another spate of lacrosse-style goals? Nice way to shake things up as we are in the dog days of the NHL season.

As of this writing, Zegras scored twice against the Canadians, which put him on 12 goals and 32 points in 40 games – assuming he doesn’t add more on Thursday.

While the habs get beat up Jake Evans added a big goal of their own, so enjoy this as a bonus:

* – At this rate, defenses are likely assuming that Zegras can work wonders. They just don’t know how to stop him.

James O’Brien is a writer for Pro Hockey Talk on NBC Sports. Write him a message or follow him on Twitter @cyclelikesedins.

Amsterdam’s coffeeshops reel from low vacationer numbers this summer season

A view towards Oudezijds Voorburgwal, lined with coffee shops in Amsterdam.

Thomas Imo | Photo library | Getty Images

Amsterdam has long been a magnet for millions of tourists from Europe and beyond, with many drawn to the city for its canals, architecture and museums and, of course, its numerous cannabis-laden coffee shops and unabashed sex industry.

But Europe’s so-called “City of Sin” has not been the same since the outbreak of the Covid-19 pandemic, and tourism numbers were significantly lower than in previous years, when the Dutch capital could expect millions of visitors a year.

While many locals love the fact that they can wander and cycle through their city without avoiding the tourist crowds, Amsterdam businesses that rely on visitors – like coffee shops where cannabis can be openly bought and sold – are feeling the pinch, and it fears that local authorities may soon take action against their overseas customers.

“It’s definitely been a quiet year,” Ben, who works at Barney’s Coffeeshop, told CNBC on Wednesday. “Apparently [it’s better] compared to last summer with Corona[virus]but this year it started to get crowded but still nothing compared to the years before. Only really French tourists come by, French and German, not many British, not many Italians anymore. “

“I think now that the school holidays are over I don’t think it’s going to be too much,” he added.

The Dutch tourism industry is still recovering and has a way to go before reaching pre-Covid activity levels.

In the second quarter of 2021, revenue in the hotel and restaurant sector was 52.6% higher than the comparable quarter of 2020 (a period that covers the first lockdown). However, compared to the second quarter of 2019, it was over 35% smaller, so August data from Statistics Netherlandswho added that “the pre-Covid levels are still a long way off”.

A customer buys marijuana in a cafe in Amsterdam city center on January 8, 2021.

EVERT ELZINGA | AFP | Getty Images

Mike, a customer and retail manager at Green House, which has several coffee shops in Amsterdam, said business has grown since the country reopened and restrictions were lifted, but it is still not at its peak.

“The coffeeshops in the center are busy again … but it’s still quieter compared to normal years, but it has picked up again in the last month,” he told CNBC on Wednesday, noting that the coffeeshops had adapted to new rules such as social distancing between tables and the use of outdoor patios.

Mike noted that during the Covid-19 lockdown, coffee shops had “suffered a lot” over the past 18 months. The Dutch authorities initially announced that coffee shops would have to close at short notice when the country’s first lockdown began last spring.

However, the government quickly reversed course. after queues in front of coffee shops. Customers wanted to stockpile supplies before closings, and authorities feared cannabis sales could quickly take to the streets and illegal and unregulated drug trafficking could flourish.

In the Netherlands, Selling drugs is illegal, but the Dutch government tolerates the sale of soft drugs in coffee shops which are strictly regulated.

Despite being allowed to stay open, opening hours were shortened and travel bans meant that a large proportion of their customers, tourists, could not visit until this summer when the Netherlands opened trips to some countries.

However, there are still restrictions for visitors from some countries with higher Covid rates (as in many other countries, the Netherlands have set a traffic light system of red, yellow and green depending on the number of cases) and some have PCR tests and quarantine rules, many tourists further deter.

Locals enjoy the peace and quiet

Many locals are fed up with the groups of younger tourists who come to Amsterdam on soft drugs for their tourism and have enjoyed the lower numbers over the past 18 months.

Lieke, an Amsterdam-born woman with a young daughter, told CNBC that she enjoyed the quieter city but didn’t think coffee shops should be a no-go area for tourists, and banning tourists would be discriminatory.

Open smoking of cannabis is prohibited in some parts of Amsterdam.


Otto, an economics teacher who also lives in Amsterdam, agreed that as a resident it was “very nice to get our ‘own’ inner city back” instead of having to deal with “screaming and stinking” (stoned and drunk) tourists.

