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BankofMarquis (1832 KP) rated Roma (2018) in Movies
Jan 16, 2019
A lush and beautiful memory
Alfonso Cuaron - the magnificent Director from Mexico who directed such big Hollywood hits as HARRY POTTER AND THE PRISONER OF AZKABAN (the best HP flick, IMHO) and GRAVITY (one of the best films of 2013, IMHO) has made a little "personal" film that was financed and released by Netflix. Netflix, in their wisdom, realized they might have an Oscar contender on it's hands, so has released ROMA in limited release to Theaters (mostly Art Houses) and...in some instances...you can catch a 70mm print of this film. Or...you can watch it on your TV via your Netflix subscription.
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
I would highly recommend checking this film out at your local movie theater house and, if you are lucky enough to have a theater that is showing the 70mm print, I would tell you to run...don't walk...to check this out.
For ROMA is a beautifully filmed Black and White film, in Spanish (with English subtitles) that tells a very personal story of a family in Mexico City in the early 1970's - as seen through the eyes of their house maid. This story is based (according to what I have read) on Cuaron's own childhood and he has lovingly, beautifully recreated this world and populated it with some interesting characters/experiences.
It is also languidly paced (read: slow) and - if I am honest about it - not much happens. So if you add languid pace with black and white photography with Spanish language (and English subtitles) with not much in the way of plot or action, your attention span will be stretched and, I'm afraid, if you're home, you will be tempted to be distracted by your phone, the dog, the dishes, a magazine, etc...
And that would be a shame, for I fell in love with this film, the beauty of the cinematography and the slow pace of it all and I think you will too if you give it a chance.
Cuaron, most certainly, will be nominated for an Oscar for his writing and directing of this piece - and I am sure that this film will be nominated for Best Picture (and deservedly so), but it is in two other places that I was entranced by ROMA. I have mentioned the first - the Cinematography. This film is a shoo-in for a Best Cinematography Oscar, the black and white is lush and rich throughout the film and adds to the memory-style idealized world that Cuaron has put on screen. So, the Best Cinematography Oscar should go to...Alfonso Cuaron.
The other area that I am surprised to say worked very well for me is the performances of the cast, all Mexican actors, unknown to U.S. audiences. Standing out most notably are Marina de Tavira as the matriarch of the family, Senora Sofia and, most surprisingly, Yalitza Aparicio as the focal point of this film, Cleo. Her part is mostly mute (or at least mute for me, for I don't speak Spanish) so the emotions I felt coming from her were brought forth through her facial features, looks and reactions, much more than what she says. I would be fine with either of these two getting an Oscar nomination.
Despite a slow start - and a slow pace throughout this film - and not much going on, I was entranced and enthralled by the world that Cuaron put on screen. A world that exists, mostly, in Cuaron's memory and that, now, exists for us to see in this wonderful film.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
The Bandersnatch (199 KP) rated A Little Princess in Books
Nov 7, 2019
A little Princess was published in full by Charles Scribner's sons in September of 1905 after being a serialisation in St. Nicholas Magazine in 1887 and being a novella in 1888. The book was named one of the Teachers top books for children in 2007 and in 2012 was ranked 56th in the School Library Journal survey. The story follows Sara Crewe a wealthy heiress being sent off to boarding school in England. Despite being wealthy Sara isn't snobbish and rude but polite, clever and generous befriending several other students and the scullery maid Becky. Sara goes from privilege to a pauper after her fathers scheme with is friend over a diamond mine supposedly fails. After spending a few years working hard at the school she once attended Sara is found by her fathers friend and returned to privilege after finding out the diamond mines actually worked.
There are six film adaptions having been released in 1917, 1939, two in 1995 (One version being Filipino) with the most recent being a Russian film released in 1997. the most well known being the 1995 version being directed by Alfonso Cuaron. There have been seven TV shows based on A Little Princess with the 1973 and 1986 (Maureen Lipton was Miss Minchin) versions being particularly faithful to the books, the 1985, 2006 and 2009 versions were various Japanese anime and another Filipino remake happened in 2007. an episode of Veggietales in 2012 was another version of A little Princess. From 2002 to 2014 there have been several musical adaptions of a little princess as well.
