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BookblogbyCari (345 KP) rated This Idea Must Die in Books
Aug 14, 2018
Book Review by Cari Mayhew.
There’s nothing like reading a popular science book to make you feel more worldly wise! The Idea Must Die is a compilation of over 150 separate articles, by different contributors, arguing that certain scientific concepts are blocking progress and should be put to rest.
Its scope is very broad - at first I felt the book was concentrating on physics, but it later went on to include psychology, linguistics, genetics, criminology, economics and computer science. The title of each article comes from the concept that it is argued should be put to rest.
There were plenty of articles I found interesting and learnt from, including: - “Long-term memory is immutable”, "One genome per individual", “Economic growth”, "Intelligence as property", "Continuity of time", Knowing is half the battle" and "Information overload", “Essentialism”, "Malthuanism" (which is the idea that population will outstrip food supply).
For the majority of the articles I agreed that the theory should be put to rest, and plenty that I thought it was good to see included. These included topics such as: race, nurture vs nature, reductionism. Cancer research theories were also addressed.
There were several topics I was surprised to see argued against, such as evidence-based medicine, scientific method, evolution, carbon footprint, string theory, culture, science being self-correcting.
It was refreshing to see "We are stone age thinkers" but I was disappointed to see the title "Languages condition worldviews". It was also a shame to see AI there, along with robot companions. Ideas in some chapters were disconcerting, claiming there's no self, no cognitive agency, and no free will.
There was a potentially useful article entitled "Scientific knowledge structured as literature" suggesting how publication could move to a new updated method.
With each article ranging in length from a mere 1 to 7 pages, it is an incredibly easy book to dip in and out of, or to fit around a busy week. At times there is a flow between one chapter and the next, but not always. Several of the articles proffer conflicting viewpoints, prompting the reader to reflect and wonder.
Some articles are more-well written than others, and similarly some arguments are more strongly put forward. Usually only one argument is made per article, but at times there were several. I believe some of the articles were chosen for their brevity, which is a shame because some of the articles could use a stronger argument. Some articles are hard to get your head around. The language is not always accessible and often presumes reader already has some knowledge of the subject. Although intriguing to begin with, with so many articles it began to feel dry and laborious at about 60% through. Some articles I deliberately skipped, others I attempted but found impenetrable.
It’s a refreshing read if you haven’t picked a science book in some time and it’s definitely a thought-provoking read if you feel confident that you can get to grips with the material.
For more of my reviews, check out www.bookblogbycari.com
There’s nothing like reading a popular science book to make you feel more worldly wise! The Idea Must Die is a compilation of over 150 separate articles, by different contributors, arguing that certain scientific concepts are blocking progress and should be put to rest.
Its scope is very broad - at first I felt the book was concentrating on physics, but it later went on to include psychology, linguistics, genetics, criminology, economics and computer science. The title of each article comes from the concept that it is argued should be put to rest.
There were plenty of articles I found interesting and learnt from, including: - “Long-term memory is immutable”, "One genome per individual", “Economic growth”, "Intelligence as property", "Continuity of time", Knowing is half the battle" and "Information overload", “Essentialism”, "Malthuanism" (which is the idea that population will outstrip food supply).
For the majority of the articles I agreed that the theory should be put to rest, and plenty that I thought it was good to see included. These included topics such as: race, nurture vs nature, reductionism. Cancer research theories were also addressed.
There were several topics I was surprised to see argued against, such as evidence-based medicine, scientific method, evolution, carbon footprint, string theory, culture, science being self-correcting.
It was refreshing to see "We are stone age thinkers" but I was disappointed to see the title "Languages condition worldviews". It was also a shame to see AI there, along with robot companions. Ideas in some chapters were disconcerting, claiming there's no self, no cognitive agency, and no free will.
There was a potentially useful article entitled "Scientific knowledge structured as literature" suggesting how publication could move to a new updated method.
With each article ranging in length from a mere 1 to 7 pages, it is an incredibly easy book to dip in and out of, or to fit around a busy week. At times there is a flow between one chapter and the next, but not always. Several of the articles proffer conflicting viewpoints, prompting the reader to reflect and wonder.
Some articles are more-well written than others, and similarly some arguments are more strongly put forward. Usually only one argument is made per article, but at times there were several. I believe some of the articles were chosen for their brevity, which is a shame because some of the articles could use a stronger argument. Some articles are hard to get your head around. The language is not always accessible and often presumes reader already has some knowledge of the subject. Although intriguing to begin with, with so many articles it began to feel dry and laborious at about 60% through. Some articles I deliberately skipped, others I attempted but found impenetrable.
It’s a refreshing read if you haven’t picked a science book in some time and it’s definitely a thought-provoking read if you feel confident that you can get to grips with the material.
