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Fate and Switch (Weavers Of The Ether #3)
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Bob Mann (459 KP) rated They Shall Not Grow Old (2018) in Movies
Sep 28, 2021
We DO remember them.
“Trapped in a Charlie Chaplin World”. So says director Peter Jackson in a post-screening discussion with Mark Kermode, describing early black and white documentary footage. Whereas modern film runs at 24 fps, most of the old footage is hand cranked, with speeds as low as 12 fps which leads to its jerky nature. Jackson in this project with the Imperial War Museum took their WW1 footage and put it through a ‘pipeline process. This cleaned-up and restored the original footage; used clever computer interpolation to add in the missing 6 to 12 frames per second; and then colourised it.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
Movie Metropolis (309 KP) rated Fifty Shades of Grey (2015) in Movies
Jun 10, 2019
A tiresome affair
The Fifty Shades phenomenon is something very hard to calculate. Yes, we know its sold millions of copies worldwide, but its readership is likely to be much higher. I’m sure someone somewhere will know another person who didn’t go out and buy the book, but just borrowed it.
Creating a film from E.L. James’ novel was never going to be an easy task for numerous reasons. The harsh reality is that Brits have mixed views with regards to seeing sex on the big screen – nonetheless, Sam Taylor-Johnson, director of the critically acclaimed Nowhere Boy, was chosen to helm an adaptation. But is it a success?
Partially is the short answer. The film is nicely shot and well-acted, but in trying to craft a ‘classy’ movie, Taylor-Johnson has stripped it of what people read the novel for – escapism and of course sex.
For the uninitiated, Fifty Shades follows the story of young Ana Steele, a shy, timid virgin as she begins a rather, shall we say, unusual relationship with the wealthy, intimidating Christian Grey.
The lead roles are cast well with Dakota Johnson playing Ana as she appears in the novel – minus her irritating thought processes – and Jamie Dornan as Mr Grey. Other roles are scarce on the ground with glorified cameos for Rita Ora and Marcia Gay Harden.
It’s been well publicised that with only 20 minutes of sex in a 2 hour film, pleasing hardcore fans of the books was going to be a difficult task. The sex that is there is reasonably tastefully edited and nicely choreographed, though this also creates Fifty Shades’ biggest problem.
There simply is no story to speak of, with each raunchy scene being scattered alongside numerous plot fillers like helicopter rides which act as a catalyst to the next sequence of passion and when the majority of them are removed, watching is a tiresome affair.
Moreover, whilst the leads perform well on their own, the chemistry between them is sorely lacking. At no point in the film is there a whisper of sexual tension – with Dornan’s Grey coming across overly creepy and Johnson’s Ana reeking of desperation.
Despite its 18 certification here in the UK, Fifty Shades never feels like it is fully deserving of it. With a highly controversial and no doubt too lenient 12 rating being awarded to it in France, it almost feels like producers here tried as hard as they could to slip it into the 18 category – therefore maximising controversy before its release.
Unfortunately, digging beneath the surface reveals a good film trying desperately to break out of its shackles. Exploring the characters more than in James’ admittedly lacklustre novel ultimately does more harm than good.
Overall, Sam Taylor-Johnson should be commended for trying to bring a controversial novel to the big screen and the soundtrack is very good indeed. However, the lack of chemistry between the two leads and a lack of sex and story mean you’re more likely to be checking your watch than checking your heart rate.
https://moviemetropolis.net/2015/02/14/a-tiresome-affair-fifty-shades-of-grey-review/
Creating a film from E.L. James’ novel was never going to be an easy task for numerous reasons. The harsh reality is that Brits have mixed views with regards to seeing sex on the big screen – nonetheless, Sam Taylor-Johnson, director of the critically acclaimed Nowhere Boy, was chosen to helm an adaptation. But is it a success?
Partially is the short answer. The film is nicely shot and well-acted, but in trying to craft a ‘classy’ movie, Taylor-Johnson has stripped it of what people read the novel for – escapism and of course sex.
For the uninitiated, Fifty Shades follows the story of young Ana Steele, a shy, timid virgin as she begins a rather, shall we say, unusual relationship with the wealthy, intimidating Christian Grey.
The lead roles are cast well with Dakota Johnson playing Ana as she appears in the novel – minus her irritating thought processes – and Jamie Dornan as Mr Grey. Other roles are scarce on the ground with glorified cameos for Rita Ora and Marcia Gay Harden.
It’s been well publicised that with only 20 minutes of sex in a 2 hour film, pleasing hardcore fans of the books was going to be a difficult task. The sex that is there is reasonably tastefully edited and nicely choreographed, though this also creates Fifty Shades’ biggest problem.
There simply is no story to speak of, with each raunchy scene being scattered alongside numerous plot fillers like helicopter rides which act as a catalyst to the next sequence of passion and when the majority of them are removed, watching is a tiresome affair.
Moreover, whilst the leads perform well on their own, the chemistry between them is sorely lacking. At no point in the film is there a whisper of sexual tension – with Dornan’s Grey coming across overly creepy and Johnson’s Ana reeking of desperation.
Despite its 18 certification here in the UK, Fifty Shades never feels like it is fully deserving of it. With a highly controversial and no doubt too lenient 12 rating being awarded to it in France, it almost feels like producers here tried as hard as they could to slip it into the 18 category – therefore maximising controversy before its release.
Unfortunately, digging beneath the surface reveals a good film trying desperately to break out of its shackles. Exploring the characters more than in James’ admittedly lacklustre novel ultimately does more harm than good.