Francis Eliza Hodgson Burnett was born in England on the 24th November 1849 in Cheetham, Manchester, England. When her father died in 1852 her family fell on hard times and Francis was looked after by her grandmother who fuelled her love of reading whilst her mother dealt with the family finances. The family eventually emigrated to the states in 1865 but remained somewhat poor thanks to the end of the American Civil war. Francis started writing in fever trying to help her family get out of the financial hole they were in and did so with her first story being published in the Godey's Lady's book in 1868 eventually being published regularly in its pages alongside Scribner's Monthly, Peterson's Magazine and Harper's Bazaar.
In 1872 Francis agreed to and married family friend Swan Burnett. She continued to write which supported them as they moved to Paris to allow Swan to train as an eye and ear doctor. Francis economised by making clothes for both their sons and for herself. The family returned to the US a few years later where swan managed to set up a doctoring business despite being in debt. For several years afterwards Francis wrote several short stories which were continuously published, Francis eventually turned to children's novels after a meeting with Mary Mapes Dodge the editor of children's magazine St Nicholas. In 1884 Francis set to work on Little Lord Fauntleroy which was serialised in 1885 and published in book form in 1886.
In 1887 Francis returned to England for Queen Victoria's golden jubilee which triggered yearly transatlantic trips between the US and England with her sons. She had fallen ill during this time and had spent time confined to bed, she did however managed to write both The Fortunes of Phillipa Fairfax (only published in the UK) and Sara Crewe or what happened at Miss Minchin's which was rewritten as A Little Princess. In December 1890 Francis and Swans eldest son Lionel died of consumption which spurred his mother into a depression and turn away form the Protestant faith and embrace spiritualism.
In 1898 After their youngest son Vivian finished school, Francis and Swan had divorced (though they had begun to drift apart and were living separate lives several years earlier) and two years later Francis had moved back to England and lived at Great Maytham Hall and married Stephan Townsend, which proved to be a terrible marriage and it ended in 1902. In 1907 Francis returned to the states and spent the next seventeen years in Plandome manor writing several more stories and editing for the Children's Magazine upon the insistence of her Son Vivian. Francis died on October 29th 1924 at the age of 72, she's buried in Roslyn Cemetery and her son Vivian is burred nearby having died in 1937.
I knew of the book as a child but didn't read it until I was a teenager, by then I did know of and had seen the 1995 movie directed by Alfonso Cuaron. The books theme of rising above and succeeding in the face of terrible times is a good thing to reed about. I definitely recommend the book to children and teenagers alike and I give it 9/10.
There are six film adaptions having been released in 1917, 1939, two in 1995 (One version being Filipino) with the most recent being a Russian film released in 1997. the most well known being the 1995 version being directed by Alfonso Cuaron. There have been seven TV shows based on A Little Princess with the 1973 and 1986 (Maureen Lipton was Miss Minchin) versions being particularly faithful to the books, the 1985, 2006 and 2009 versions were various Japanese anime and another Filipino remake happened in 2007. an episode of Veggietales in 2012 was another version of A little Princess. From 2002 to 2014 there have been several musical adaptions of a little princess as well.
Francis Eliza Hodgson Burnett was born in England on the 24th November 1849 in Cheetham, Manchester, England. When her father died in 1852 her family fell on hard times and Francis was looked after by her grandmother who fuelled her love of reading whilst her mother dealt with the family finances. The family eventually emigrated to the states in 1865 but remained somewhat poor thanks to the end of the American Civil war. Francis started writing in fever trying to help her family get out of the financial hole they were in and did so with her first story being published in the Godey's Lady's book in 1868 eventually being published regularly in its pages alongside Scribner's Monthly, Peterson's Magazine and Harper's Bazaar.
In 1872 Francis agreed to and married family friend Swan Burnett. She continued to write which supported them as they moved to Paris to allow Swan to train as an eye and ear doctor. Francis economised by making clothes for both their sons and for herself. The family returned to the US a few years later where swan managed to set up a doctoring business despite being in debt. For several years afterwards Francis wrote several short stories which were continuously published, Francis eventually turned to children's novels after a meeting with Mary Mapes Dodge the editor of children's magazine St Nicholas. In 1884 Francis set to work on Little Lord Fauntleroy which was serialised in 1885 and published in book form in 1886.