For more of my reviews, check out www.bookblogbycari.com
Purple Phoenix Games (2266 KP) rated A Battle of Onin in Tabletop Games
Feb 9, 2021
I am a big fan of Asian culture and board game theming. Now, I am not at all versed in Anime, nor am I an aficionado. I just enjoy Asian people, history, cultures, food, and board game themes. That said, when I learned of A Battle for Onin I knew I wanted to take a look at it, being as it was touted as familiar mechanics with an Asian theme. So how does it play?
A Battle for Onin is a trick-taking card game where players will be using Shoguns, Ninjas, Samurai, and Monks as suits and each suit will have differing levels of hierarchy. The first player to earn 35 total influence (VP) will claim victory.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
To setup shuffle the deck of cards and deal each player 13 cards. The dealer then flips the top card of the deck and becomes the Ruling Class (trump) for the hand. The game is now setup and ready to begin!\
After the Ruling Class has been revealed, the player left of the dealer will make a bid for how many Conscriptions (tricks) they believe they will take in the round, with a minimum bid of 3 tricks for all players. Each other player will do the same until the leading player’s turn comes back around. That player then proceeds to play cards from hand in attempt to win tricks. Like in most trick-taking games player will need to follow the suit that was led (or flipped at the beginning of the round). A twist here is that trump may not be led until it has been used to win a trick previously within the round.
As mentioned earlier, each suit has a hierarchy of power, where Bronze is the lowest in power increasing to Silver, then to Gold, and finally to Jade. Within these divisions are yet three more classifications of power: one sphere (lowest) to three spheres (most powerful). In addition still is one card from each suit whose background is orange in color and features one large sphere. These are the Legendary cards, and the most powerful of each suit. Legendary cards may be used as the highest-ranking card in their suit, or as a Ruling Class card. When played as Ruling Class (trump) the hierarchy of Legendary cards are as follows: Monk (lowest), Samurai, Ninja, Shogun (most powerful).
Play continues with players using their cards to win Conscriptions (tricks) and meet their bid. Should a player meet their bid exactly then they score Influence (VP) for their tricks won. Should a player win more tricks than bid earlier, they still score Influence for the tricks won, but those tricks in excess of the bid amount are scored also as Corruption. When a player meets seven Corruption they immediately lose 10 Influence and the Corruption counter resets for that player. If, by chance, a player does not meet the mandatory bid of three tricks, their Influence is lowered by one point. However, should a player bid higher than the minimum of three but not meet that bid their score will be reduced by the amount of the bid for the round (example: a player bids seven tricks but earns only five. They reduce their Influence by seven points – ouch).
Once scores are tallied at the end of each round, a winner may be announced if they score at least 35 points. If no winner is crowned this round, a new dealer is assumed and another round setup as at the start of the game.
Components. Again, this is a prototype copy of the game and this copy is actually hand-made by the good people at Guise Gaming. Each card in this copy is laminated and the game box is HAND PAINTED. I have never received a hand painted box before, and it is certainly appreciated. So aside from the non-manufactured components, the art is quite good on the cards. I know some players will have issues with the backgrounds seeming plain, but I quite appreciate it so that I can concentrate on the game and not be overly distracted by what may be happening in the backgrounds.
Gameplay is good, if not a bit confusing at first. With four different suits containing essentially the standard 13 cards per suit it should be an easy no-brainer to keep things squared away. However, I found that having the rule booklet open to the page detailing the hierarchy of sphere color/material was very handy for other players. The Legendary cards are easy to distinguish because they look cool and different from all the other cards. I really know nothing about any Asian language, so the characters (or letters/words) depicted on the cards are of no help to me trying to distinguish power levels.
That said, when contacted by the publisher about A Battle of Onin, they mentioned that other people were calling it a theming of Spades. While I can understand this simplification, what I have yet to mention is that the game also comes with a bevvy of optional scoring rules and a welcoming message to include any sort of house rules deemed enjoyable. Spades does not do that, to my knowledge. While the vanilla gameplay is very similar to Spades, A Battle of Onin using any of these optional scoring modes certainly adds layers of complexity that may be daunting to use at first, but may attract more hardcore gamers.
All in all I am so glad I was able to try A Battle of Onin. Once the suits and power levels are learned, the game is quite snappy and enjoyable. The art is beautiful, and I applaud the use of orange background for the Legendary cards. If you are looking for a different spin on Spades I urge you to take a look at A Battle of Onin. It might surprise you with the varying levels of difficulty found within the optional scoring rules, and a bit more intrigue than the classic game upon which it is based. Personally, my D&D Monk might argue that he is far superior to any Shogun, but also he just kicked in a door that contained a room full of vampires. So there’s that.