“It was also much more pleasant to cycle through the city without tourist cyclists with little cycling experience… All in all, it was actually much more pleasant,” he said.

When asked whether tourists were a nuisance in coffee shops, Otto answered unequivocally: “Yes.

In particular, Amsterdam has a problem with young tourists who “feel overwhelmed because they can smoke weed legally, although and because of their young age it is difficult for them to eat the right amount”.

More culture, less grass

The Dutch capital attracts a wide variety of tourists – from the inevitable groups of young people who want to experience the city’s coffee shops to the stag and hen parties that make the seemingly mandatory visit to De Wallen, Amsterdam’s main red light district.

But the city also attracts those interested in culture who visit the city’s museums and stroll through the picturesque canals to simply soak up the city’s unique character. Local officials seem keen to clean up the city’s image as a party town and instead want to attract more of this latter group of tourists to the city.

Tourists visit the red light district in Amsterdam

SOPA pictures | LightRakete | Getty Images

Amsterdam Mayor Femke Halsema has gone further and has suggested restricting main attractions for certain tourists – the red light district and coffee shops.

Halsema has proposed moving the city’s red light district to a purpose-built “erotic center” outside the city and banning foreign tourists from the city’s coffee shops who are understandably unimpressed by such proposals.

“You’re going to shoot yourself in the foot [if they do that], it’s not a good idea at all, “remarked Ben of Barney’s Coffeeshop.” You’re going to lose half the atmosphere that Amsterdam has had in the last 20 years. Not only the coffee shops will suffer, but also the hotels, the fast food restaurants, everything. “

Likewise, Mike of the Green House Coffeeshops Group said such proposals to ban foreign tourists were “ridiculous” and “would result in a huge reduction in tourism.”

“I think the emphasis on tourists coming here and visiting coffee shops is wrong because almost everyone who comes to Amsterdam at some point is interested in visiting a coffee shop, even just for a coffee. They just want to experience what it is like. And when you go to one of our coffee shops, it’s not just young English people who are drunk, most smokers don’t even drink. “

“The culture has changed in the last 10 years and we see all ages in our coffeeshops, 70-20 year olds and people in business suits who come after work to relax for half an hour,” said he.

REEL TALK: ’12 Mighty Orphans’ a singular underdog story | Arts & Leisure

Who needs another soccer underdog story? We do. We all do that.

Based on the book by Jim Dent and Lane Garrison and the true events of the Mighty Mites, Ty Roberts, co-writer and director of the film, “12 Mighty Orphans,” brings us a heartfelt story about what it means to be family and support each other, regardless of the adversity.

Rusty Russell (Luke Wilson) is set in a barren and impoverished area near Fort Worth, Texas in 1938 with his wife and daughter reluctantly in tow. Always on the positive side, they look to the huge institution of the Masonic Home for Orphans, which will be their new residence.

When you meet Frank Wynn (Wayne Knight), the facility’s director, and the sociable family doctor Doc Hall (Martin Sheen), it is clear that there is trouble.

Russell, called to the orphanage by Doc, will not only teach math and science, but he will also coach a non-existent soccer team.

The family’s rat-infested and ramshackle quarters are a far cry from their former Pennsylvania residence, but Russell’s dedication and immediate devotion cannot be swayed even in the midst of putting together a completely inexperienced, often non-compliant and rude team.

Wynn, an abusive authoritarian with ulterior motives to run this house, is despicable with his tentacles of greed, especially when trying to thwart the success of Russell and the boys.

Russell has his own story and demons to deal with as he strives to connect with and help these forgotten “second class citizens”. A World War I veteran suffering from PTSD, we are seeing flashbacks in his life and witnessing the additional atrocities that in many ways help him reach out to these rejected children.

Along with time, love, and a common goal, the boys become a family with Doc and Russell as surrogate fathers, even if the odds are against them.

Sony’s “12 Mighty Orphans” starts with a stereotypical Disney touch. Told by Sheen, it’s an ode to storytelling of years gone by, but this also helps to accentuate the era of the story.

Russell at first seems too good to be true; he is kind, compassionate, and understanding to an exponential degree. Additionally, Wynn is a caricature of a malefactor who can almost be seen giggling when he does his insidious act.

Thankfully, those exaggerated depictions and performances are quickly muted and a more realistic and heartfelt story finds its way to the fore.

The story takes us through the 1938 football season when the team had no shoes, no equipment and was beaten up in their first game. Credited for starting the first “spread” formation in football, Russell always goes up on heights and finds a way to work with what he has. He thinks outside the box to help the boys capture something they have long forgotten: hope.