In 1887 Francis returned to England for Queen Victoria's golden jubilee which triggered yearly transatlantic trips between the US and England with her sons. She had fallen ill during this time and had spent time confined to bed, she did however managed to write both The Fortunes of Phillipa Fairfax (only published in the UK) and Sara Crewe or what happened at Miss Minchin's which was rewritten as A Little Princess. In December 1890 Francis and Swans eldest son Lionel died of consumption which spurred his mother into a depression and turn away form the Protestant faith and embrace spiritualism.
In 1898 After their youngest son Vivian finished school, Francis and Swan had divorced (though they had begun to drift apart and were living separate lives several years earlier) and two years later Francis had moved back to England and lived at Great Maytham Hall and married Stephan Townsend, which proved to be a terrible marriage and it ended in 1902. In 1907 Francis returned to the states and spent the next seventeen years in Plandome manor writing several more stories and editing for the Children's Magazine upon the insistence of her Son Vivian. Francis died on October 29th 1924 at the age of 72, she's buried in Roslyn Cemetery and her son Vivian is burred nearby having died in 1937.
I knew of the book as a child but didn't read it until I was a teenager, by then I did know of and had seen the 1995 movie directed by Alfonso Cuaron. The books theme of rising above and succeeding in the face of terrible times is a good thing to reed about. I definitely recommend the book to children and teenagers alike and I give it 9/10.
Gareth von Kallenbach (965 KP) rated Harry Potter and the Deathly Hallows - Part 2 (2011) in Movies
Aug 7, 2019
My anticipation for the second part of Harry Potter and the Deathly Hallows, much like my anticipation of Part 1, was accompanied by great reluctance to witness the culmination of 10 years of storytelling.
Opening exactly where Part 1 left off, we find Harry, Hermione and Ron continuing on their quest to locate the remaining Horcruxes, objects in which Harry’s nemesis, Lord Voldemort (Ralph Fiennes) has implanted a part of his soul. Destruction of these Horcruxes help weaken Voldemort. Polyjuice, goblins and a dragon ride provide some humor and thrills and eventually leads to the trios’ return to Hogwarts, where Alan Rickman’s Severus Snape is now the hated headmaster. Voldemort has attained the powerful Elder Wand and has turned his evil sights on the school in hopes of drawing Harry out. Along with his questionably loyal Deatheaters, they surround Hogwarts and prepare to attack.
At times the storytelling is a bit slow, at times too abrupt. While the special Harry Potter 3D glasses were amusing, I didn’t notice any spectacular effects that would warrant the extra charge to watch this movie in 3D. As is the case for converted 3D movies, the effects are more of a distracting afterthought than a real enhancement. For those not familiar with the books, the storylines may be a bit convoluted but your patience will be rewarded. Daniel Radcliffe’s matured Harry Potter is grim and resolute, his best friends Hermione and Ron (Emma Watson and Rupert Grinch) are aptly desperate but determined. Taking a stand with them, wile making their cinematic curtain call, are many of their Hogwarts professors, their classmates in Dumbldore’s Army and their mentors in the Order of the Phoenix. There are more heartwrenching moments than heartwarming parts as Harry learns more about the events surrounding his existence and what he must do to defeat Voldemort.
Few books, and far fewer movie adaptations, have captured the hearts of such a loyal and enthusiastic fanbase. The valiant attempts by directors Chris Columbus, Alfonso Cuaron, Mike Newell and, lastly, David Yates, to recreate the vast, enchanting wizarding world imagined by J.K. Rowling, have deservedly garnered the franchise a loyal and enthusiastic fanbase. Yet, as lush and vivid as the movies have been, they only touched on some of the best parts of the books. Needless to say, I wasn’t expecting perfection. But what I saw in Part 2 was pretty darn close. While movie adaptations of beloved stories will always leave serious fans wanting more, Deathly Hallows Part 2 is a fitting finale to this epic tale.