A Battle for Onin is a trick-taking card game where players will be using Shoguns, Ninjas, Samurai, and Monks as suits and each suit will have differing levels of hierarchy. The first player to earn 35 total influence (VP) will claim victory.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
To setup shuffle the deck of cards and deal each player 13 cards. The dealer then flips the top card of the deck and becomes the Ruling Class (trump) for the hand. The game is now setup and ready to begin!\
After the Ruling Class has been revealed, the player left of the dealer will make a bid for how many Conscriptions (tricks) they believe they will take in the round, with a minimum bid of 3 tricks for all players. Each other player will do the same until the leading player’s turn comes back around. That player then proceeds to play cards from hand in attempt to win tricks. Like in most trick-taking games player will need to follow the suit that was led (or flipped at the beginning of the round). A twist here is that trump may not be led until it has been used to win a trick previously within the round.
As mentioned earlier, each suit has a hierarchy of power, where Bronze is the lowest in power increasing to Silver, then to Gold, and finally to Jade. Within these divisions are yet three more classifications of power: one sphere (lowest) to three spheres (most powerful). In addition still is one card from each suit whose background is orange in color and features one large sphere. These are the Legendary cards, and the most powerful of each suit. Legendary cards may be used as the highest-ranking card in their suit, or as a Ruling Class card. When played as Ruling Class (trump) the hierarchy of Legendary cards are as follows: Monk (lowest), Samurai, Ninja, Shogun (most powerful).
Play continues with players using their cards to win Conscriptions (tricks) and meet their bid. Should a player meet their bid exactly then they score Influence (VP) for their tricks won. Should a player win more tricks than bid earlier, they still score Influence for the tricks won, but those tricks in excess of the bid amount are scored also as Corruption. When a player meets seven Corruption they immediately lose 10 Influence and the Corruption counter resets for that player. If, by chance, a player does not meet the mandatory bid of three tricks, their Influence is lowered by one point. However, should a player bid higher than the minimum of three but not meet that bid their score will be reduced by the amount of the bid for the round (example: a player bids seven tricks but earns only five. They reduce their Influence by seven points – ouch).
Once scores are tallied at the end of each round, a winner may be announced if they score at least 35 points. If no winner is crowned this round, a new dealer is assumed and another round setup as at the start of the game.
Components. Again, this is a prototype copy of the game and this copy is actually hand-made by the good people at Guise Gaming. Each card in this copy is laminated and the game box is HAND PAINTED. I have never received a hand painted box before, and it is certainly appreciated. So aside from the non-manufactured components, the art is quite good on the cards. I know some players will have issues with the backgrounds seeming plain, but I quite appreciate it so that I can concentrate on the game and not be overly distracted by what may be happening in the backgrounds.
Gameplay is good, if not a bit confusing at first. With four different suits containing essentially the standard 13 cards per suit it should be an easy no-brainer to keep things squared away. However, I found that having the rule booklet open to the page detailing the hierarchy of sphere color/material was very handy for other players. The Legendary cards are easy to distinguish because they look cool and different from all the other cards. I really know nothing about any Asian language, so the characters (or letters/words) depicted on the cards are of no help to me trying to distinguish power levels.
That said, when contacted by the publisher about A Battle of Onin, they mentioned that other people were calling it a theming of Spades. While I can understand this simplification, what I have yet to mention is that the game also comes with a bevvy of optional scoring rules and a welcoming message to include any sort of house rules deemed enjoyable. Spades does not do that, to my knowledge. While the vanilla gameplay is very similar to Spades, A Battle of Onin using any of these optional scoring modes certainly adds layers of complexity that may be daunting to use at first, but may attract more hardcore gamers.
All in all I am so glad I was able to try A Battle of Onin. Once the suits and power levels are learned, the game is quite snappy and enjoyable. The art is beautiful, and I applaud the use of orange background for the Legendary cards. If you are looking for a different spin on Spades I urge you to take a look at A Battle of Onin. It might surprise you with the varying levels of difficulty found within the optional scoring rules, and a bit more intrigue than the classic game upon which it is based. Personally, my D&D Monk might argue that he is far superior to any Shogun, but also he just kicked in a door that contained a room full of vampires. So there’s that.
Kirk Bage (1775 KP) rated Call Me by Your Name (2017) in Movies
Mar 3, 2020
There are a swathe of European film-makers like Luca Guadagnino and Paolo Sorrentino that have the skill to make every image they print to film look like a work of art, giving you the feeling you are on the most idyllic holiday you ever had. Watching a largely silent image of a beautiful lake or a tree in the breeze, or an al fresco dinner where family and friends talk freely whilst the wine and olive oil flow is a treat I am not immune to.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
5 Minute Movie Guy (379 KP) rated The Big Sick (2017) in Movies
Jul 4, 2019
Propelled by its near perfect score on Rotten Tomatoes, I went cold turkey into The Big Sick, without so much as seeing a trailer. Although it took a worrisome amount of time, I did eventually warm up to the film and ultimately I ended up enjoying it quite a bit. The Big Sick is a movie that’s unflatteringly honest at times, and it’s a bit light in both of the romance and comedy departments, but it’s a well-rounded true story that makes up for its any of its shortcomings with a big heart.