Victory after victory makes them an impressive team, but there is always someone out there who wants to defeat them. It’s a classic story, but we’re fully invested in it as we sit on the edges of our seats for the finale.

With every “Cinderella story” we know the bow. There are trials and tribulations, but in the end good triumphs over bad. This story may not be any different, but the obstacles you face certainly are.

Co-authors Dent and Kevin Meyer also take the time and care to give each of the characters a story and backstory with unique personalities. Paying attention to these details connects us as viewers with every element of the film. The bottom line and ending aren’t what you’d expect, which makes it a more dramatic story.

Wilson’s restrained performance gives Russell’s character a deeper and more complex personality. It’s a delicate balance, but Wilson seems directly tied to his role.

Sheen finds the right path too, because he too could have gone too far in one direction or another to give Doc Hall a more comedic and less believable performance, but he doesn’t. We are dear to him and we hope that he will overcome his tragedies too.

This is the story of the boys, the orphans and each of them, perfectly cast to represent the real youth, allows us to really get to know them.

Jake Austin Walker (Hardy Brown) takes the lead in this group, the most troubled character in the bunch, and evokes incredible empathy as we watch him wrestle with his inner demons. Jacob Lofland (Snoggs), Slade Monroe (Wheatie), Sampley Barinaga (Chicken), and Woodrow Luttrell (Leon Pickett) are all standout characters in this group of connected underdogs.

“12 Mighty Orphans” is a familiar story with its own unique elements that remind us of the definition of family in its truest form. The film has many lessons that can never be repeated too often and that make everyone happy and hopeful.

While the film is off to a rocky start, the path is quickly paved to offer us a fun and entertaining storyline. Be sure to stick with the credits to get to know the real “kids” and find out what became of them.

Reel Talk Rating: 3 Stars

REEL TALK: Third ‘Conjuring’ a strong installment | Arts & Leisure

Based on a true story from 1981, The Conjuring: The Devil Made Me Do It portrays a young man, Arne Johnson, who pleaded not guilty of murder due to demonic possession.

The truth turns out to be crazier than fiction once again in this terrifying, sometimes comedic and always gripping horror story.

The “Conjuring” series shows the numerous reports by Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga), specialists in exorcisms, how they collect the evil utensils of their encounters, all in a locked room in their house. “Annabelle” is such a special piece that “The Devil Made Me Do It” goes back to and evokes both knowing laughter and creepy memories.

Ed and Lorraine find themselves in a particularly difficult position in this performance, as David (Julian Hilliard) was possessed by an unusual demon as a young boy – yes, there are common guys, and that’s not one of them. The sweet and protective Arne (Ruairi O’Connor), friend of David’s sister, saves the boy by inviting this evil spirit to take him instead of David.

Of course, this wasn’t the best idea as Arne is behind bars for subsequently killing a local.

Ed and Lorraine must find out the demon’s reasons for the possessions in order to help Arne, who is now behind bars. Her detective and intuitive skills lead her to previous murders, a retired priest, and a cult of Satanists who, in turn, are not your typical devil worshipers.

Drawn ever deeper into this world, Ed and Lorraine not only fight for Arne, but for themselves and for each other.

Let me first say, there is nothing better than watching a comedy or a horror movie in a cinema with others – it makes everything more intense. To see “The Conjuring: The Devil Made Me Do It” with an audience on a huge screen created the creepy atmosphere with jump scares that make you laugh at yourself.

The film itself uses all of the typical horror movie tropes, such as Dim lighting, flickering lights, stepping into cobweb-lined basements and more – but all of these gadgets are part of the genre. With these techniques, “The Devil Made Me Do It” doesn’t take itself too seriously either, as it makes fun of situations.

A prominent moment comes during an exorcism in prison where the priest attributes the flickering lights to an old state-run building. Those kind of comedic moments sprinkled sparingly across the film give the viewer a break from the intensity and provide the necessary climb on that roller coaster of a movie.

The story takes several twists and turns, explaining the motivations of the occult and how certain demons work. We know how this will turn out, but the story sucks you in and you are invested in the mystery and working with them to solve it.

The writing spoon feeds you the clues and gives you the keys to unlock the puzzle, just one small piece at a time, and that captivates you.

Farmiga and Wilson take their roles seriously while basing themselves on the actual Warrens – their looks, style, and personality attributes. While this may seem over the top at times, it’s part of the fun too.