Opening exactly where Part 1 left off, we find Harry, Hermione and Ron continuing on their quest to locate the remaining Horcruxes, objects in which Harry’s nemesis, Lord Voldemort (Ralph Fiennes) has implanted a part of his soul. Destruction of these Horcruxes help weaken Voldemort. Polyjuice, goblins and a dragon ride provide some humor and thrills and eventually leads to the trios’ return to Hogwarts, where Alan Rickman’s Severus Snape is now the hated headmaster. Voldemort has attained the powerful Elder Wand and has turned his evil sights on the school in hopes of drawing Harry out. Along with his questionably loyal Deatheaters, they surround Hogwarts and prepare to attack.
At times the storytelling is a bit slow, at times too abrupt. While the special Harry Potter 3D glasses were amusing, I didn’t notice any spectacular effects that would warrant the extra charge to watch this movie in 3D. As is the case for converted 3D movies, the effects are more of a distracting afterthought than a real enhancement. For those not familiar with the books, the storylines may be a bit convoluted but your patience will be rewarded. Daniel Radcliffe’s matured Harry Potter is grim and resolute, his best friends Hermione and Ron (Emma Watson and Rupert Grinch) are aptly desperate but determined. Taking a stand with them, wile making their cinematic curtain call, are many of their Hogwarts professors, their classmates in Dumbldore’s Army and their mentors in the Order of the Phoenix. There are more heartwrenching moments than heartwarming parts as Harry learns more about the events surrounding his existence and what he must do to defeat Voldemort.
Few books, and far fewer movie adaptations, have captured the hearts of such a loyal and enthusiastic fanbase. The valiant attempts by directors Chris Columbus, Alfonso Cuaron, Mike Newell and, lastly, David Yates, to recreate the vast, enchanting wizarding world imagined by J.K. Rowling, have deservedly garnered the franchise a loyal and enthusiastic fanbase. Yet, as lush and vivid as the movies have been, they only touched on some of the best parts of the books. Needless to say, I wasn’t expecting perfection. But what I saw in Part 2 was pretty darn close. While movie adaptations of beloved stories will always leave serious fans wanting more, Deathly Hallows Part 2 is a fitting finale to this epic tale.
Movie Metropolis (309 KP) rated Harry Potter and the Half-Blood Prince (2009) in Movies
Jun 11, 2019
The sixth instalment in the internationally loved wizarding franchise has been perhaps one of the most awaited films of the decade; even more so considering the gruelling year fans have had to wait since it was decided to push the film back 12 months.
David Yates is once again at the helm, which after the fifth film is somewhat of a surprise to many critics. With rumours speculating the return of Alfonso Cuaron as director, I breathed a sigh of relief, thinking perhaps we could get things back on track.
Alas, it was not to be. After two disappointing instalments, a third would be disastrous, though unfortunately, it seems to be the case here. Yates’ films just refuse to hit the spot, delving into unnecessary storylines that really don’t progress the film further. Take for example the climatic finale of the book atop the astronomy tower; well it’s been cut, replaced with an hour or so of non-stop snogging… ridiculous? I have words much stronger than that to describe it, but yes, ridiculous can do for now.
It would be silly to expect things to be perfect, but a little cohesion would have been welcome; to people who have not read the books, these films are starting to get incomprehensible and even to those that have, it still isn’t an enjoyable experience. Remember the chapter where The Burrow blows up? No? Well that’s because there isn’t one, but it’s been added, for explosions sake.
The Dursleys are cut, Dobby – cut, Dumbledore’s funeral – cut, Kreacher – cut, Bill and Fleur – cut, in fact most of the important things from the book; have been cut.
Happily, there is a rather small pot of gold at the end of this murky rainbow. The acting from most is absolutely excellent, Daniel Radcliffe has grown into his role brilliantly and Michael Gambon seems to finally have chosen the right moods for Dumbledore and his character. Newcomer Jim Broadbent is superb in his role as potions master Horace Slughorn and Alan Rickman is as usual glorious and fully able to spread his wings in the larger role he has been given in this film. On the negative side, Bonnie Wright as Ginny Weasley hasn’t developed into her role well, with her acting still being stilted; unfortunate, as her part is much larger in this film than the others.