The Big Sick tells the unique, real-life love story of how Kumail Nanjiani, played by himself in the film, met the love of his life, Emily. The film begins with Kumail working as a struggling stand-up comic. After a performance one night, he meets Emily at a bar and takes her back to his place. The two of them gradually begin dating, but Kumail keeps it a secret from his strict Pakistani parents, who expect him to abide by his culture’s custom of arranged marriages. When Emily’s health unexpectedly takes a dangerous and mysterious turn, Kumail must confront his family, as well as meet Emily’s family, to confess his true feelings of love.
Allow me to begin by addressing the fact that I spent a good half of The Big Sick feeling entirely ambivalent about it. While it seemed well made, I didn’t feel particularly entertained nor engaged by it. Slowly but surely, however, the movie began to win me over, thanks primarily to the help of Ray Romano and Holly Hunter, who co-star as Emily’s parents. By the end, I appreciated and enjoyed the film, and I feel as though I would probably like it even more with a second viewing.
The movie rubbed me the wrong way early on with its not-so-romantic romance that culminated from a one-night-stand. I found the relationship of Kumail and Emily to be somewhat dull, and I was perplexed by how unfavorably it depicts both characters. Though considering the screenplay was actually written by both of them, I suppose there’s something noble and courageous to be said about their honesty. This is not a typical romanticized love story. It has two decent but flawed characters, who I felt indifferent towards at the outset but learned to care about over the course of the film.
Kumail is quite enjoyable as the lead star and I suspect this will be a breakout role for him. He has a good sense of humor and really showcases it in a couple of hysterical scenes. My favorite being a late night visit to a restaurant drive-thru, which is one of the flat-out funniest moments I’ve seen in theaters all year. I also really loved both Romano and Hunter. They’re both complex and comical characters struggling with their own strained marriage, while hesitantly getting to know Kumail and coming to terms with their daughter’s grave illness. Certainly not the best circumstances to be meeting your girlfriend’s parents, and even worse considering they knew that Kumail and Emily had broken up shortly beforehand.
Hunter’s character is volatile and highly defensive of her daughter, yet she’s still wholly identifiable as a loving and concerned parent. I think she gives the strongest performance in the film. Ray Romano is also a pleasant addition, and his character ironically tries to be the voice of reason and balance, even as his own life is crumbling beneath him. I also liked Kumail’s parents, played by Anupam Kher and Zenobia Shroff. Kumail’s mother is amusing in her never-ending pursuit of potential female suitors to marry her son. However, having grown up with western values, Kumail’s own beliefs serve as a stark contrast to those of his strict and traditional family.
The way in which The Big Sick depicts the differences in American and Pakistani culture is what I think really helps to set it apart. It tackles these contrasts with both comedy and sincerity, while also drawing attention to the subtle and the not-so-subtle racism that’s often prevalent in the misunderstanding of other cultures. It’s an honest and respectful film that should be approached as open-mindedly as possible. Those of you willing to give this one a chance may find that it to be well worth your while.
(This review was originally posted at 5mmg.com on 9.5.17.)
The Big Sick tells the unique, real-life love story of how Kumail Nanjiani, played by himself in the film, met the love of his life, Emily. The film begins with Kumail working as a struggling stand-up comic. After a performance one night, he meets Emily at a bar and takes her back to his place. The two of them gradually begin dating, but Kumail keeps it a secret from his strict Pakistani parents, who expect him to abide by his culture’s custom of arranged marriages. When Emily’s health unexpectedly takes a dangerous and mysterious turn, Kumail must confront his family, as well as meet Emily’s family, to confess his true feelings of love.
Allow me to begin by addressing the fact that I spent a good half of The Big Sick feeling entirely ambivalent about it. While it seemed well made, I didn’t feel particularly entertained nor engaged by it. Slowly but surely, however, the movie began to win me over, thanks primarily to the help of Ray Romano and Holly Hunter, who co-star as Emily’s parents. By the end, I appreciated and enjoyed the film, and I feel as though I would probably like it even more with a second viewing.
The movie rubbed me the wrong way early on with its not-so-romantic romance that culminated from a one-night-stand. I found the relationship of Kumail and Emily to be somewhat dull, and I was perplexed by how unfavorably it depicts both characters. Though considering the screenplay was actually written by both of them, I suppose there’s something noble and courageous to be said about their honesty. This is not a typical romanticized love story. It has two decent but flawed characters, who I felt indifferent towards at the outset but learned to care about over the course of the film.