We expect these actors to portray a certain way and embrace their interpretation of their characters in each of these horror films. We get to know them better and they in turn do the same.

O’Connor is an outstanding young man who sacrifices his mental and physical freedom to help young David. In no time at all, O’Connor can switch gears to become a murderous man eager to wreak havoc and then get back to his innocent personality.

Of course, makeup, props, and special effects go very far in horror films, and this is no exception to this rule. The twisted special effects of the possessed characters are devastatingly mesmerizing. The creation of cruel characters, even dead ones, is shown in “The Devil Made Me Do It”, all complemented by a musical score that will make you chill.

But the most disturbing part of the entire film is the credits. If you don’t want to have nightmares, go before these roll.

Reel Talk Rating: 3 Stars

Pamela Powell is a Bourbonnais film critic and a member of the CFCA and CCA and a certified Rotten Tomatoes critic. Pamela has been writing reviews for 10 years and can also be found on WCIA TV in Champaign. She can be reached at

REEL TALK: ‘Cruella’ cannot discover target market | Arts & Leisure

We have seen more than a dozen Disney live-action remakes in the past 10 years, including Beauty and the Beast, Vicious, Mary Poppins, Dumbo, The Lion King, and “Mulan”.

“Cruella” is the latest live-action version, but this dark origins story isn’t your typical Disney tariff.

Rated PG-13 and with a running time of 2 hours and 14 minutes, this is not the one that makes the small tikes see, especially on the big screen. In fact, I’m not sure who the target audience for this is, with its traumatic and tragic beginnings and twisted finale to play out for the subsequent stories in the film.

We meet Estella (Tipper Seifert-Cleveland, plays the young version of the character) – who later transforms into Cruella (Emma Stone) – as a teenager who shows even on the day of her birth that she is not like everyone else.

With hair evenly split on each side, light and dark, similar to the personality of this character, little Estella and her mother live a humble life. Estella proves that behavior cannot be taken for granted as she tries to follow her cute mother’s advice to be kind and get along with others.

She is lively, refutes all the rules and does not hesitate to throw the first blow. But after witnessing the death of her mother, Estella – now an orphan – has to develop street arts and educate herself thanks to the Baroness (Emma Thompson) indictment against the Dalmatians … with a little help from her new found friends Jasper (Ziggy) Gardner) and Horace (Joseph MacDonald).

After a very drawn out childhood story, we are finally catapulted into the 1970s when Estella, an aspiring seamstress, accidentally finds her way into the baroness’s couture clothing company. She stands out from her competition and works her way from coffee runner to ball gown designer.

But when Estella learns more about the dirty story between the baroness and her mother, she discovers that an internal switch has been thrown and that her goal in life is to kill the baroness. With smart planning and two lackeys ready to obey any instruction, Estella becomes Cruella in search of sweet revenge.

“Cruella” has so many flaws in the story design, despite its beautiful costume and production design that has established itself as the forerunner of all other Cruella stories known to us, that it is nothing more than a bundle of rags sewn together.

The young Estella, who is smart, stands up for the little guy and is tougher than any other boy, will no longer be recognized as the adult version of Estella. She is initially scared, insecure, and meek.

This contradicts the entire makeup of Estella’s intrinsic traits and makes us question the character in general. She gets nasty, but spending so much time on childhood backstory seems such a waste now that it turns out to be irrelevant.

Time and tempo are another theme in this film as art trumps history. Director Craig Gillespie, who gave us such masterful films as “I, Tonya” and “The Finest Hours,” loses track of his story because he spends so much time on unnecessary close-ups and looking for shots that lack emotion and those who can’t. Tell a fable succinctly.

With the exception of Emma Thompson, the story fails in terms of pace, but also in terms of casting. Stone can’t shed her embarrassingly adorable sweetness despite her threatening dialogue.

Oscillating between her low self-esteem Estella and the cunning Cruella, Stone has two cogs to portray these characters, and we always see through the veneer – she’s still the bubbly girl next door. Fry and Hauser try as hard as they can to channel their inner morons as Jasper and Horace, but there is no laugh between them.

Mark Strong, as best he could, is completely untapped as a key character in John the Valet. Unfortunately, even Thompson’s killer performance can’t revive this Disney classic.