Unfortunately, just like the previous two films, Harry Potter and the Half Blood Prince really hasn’t hit the spot, it seems the larger books of the boy wizards saga have in reality stumped their respective directors, ending up as a complete mess. It certainly has its moments, though at 153 minutes it should have; but it seems the best film from the 8 has been made slightly too prematurely. Film number 7, come on down!
https://moviemetropolis.net/2010/10/28/harry-potter-the-half-blood-prince/
David Yates is once again at the helm, which after the fifth film is somewhat of a surprise to many critics. With rumours speculating the return of Alfonso Cuaron as director, I breathed a sigh of relief, thinking perhaps we could get things back on track.
Alas, it was not to be. After two disappointing instalments, a third would be disastrous, though unfortunately, it seems to be the case here. Yates’ films just refuse to hit the spot, delving into unnecessary storylines that really don’t progress the film further. Take for example the climatic finale of the book atop the astronomy tower; well it’s been cut, replaced with an hour or so of non-stop snogging… ridiculous? I have words much stronger than that to describe it, but yes, ridiculous can do for now.
It would be silly to expect things to be perfect, but a little cohesion would have been welcome; to people who have not read the books, these films are starting to get incomprehensible and even to those that have, it still isn’t an enjoyable experience. Remember the chapter where The Burrow blows up? No? Well that’s because there isn’t one, but it’s been added, for explosions sake.
The Dursleys are cut, Dobby – cut, Dumbledore’s funeral – cut, Kreacher – cut, Bill and Fleur – cut, in fact most of the important things from the book; have been cut.
Happily, there is a rather small pot of gold at the end of this murky rainbow. The acting from most is absolutely excellent, Daniel Radcliffe has grown into his role brilliantly and Michael Gambon seems to finally have chosen the right moods for Dumbledore and his character. Newcomer Jim Broadbent is superb in his role as potions master Horace Slughorn and Alan Rickman is as usual glorious and fully able to spread his wings in the larger role he has been given in this film. On the negative side, Bonnie Wright as Ginny Weasley hasn’t developed into her role well, with her acting still being stilted; unfortunate, as her part is much larger in this film than the others.
Unfortunately, just like the previous two films, Harry Potter and the Half Blood Prince really hasn’t hit the spot, it seems the larger books of the boy wizards saga have in reality stumped their respective directors, ending up as a complete mess. It certainly has its moments, though at 153 minutes it should have; but it seems the best film from the 8 has been made slightly too prematurely. Film number 7, come on down!
https://moviemetropolis.net/2010/10/28/harry-potter-the-half-blood-prince/
Phillip McSween (751 KP) rated Roma (2018) in Movies
Feb 22, 2019
Thought-Provoking
Roma follows the story of Cleo, a domestic worker for a middle class family in Mexico. who is dealing with the strife of classism in the 70’s.
Acting: 10
Beautiful acting here in a number of strong roles. Yalitza Aparicio is phenomenal in her role as Cleo. She plays the part in a shy and withrdawn matter, someone who loves the family she works for but knows it’s duty above all else. Aparicio makes you feel what Cleo feels in powerful moments like the traffic scene and the final scene on the beach, neither of which I will give away. I loved her relationship between her and Adela played by Nancy Garcia Garcia (not a typo) who shined in her role as well. They had a true synergy that worked for the movie as a whole.
Beginning: 4
Characters: 10
Cinematography/Visuals: 10
The film is shot in black and white which I appreciated. It give you a sense of a “then and now” kind of feel: You know it takes place in the 70’s, but it feels like director Alfonso Cuaron was able to capture a piece of life that could still exist today. Beautiful pans of the Mexican landscape somehow give me a nostalgic vibe and I’m not even from Mexico. The movie sprawls across a number of different locations that are beautiful in their own right. From old-school movie theaters to desert valleys, it’s feels like you are on a journey.
Conflict: 8
The conflict is created as a result of Cleo’s class. There are hardships that come with her place in society in addition to the typical crap that life might throw your way. She finds herself tiptoeing around a home with a disgruntled wife who is ready to bite Cleo’s head off at any moment. Meanwhile, things aren’t much better in Cleo’s personal life as she finds herself in situations that not only make her life more difficult but bring shame to her family. As the viewer, you understand this is the way life is for Cleo and things probably won’t get much better by the end of it. But you hope she beats it anyway.
Genre: 7
I originally scored this slightly lower, but I quickly changed it as I started to peel back more and more layers of Roma. My wife and I were dead tired after viewing the film, but we found ourselves laying around talking about it for thirty minutes after it was over. A solid movie is one you can discuss long after you watch it and Roma is definitely one of those movies.