Kumail is quite enjoyable as the lead star and I suspect this will be a breakout role for him. He has a good sense of humor and really showcases it in a couple of hysterical scenes. My favorite being a late night visit to a restaurant drive-thru, which is one of the flat-out funniest moments I’ve seen in theaters all year. I also really loved both Romano and Hunter. They’re both complex and comical characters struggling with their own strained marriage, while hesitantly getting to know Kumail and coming to terms with their daughter’s grave illness. Certainly not the best circumstances to be meeting your girlfriend’s parents, and even worse considering they knew that Kumail and Emily had broken up shortly beforehand.
Hunter’s character is volatile and highly defensive of her daughter, yet she’s still wholly identifiable as a loving and concerned parent. I think she gives the strongest performance in the film. Ray Romano is also a pleasant addition, and his character ironically tries to be the voice of reason and balance, even as his own life is crumbling beneath him. I also liked Kumail’s parents, played by Anupam Kher and Zenobia Shroff. Kumail’s mother is amusing in her never-ending pursuit of potential female suitors to marry her son. However, having grown up with western values, Kumail’s own beliefs serve as a stark contrast to those of his strict and traditional family.
The way in which The Big Sick depicts the differences in American and Pakistani culture is what I think really helps to set it apart. It tackles these contrasts with both comedy and sincerity, while also drawing attention to the subtle and the not-so-subtle racism that’s often prevalent in the misunderstanding of other cultures. It’s an honest and respectful film that should be approached as open-mindedly as possible. Those of you willing to give this one a chance may find that it to be well worth your while.
(This review was originally posted at 5mmg.com on 9.5.17.)
Kirk Bage (1775 KP) rated I Am Not Okay With This in TV
Mar 3, 2020
Proof that Netflix can rule your life, in an OK way, I guess. Every time I have dropped in for the last two weeks, this is the show they went out of their way to push on me. I watched the trailer and thought hmm, I don’t get it… but after relentless publicity I ended up watching the entire first series within 36 hours of its release on February 26th. Which is easy enough to do, as the entire first series only lasts 2 1/2 hours, in 7 x 23 minute easy to swallow episodes. Another nice tactic for the attention deficient generation.
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…
Emma @ The Movies (1786 KP) rated Guns Akimbo (2019) in Movies
May 20, 2020
When I first heard about Guns Akimbo I was very interested in seeing it, when I next heard about it... well, it wasn't exactly a happy internet moment. Despite the actions of one person though you shouldn't write off something that so many people worked on, that meant I was still keen.
Miles likes to think of himself as a bit of an online warrior, really he's just trolling the trolls... and he's just annoyed the wrong people. Skizm are making a name for themselves in real-life gaming experiences, you can watch online as people battle to the death, and Miles' transgression means he's their next competitor.
The idea isn't a new one, there's Gamer and Nerve (I haven't seen the latter but it was mentioned to me), I personally get a few vibes from The Condemned too, but despite all of that it still feels like it has a fun twist to it.
Miles is a "mild mannered" nerd who gets thrown into the violent world of Skizm, well outside his comfort zone he's now tasked with killing their current champion before she kills him. There's shouldn't really be much of a contest because even with guns surgically attached to his hands he's still only a mild threat to Nix. In the real world an ill-matched pairing probably wouldn't work but with the extra story and some added movie magic in the form of dumb luck for Miles and it means we get an underdog battle that everyone enjoys.
The contest runs rampant through the streets and we mainly follow Miles on his journey with the occasional jump to fill in story. It sticks well to video game imagery and principles, I particularly liked the addition of health/1-up sound effects. Overall the filming of it is well presented and engaging with combat scenes changing pace for dramatic effect and cutting between angles to give you something to react to. There are a lot of Dutch angles used, which makes sense considering how much concussion and drugs are flying around. My only quibble with this would probably be that there seems to be every possible camera technique and angle used in the film, that isn't necessarily a bad thing, but at times it feels a bit much.
Daniel Radcliffe is in the main role of Miles, and this is more of a personal drawback for me because I'm never entirely convinced he can act... but he is very amusing in this. In the beginning his inner nerd is on point when faced with Nix for the first time and the pair have a good, if slightly bizarre, rapport. I can deal with the fact that Miles has a lot of dumb luck, but at one point in the film he suddenly develops skills out of nowhere and that one annoyed me even though it made for a great scene.
As I said, the chemistry between Miles and Nix is very entertaining and Samara Weaving is a solid choice in casting. Nix is the baddie that you can't really hate and with her dark humour and the back story they weave in she's probably my favourite character. There were two things that leapt out at me, the Ready Or Note laugh and the Harley Quinn/Birds Of Prey drug snorting... now, BoP and Guns Akimbo must have been filmed at similar times so I can't see how it could have been copied but there's a moment that makes me instantly think of BoP, and with Weaving always momentarily confusing my brain when I see her it threw me for a loop.