As the story stutters and falters, the harrowing, but somehow funny, musical score wakes you up to get back into the story. The soundtrack, a uniquely curated soundtrack that is perfectly tailored to the situations and scenes, is a highlight of “Cruella”. This will be fun for rock fans of the 1970s, but that aspect will go way over the head for the little ones.

Disney’s attempt to give us a backstory to explain Cruella’s beginnings falls flat like a pancake. With the wrong cast, an incredibly dark and disturbing beginning, an inconsistent character development and an urgent need for massive editing, “Cruella” fidgets both when telling the story and when it comes to knowing the target group.

Reel Talk Rating: 2 stars (great production, costume and musical design)

REEL TALK: ‘Wrath of Man’ falls flat | Arts & Leisure

When you hear the name Guy Ritchie, the director responsible for films like “The Gentlemen”, “The Man from UNCLE” and “Sherlock Holmes”, you conjure up a certain image and style.

You’re guaranteed to have action, slow motion, and mesmerizing camera angles that will drag you into the movie, music, and cut to blow your mind, and an ironic sense of humor to top it off.

And when you think of Jason Statham you know you’re going to have a hell of a good time as he dazzles audiences with his snappy grin that almost breaks the fourth wall. Apparently, aliens must have invaded Statham and Ritchie’s mind and body and now inhabit it, because Wrath of Man is nothing like what I just described after the first fifteen minutes of the film.

The story is a stereotypical revenge film starring Statham as H, a mysterious armored car driver hired by a company that not only witnessed several armed robberies but also the deaths of two of its employees.

Bullet (Holt McCallany) takes H under his wing to train the new recruit, only to find out that H quickly becomes a hero when he defeats the murderous gangs that try to rob his truck. And the repetition of this scenario takes place in the first hour of the film.

I’d love to say the plot gets thicker, but honestly there isn’t enough substance to turn this thin and tasteless broth into anything other than salty water.

The narrative at the hour-long mark attempts to spark intrigue and interest as it introduces a new line of characters, but that attempt only takes us out of what happened in the first 60 minutes of the film.

Learn – duh – H isn’t who he says he is, and his reasons for becoming a new driver let the story plunge even deeper into the bloody abyss as he seeks revenge. Somehow I’m still not sure why, the FBI is involved in not stopping H but helping him. Taking the time to think about it is just not worth it.

The first few minutes of the film had the promise of what I love about Ritchie’s films – the music, the editing, the style – and Statham’s magnetism, but those elements quickly faded, much like the substance of the film. He is introduced to the crews after witnessing the first robbery, murders and by H, who has completed his driver training.

Dialogue in the company of mostly men hit me like a tidal wave of poisonous masculinity that made them all seem like primeval animals ready to pounce on the weak or the injured at any moment. Then the lines uttered by the actors become disgustingly insulting.

When a driver described an elderly bank clerk in response to H, he said, “She slipped off her seat. … There is still juice in this old raisin. “Was that even necessary to let us know who these men are? In fact, it all drives us away from continuing to expose ourselves to this garbage.

If you keep watching Wrath of Man, you will find that the acting and dialogue between the cast does not get any better. We force the words out of their mouths and hear monotonous lines like “Boredom is more dangerous than bullets”.

I think this should be threatening, but unfortunately it was weird, much like Josh Hartnett’s submission of his lines as Dave, the seasoned veteran with a tough exterior who is afraid of his own shadow.

Hartnett’s response was ridiculous when he tried to be afraid of the armed men who robbed his truck. The examples go on and on with dialogue and delivery, which makes this a miserable experience.

And then there’s Statham, an actor who helps make the Fast & Furious franchise palatable, but here he’s on the phone in his performance as H. Yes, it’s supposed to be mysterious, but flat as a pancake is a better one Description.

He is a villain – the better of the bad – but there is no sense of connection with this man even when we understand his reasons for vengeance.

This element is dropped on us far too late in the game. Not even Jason Statham can save the day or the movie.

What “Wrath of Man” lacks in the story it makes up for with special effects. If you enjoy repetitive explosions, gunfights, and brains, this is the movie for you.

Speaking of repetitive: the score consists of six low notes that help us understand the fate ahead. (Thanks, I needed that.) Downloading a piano keyboard app to find out which six notes were used turned out to be more fun and thought-provoking than any movie.

Reel Talk Rating: ½ star

Pamela Powell is a Bourbonnais film critic, CFCA and CCA member, and Rotten Tomatoes certified critic. Pamela has been writing reviews for 10 years and can also be found on WCIA TV in Champaign. She can be contacted at