Memorability: 10
There are a number of scenes that I think about even now and say, “Wow, that was extremely powerful.” I don’t want to ruin them for fear of ruining the impact, but one scene includes a powerful confession that is beyond heartfelt. It hits you right in the gut and you think, “How could someone say that?” while also thinking, “I understand exactly where she is coming from.” Cleo’s struggles, including her battles with honor and love, leave a lasting impact that makes you want to watch the film again to reexamine it.
Pace: 6
Plot: 6
Resolution: 5
Overall: 76
Roma is the kind of movie that the artsy-fartsy nuts go crazy over. I thought it was good, but it fell just short of Best Picture worthy in my opinion due to a slow start and pace, and a meh ending. A few tweaks and I definitely could see this movie being a classic.
Acting: 10
Beautiful acting here in a number of strong roles. Yalitza Aparicio is phenomenal in her role as Cleo. She plays the part in a shy and withrdawn matter, someone who loves the family she works for but knows it’s duty above all else. Aparicio makes you feel what Cleo feels in powerful moments like the traffic scene and the final scene on the beach, neither of which I will give away. I loved her relationship between her and Adela played by Nancy Garcia Garcia (not a typo) who shined in her role as well. They had a true synergy that worked for the movie as a whole.
Beginning: 4
Characters: 10
Cinematography/Visuals: 10
The film is shot in black and white which I appreciated. It give you a sense of a “then and now” kind of feel: You know it takes place in the 70’s, but it feels like director Alfonso Cuaron was able to capture a piece of life that could still exist today. Beautiful pans of the Mexican landscape somehow give me a nostalgic vibe and I’m not even from Mexico. The movie sprawls across a number of different locations that are beautiful in their own right. From old-school movie theaters to desert valleys, it’s feels like you are on a journey.
Conflict: 8
The conflict is created as a result of Cleo’s class. There are hardships that come with her place in society in addition to the typical crap that life might throw your way. She finds herself tiptoeing around a home with a disgruntled wife who is ready to bite Cleo’s head off at any moment. Meanwhile, things aren’t much better in Cleo’s personal life as she finds herself in situations that not only make her life more difficult but bring shame to her family. As the viewer, you understand this is the way life is for Cleo and things probably won’t get much better by the end of it. But you hope she beats it anyway.
Genre: 7
I originally scored this slightly lower, but I quickly changed it as I started to peel back more and more layers of Roma. My wife and I were dead tired after viewing the film, but we found ourselves laying around talking about it for thirty minutes after it was over. A solid movie is one you can discuss long after you watch it and Roma is definitely one of those movies.
Memorability: 10
There are a number of scenes that I think about even now and say, “Wow, that was extremely powerful.” I don’t want to ruin them for fear of ruining the impact, but one scene includes a powerful confession that is beyond heartfelt. It hits you right in the gut and you think, “How could someone say that?” while also thinking, “I understand exactly where she is coming from.” Cleo’s struggles, including her battles with honor and love, leave a lasting impact that makes you want to watch the film again to reexamine it.
Pace: 6
Plot: 6
Resolution: 5
Overall: 76
Roma is the kind of movie that the artsy-fartsy nuts go crazy over. I thought it was good, but it fell just short of Best Picture worthy in my opinion due to a slow start and pace, and a meh ending. A few tweaks and I definitely could see this movie being a classic.
Gareth von Kallenbach (965 KP) rated Gravity (2013) in Movies
Jun 19, 2019
We’ve long been spoiled by depictions of space in most science fiction, or at least in popular science fiction. A frontier, a futuristic ocean of sorts for maritime-type traversal. It’s hardly ever depicted as a particularly dangerous place. That’s exactly why Alfanso Cuaron’s Gravity is so incredibly refreshing and surprisingly so at that. All he really had to do was set out to depict a story in space that highlights how dangerous it really is. And boy does he succeed. Gravity is not only intriguing in its science, but also an incredibly gripping thriller.