There's a really well chosen group of songs throughout and they fit well with the tone of the film and the levels of energy needed... but as with everything in this review there's a little thing to pick at, and again, it's only tiny but it bugged me. One of the songs is used twice... technically nothing wrong with that, but I noticed it and it mildly annoyed me.
We've got two great leads who work well together and lots of hidden pop culture references that really help the film along. There's potential for the ultra violent moments to become a bit too much but with the effects, humour and editing I think it stops it from becoming anything too graphic. Guns Akimbo was pretty entertaining throughout and it's definitely one I can see myself rewatching.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/05/guns-akimbo-movie-review.html
Miles likes to think of himself as a bit of an online warrior, really he's just trolling the trolls... and he's just annoyed the wrong people. Skizm are making a name for themselves in real-life gaming experiences, you can watch online as people battle to the death, and Miles' transgression means he's their next competitor.
The idea isn't a new one, there's Gamer and Nerve (I haven't seen the latter but it was mentioned to me), I personally get a few vibes from The Condemned too, but despite all of that it still feels like it has a fun twist to it.
Miles is a "mild mannered" nerd who gets thrown into the violent world of Skizm, well outside his comfort zone he's now tasked with killing their current champion before she kills him. There's shouldn't really be much of a contest because even with guns surgically attached to his hands he's still only a mild threat to Nix. In the real world an ill-matched pairing probably wouldn't work but with the extra story and some added movie magic in the form of dumb luck for Miles and it means we get an underdog battle that everyone enjoys.
The contest runs rampant through the streets and we mainly follow Miles on his journey with the occasional jump to fill in story. It sticks well to video game imagery and principles, I particularly liked the addition of health/1-up sound effects. Overall the filming of it is well presented and engaging with combat scenes changing pace for dramatic effect and cutting between angles to give you something to react to. There are a lot of Dutch angles used, which makes sense considering how much concussion and drugs are flying around. My only quibble with this would probably be that there seems to be every possible camera technique and angle used in the film, that isn't necessarily a bad thing, but at times it feels a bit much.
Daniel Radcliffe is in the main role of Miles, and this is more of a personal drawback for me because I'm never entirely convinced he can act... but he is very amusing in this. In the beginning his inner nerd is on point when faced with Nix for the first time and the pair have a good, if slightly bizarre, rapport. I can deal with the fact that Miles has a lot of dumb luck, but at one point in the film he suddenly develops skills out of nowhere and that one annoyed me even though it made for a great scene.
As I said, the chemistry between Miles and Nix is very entertaining and Samara Weaving is a solid choice in casting. Nix is the baddie that you can't really hate and with her dark humour and the back story they weave in she's probably my favourite character. There were two things that leapt out at me, the Ready Or Note laugh and the Harley Quinn/Birds Of Prey drug snorting... now, BoP and Guns Akimbo must have been filmed at similar times so I can't see how it could have been copied but there's a moment that makes me instantly think of BoP, and with Weaving always momentarily confusing my brain when I see her it threw me for a loop.
There's a really well chosen group of songs throughout and they fit well with the tone of the film and the levels of energy needed... but as with everything in this review there's a little thing to pick at, and again, it's only tiny but it bugged me. One of the songs is used twice... technically nothing wrong with that, but I noticed it and it mildly annoyed me.
We've got two great leads who work well together and lots of hidden pop culture references that really help the film along. There's potential for the ultra violent moments to become a bit too much but with the effects, humour and editing I think it stops it from becoming anything too graphic. Guns Akimbo was pretty entertaining throughout and it's definitely one I can see myself rewatching.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/05/guns-akimbo-movie-review.html
Shirley Manson recommended Walk Across the Rooftops by The Blue Nile in Music (curated)
Gareth von Kallenbach (980 KP) rated Seeking a Friend for the End of the World (2012) in Movies
Aug 7, 2019
How many times have you seen this premise played out in film or other forms of entertainment: The world is going to end and there’s one last ditch plan or effort to save it (It inevitably succeeds, of course!); alternatively, the world has ended already and we’re left with post-apocalyptic society picking up the pieces. The premise is everywhere; the fascination with the end of days has been evident throughout our popular culture for decades. Yet, the thing about these two premises is that it avoids a (quite large) important question about the nature of the situation. What if our last ditch effort doesn’t succeed? What if there is no post-apocalyptic setting giving us hope for a re-built future. “Seeking a Friend for the End of the World”, a brand new film directed and written by Lorene Scafaria (“Nick and Nora’s Infinite Playlist”) attempts to focus on that gap often glossed over by apocalyptic fiction. It assumes there is no hope, there is a conclusion, and how do we deal with that?