Overall, Sam Taylor-Johnson should be commended for trying to bring a controversial novel to the big screen and the soundtrack is very good indeed. However, the lack of chemistry between the two leads and a lack of sex and story mean you’re more likely to be checking your watch than checking your heart rate.
https://moviemetropolis.net/2015/02/14/a-tiresome-affair-fifty-shades-of-grey-review/
Purple Phoenix Games (2266 KP) rated The Independence Incident in Tabletop Games
Jul 2, 2021
Nicolas Cage is a very polarizing actor, I know, but I kinda like him. Maybe he wasn’t the best Ghost Rider, but I cannot imagine anyone else playing Benjamin Franklin Gates from the National Treasure series of movies. I am a huge fan of those movies, and I will never pass up a chance to watch it or engage in anything remotely similar in real life. Enter The Independence Incident.
The Independence Incident is a 4th of July(ish)-themed escape room type card game. It consists of 18 cards and I will be darned if it isn’t just great.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook (as there is none), but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase from your FLGS. -T
To setup, open the flaps of the box containing the cards, navigate to the provided website to launch a web-based companion app, and the game may officially begin!
As I do not wish to spoil anything about the game, I will merely state here that following directions, completing puzzles, and knowing a little something about American history will benefit players immensely. Sorry I cannot say more, I would rather you all experience it for yourselves.
Components. This game consists of 18 double-sided cards and a nifty little box to hold it all. The cards are all nice quality, and feature very specific artwork on them. I have no complaints about the components at all here. Grand Gamers Guild always provide great quality games.
Ok, be mad at me if you like, but I just cannot bring myself to go into great detail about the game mechanics, how to play, or what is really included. Just know that this is probably a game you will play once and pass along, or keep several years between plays so that it doesn’t become too repetitive and easy to solve.
That said, this is a great little card game filled with puzzles I can actually solve! Yes, I needed hints a few times (perhaps a few times too many, as my final score would indicate), but with plenty of time, a little help from some friends, and Trevor Rabin’s soundtrack in the background, I could have score way better.
If you are someone who enjoys escape room-style games and also a lot of Americana thrown in, this one is a must-buy. While you don’t get to steal the Declaration of Independence in the game, you still get the feeling of traipsing across Washington, D.C., to help solve the case/riddle/game. Purple Phoenix Games gives this one a stressful 5 / 6. If you are a fan of anything I have mentioned thus far, pick yourself up a copy today!
The Independence Incident is a 4th of July(ish)-themed escape room type card game. It consists of 18 cards and I will be darned if it isn’t just great.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook (as there is none), but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase from your FLGS. -T
To setup, open the flaps of the box containing the cards, navigate to the provided website to launch a web-based companion app, and the game may officially begin!
As I do not wish to spoil anything about the game, I will merely state here that following directions, completing puzzles, and knowing a little something about American history will benefit players immensely. Sorry I cannot say more, I would rather you all experience it for yourselves.
Components. This game consists of 18 double-sided cards and a nifty little box to hold it all. The cards are all nice quality, and feature very specific artwork on them. I have no complaints about the components at all here. Grand Gamers Guild always provide great quality games.
Ok, be mad at me if you like, but I just cannot bring myself to go into great detail about the game mechanics, how to play, or what is really included. Just know that this is probably a game you will play once and pass along, or keep several years between plays so that it doesn’t become too repetitive and easy to solve.
That said, this is a great little card game filled with puzzles I can actually solve! Yes, I needed hints a few times (perhaps a few times too many, as my final score would indicate), but with plenty of time, a little help from some friends, and Trevor Rabin’s soundtrack in the background, I could have score way better.
If you are someone who enjoys escape room-style games and also a lot of Americana thrown in, this one is a must-buy. While you don’t get to steal the Declaration of Independence in the game, you still get the feeling of traipsing across Washington, D.C., to help solve the case/riddle/game. Purple Phoenix Games gives this one a stressful 5 / 6. If you are a fan of anything I have mentioned thus far, pick yourself up a copy today!
T-
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Jack’d - Gay Chat & Dating
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ClareR (5869 KP) rated Something Dark in Books
Nov 12, 2017
An unflinching look at the Social Care system in the UK
I went to see Lemn Sissay read poems from his last book 'Gold From The Stone' last year at the Chester Literature Festival, and I've been hooked ever since. His poetry is very personal, and so I was interested to see what this would be like.
This is his story of being taken in to care and the resultant damage. It's a one man show, there's no one else on stage with him, and I think this is indicative of how his life has been lived. He has always had to be self sufficient, from the day that his Foster parents (who had parented him from birth) told him at the age of 11 that 'he' didn't love them anymore (it would be more accurate to say that they didn't love him). They didn't even say goodbye to him: his brothers and sisters didn't get to say goodbye, and he was ushered into a car with his social worker and taken to a children's home.
This illustrates how children in care are 'emancipated' at 18 and expected to cope on their own. Most of them have no family or many friends, and are left to fend for themselves. Lemn was given the information to start the search for his birth mother, which is a very interesting part of the story (which I won't divulge!)
I'm actually going to see this performed by Lemn next week (14/11/17), and I'm very much looking forward to it.
This is his story of being taken in to care and the resultant damage. It's a one man show, there's no one else on stage with him, and I think this is indicative of how his life has been lived. He has always had to be self sufficient, from the day that his Foster parents (who had parented him from birth) told him at the age of 11 that 'he' didn't love them anymore (it would be more accurate to say that they didn't love him). They didn't even say goodbye to him: his brothers and sisters didn't get to say goodbye, and he was ushered into a car with his social worker and taken to a children's home.
This illustrates how children in care are 'emancipated' at 18 and expected to cope on their own. Most of them have no family or many friends, and are left to fend for themselves. Lemn was given the information to start the search for his birth mother, which is a very interesting part of the story (which I won't divulge!)
I'm actually going to see this performed by Lemn next week (14/11/17), and I'm very much looking forward to it.