It’s a comedy drama that pokes fun of the absurdity of a monotonous society coping with the conclusion of all civilization, while interweaving a touching romance between two people with broken pasts and deep regrets. Yet, it is a movie with some notable flaws, mainly in how it focuses its attention.
The premise is fairly simple, and rightly so. There is a large asteroid named “Matilda” barreling towards Earth and its impact will wipe out all life on our beloved planet. The film starts with the announcement that the last chance for Earth’s survival, a space mission to destroy the asteroid, has failed due to a fire on board the vessel. With only three weeks left to live, insurance salesman Dodge Peterson (Steve Carell) must decide how to spend the rest of his life. He decides to chase down an old highschool sweetheart and is accompanied by his neighbor, Penny (Keira Knightley) who wishes to return home to see her family one last time. They meet several characters in their roadtrip journey through pre-apocalyptica, including characters played by Rob Corddry and Martin Sheen.
The simple premise seems familiar due to its subject matter (C’mon, it’s 2012. I’m surprised there hasn’t been even more apocalypse movies flooding the theaters). Yet, strangely it feels fresh simply in how it handles itself. As said, most movies focus on the last daring mission to save mankind from certain destruction, or assumes that certain destruction really isn’t the end. People like to see hope, they don’t want to be confined by fate. This movie takes a different approach. Right off the bat it basically tells you there is zero hope, zero chance of getting out of this mess. Now what do you do? This particular premise lets comedy shine for the first two acts of the movie. There are subtle jokes, like the absurdity of naming a rock about to destroy all of mankind “Matilda”.
There are more traditional joke set-ups, favoring quick joke-punchline material that is mostly laugh-out-loud funny. And there is a fair amount of dark humor, simple funniness in the absurdity of how people treat the end of days. People mowing their lawns, still cleaning houses, even cops who continue to pull people over all poke fun of how people cannot let go of even the most monotonous of tasks that define their lift – regardless of how pointless they are due to the situation. Or the people who just let go and want to spend their last days without care, throwing themselves into orgies, drugs or riots. However, the tone of the drama limits the humor of the movie, favoring those kinds of moderate laughs over hysterical or hilarious moments. That’s the underlying issue of the film: that it feels like the humor is constrained due to fear of it undermining its drama.
Those who expect a comedy movie will only get two-thirds of one. And those who expect a drama movie will get mostly one. By no means does it fail at comedy or drama, but it just does not strike that delicate balance to be both in the same setting. The last act of the movie almost completely drops the comedy in favor of a dramatic and romantic conclusion. It’s not a huge fault, because the writing, and well-paced relationship development between the two main protagonists (Dodge and Penny), means that their inevitable romance seems natural, honest, and believable. The comedy is really only around in the first two thirds of the movie to try and keep your attention away from the obvious conclusion to their story – the fact that they end up together (and, perhaps, another conclusion entirely). So, when it does eventually happen, even though it was obvious from the start that it would, it does feel very endearing. The natural chemistry between Steve Carell and Keira Knightley is quite good, so buying their romance is not difficult in the slightest.
Yet, even still, that underlying issue keeps coming back. The fact that the comedy feels like a tool to facilitate a good dramatic ending ,instead of natural focus of the movie, undermines the experience for those who want to get some laughs. If there was a more natural balance between the romantic elements and comedy elements throughout the whole movie and not just the first two thirds, it could bring forth much more powerful comedy and/or drama. That way those who desire comedy or romance would be delighted to get a good deal of both intertwined.
I commend the film for how it handles the subject matter of inevitability. Even though it pokes fun at absurdity and really garners good laughs, it always has this underlying sense of regret, sadness and dread. You’re always reminded in the back of your mind that the world is going to end, but it does a good enough job pulling you into the characters’ last struggle to piece together their lives after decades of failure and regret that you end up really wanting to see them pull through somehow. Its last act is especially poignant, and definitely emotionally strong. Even though the themes of throwing away your past in favor of a happier future (despite it being such a short future) are not well concealed, they still end up being particularly strong. A film that can really make you appreciate what you have outside the film and the limited time you have left to enjoy it has to be commended for making you think.
“Seeking a Friend for the End of the World” is a fairly powerful romance drama that focuses on how people deal with loss, regret and the prospect of inevitable fate. More importantly, though, is that it focuses on how people can build something profoundly beautiful even in the last moments of their lives – regardless of their pasts or (lack) of future prospects. It has comedy in the movie, but it never really shines nor intertwines with the drama. They almost feel like two separate elements that struggle to mix together. Yet, the comedy is mostly laugh-out-loud funny and the drama is quite poignant and endearing. It definitely had the potential to make us laugh to tears or even bring us to tears through drama, but instead it settles for simply making us laugh and reflect.
It’s a comedy drama that pokes fun of the absurdity of a monotonous society coping with the conclusion of all civilization, while interweaving a touching romance between two people with broken pasts and deep regrets. Yet, it is a movie with some notable flaws, mainly in how it focuses its attention.
The premise is fairly simple, and rightly so. There is a large asteroid named “Matilda” barreling towards Earth and its impact will wipe out all life on our beloved planet. The film starts with the announcement that the last chance for Earth’s survival, a space mission to destroy the asteroid, has failed due to a fire on board the vessel. With only three weeks left to live, insurance salesman Dodge Peterson (Steve Carell) must decide how to spend the rest of his life. He decides to chase down an old highschool sweetheart and is accompanied by his neighbor, Penny (Keira Knightley) who wishes to return home to see her family one last time. They meet several characters in their roadtrip journey through pre-apocalyptica, including characters played by Rob Corddry and Martin Sheen.
The simple premise seems familiar due to its subject matter (C’mon, it’s 2012. I’m surprised there hasn’t been even more apocalypse movies flooding the theaters). Yet, strangely it feels fresh simply in how it handles itself. As said, most movies focus on the last daring mission to save mankind from certain destruction, or assumes that certain destruction really isn’t the end. People like to see hope, they don’t want to be confined by fate. This movie takes a different approach. Right off the bat it basically tells you there is zero hope, zero chance of getting out of this mess. Now what do you do? This particular premise lets comedy shine for the first two acts of the movie. There are subtle jokes, like the absurdity of naming a rock about to destroy all of mankind “Matilda”.
There are more traditional joke set-ups, favoring quick joke-punchline material that is mostly laugh-out-loud funny. And there is a fair amount of dark humor, simple funniness in the absurdity of how people treat the end of days. People mowing their lawns, still cleaning houses, even cops who continue to pull people over all poke fun of how people cannot let go of even the most monotonous of tasks that define their lift – regardless of how pointless they are due to the situation. Or the people who just let go and want to spend their last days without care, throwing themselves into orgies, drugs or riots. However, the tone of the drama limits the humor of the movie, favoring those kinds of moderate laughs over hysterical or hilarious moments. That’s the underlying issue of the film: that it feels like the humor is constrained due to fear of it undermining its drama.
Those who expect a comedy movie will only get two-thirds of one. And those who expect a drama movie will get mostly one. By no means does it fail at comedy or drama, but it just does not strike that delicate balance to be both in the same setting. The last act of the movie almost completely drops the comedy in favor of a dramatic and romantic conclusion. It’s not a huge fault, because the writing, and well-paced relationship development between the two main protagonists (Dodge and Penny), means that their inevitable romance seems natural, honest, and believable. The comedy is really only around in the first two thirds of the movie to try and keep your attention away from the obvious conclusion to their story – the fact that they end up together (and, perhaps, another conclusion entirely). So, when it does eventually happen, even though it was obvious from the start that it would, it does feel very endearing. The natural chemistry between Steve Carell and Keira Knightley is quite good, so buying their romance is not difficult in the slightest.
Yet, even still, that underlying issue keeps coming back. The fact that the comedy feels like a tool to facilitate a good dramatic ending ,instead of natural focus of the movie, undermines the experience for those who want to get some laughs. If there was a more natural balance between the romantic elements and comedy elements throughout the whole movie and not just the first two thirds, it could bring forth much more powerful comedy and/or drama. That way those who desire comedy or romance would be delighted to get a good deal of both intertwined.
I commend the film for how it handles the subject matter of inevitability. Even though it pokes fun at absurdity and really garners good laughs, it always has this underlying sense of regret, sadness and dread. You’re always reminded in the back of your mind that the world is going to end, but it does a good enough job pulling you into the characters’ last struggle to piece together their lives after decades of failure and regret that you end up really wanting to see them pull through somehow. Its last act is especially poignant, and definitely emotionally strong. Even though the themes of throwing away your past in favor of a happier future (despite it being such a short future) are not well concealed, they still end up being particularly strong. A film that can really make you appreciate what you have outside the film and the limited time you have left to enjoy it has to be commended for making you think.
“Seeking a Friend for the End of the World” is a fairly powerful romance drama that focuses on how people deal with loss, regret and the prospect of inevitable fate. More importantly, though, is that it focuses on how people can build something profoundly beautiful even in the last moments of their lives – regardless of their pasts or (lack) of future prospects. It has comedy in the movie, but it never really shines nor intertwines with the drama. They almost feel like two separate elements that struggle to mix together. Yet, the comedy is mostly laugh-out-loud funny and the drama is quite poignant and endearing. It definitely had the potential to make us laugh to tears or even bring us to tears through drama, but instead it settles for simply making us laugh and reflect.
Lucy Buglass (45 KP) rated Dead In A Week (Or Your Money Back) (2018) in Movies
Jun 20, 2019
Dark comedy at its finest
This review discusses dark topics such as death and suicide. Reader discretion advised.
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/