The premise is focused and simple for the betterment of the film. Sandra Bullock plays Ryan Stone, a scientist who is on her first space walk installing new components onto the Hubble telescope. She is accompanied by George Clooney’s character, Kowalski, an experienced astronaut who’s calm in crisis helps guide the frightened Bullock through the following events. A massive accident leaves the characters stranded in space with no way home, periled by the hazards that go with being stuck in the abyss.
At its core, Gravity is a survival thriller movie. There is no villain other than the environment, no schemes or whacky plot twists. It’s reminiscent of a film like Cast Away, albeit quicker in pace because survival is more immediately at stake. The film takes so much into account, impressively, about the kinds of hazards one might face in a crisis that leaves them stuck in orbit. Oxygen, debris, structural damage, even how objects interact with one another or move in zero gravity. Most films in space neglect the ‘no sound in space’ rule, largely because of how awkward it would be to watch a Star Wars battle with no sound. But this film follows the rule, for the most part, and just that tiny detail alone adds so much to the anxiety of the situation. Watching speeding debris silently obliterate an entire space station while only hearing the internal suit audio of the protagonist might be the most frightening and memorable moments of any science fiction thriller I have seen in years.
Alfonso Cuaron is no stranger to striking imagery and near masterful shooting of important scenes. He has done so in his previous works, like Children of Men and Harry Potter and the Prisoner of Azkaban. He does so again through the action in Gravity. Although I will say a few visual metaphors in Gravity are a bit heavy handed in how they refer to the back story of the protagonist; yet nevertheless they end up having quite an impact despite arguable cheesiness.
The two leads do great in their roles; not hugely surprising considering Clooney and Bullock are established actors with great works under their belts. But at the same time both characters are light in their characterization, perhaps even ‘one-note’, particularly the case for Clooney. I do not necessarily think this is a bad thing, because it keeps the action of the film focused on the survival and the intensity of the situation. But, when those quieter scenes come by to pad the action, leaving the characters to mingle, I can’t help but feel like the drama is a little forced. There to give the audience someone to care about and desire to not die in space, and only for that purpose. Even if it’s forced, the personal struggle of Bullock’s character is admittedly compelling and you do want to see her make it out alive. Both the writing an acting for her character do an excellent job portraying her as someone overcoming an extremely difficult situation that she’s ill-equipped to deal with.
I’m not usually a fan of 3D, I think it’s often distracting and gimmicky. But this is one film that the 3D effect soars in. In the non-action moments it is nearly unnoticeable. And in those sequences where vessels are exploding spectacularly, space debris splintering in every direction, the 3D effect adds an extra layer of chaos and intensity around the characters’ fate. I seldom recommend going to see a film in 3D, but this is one I thoroughly recommend doing so.
Gravity is a pure focused thriller that tackles an environment so rich with possibility for great survival storytelling. Forget all the safe depictions of space like Star Wars and Star Trek, because this will make you as frightened of being stuck in space as Jaws did of being out in open water. It’s not perfect, certainly, as its drama ultimately draws too much attention to itself as a device of the plot, feeling a bit forced. Nevertheless, the superb acting on the parts of both leads ends up overcoming the potential shallowness of the characterization and makes you care about their survival – an absolute necessity in a film like this. The situations dealt with not only feel realistic, but are so excellently shot that the intensity is simply stunning.
http://sknr.net/2013/10/04/gravity/
The premise is focused and simple for the betterment of the film. Sandra Bullock plays Ryan Stone, a scientist who is on her first space walk installing new components onto the Hubble telescope. She is accompanied by George Clooney’s character, Kowalski, an experienced astronaut who’s calm in crisis helps guide the frightened Bullock through the following events. A massive accident leaves the characters stranded in space with no way home, periled by the hazards that go with being stuck in the abyss.
At its core, Gravity is a survival thriller movie. There is no villain other than the environment, no schemes or whacky plot twists. It’s reminiscent of a film like Cast Away, albeit quicker in pace because survival is more immediately at stake. The film takes so much into account, impressively, about the kinds of hazards one might face in a crisis that leaves them stuck in orbit. Oxygen, debris, structural damage, even how objects interact with one another or move in zero gravity. Most films in space neglect the ‘no sound in space’ rule, largely because of how awkward it would be to watch a Star Wars battle with no sound. But this film follows the rule, for the most part, and just that tiny detail alone adds so much to the anxiety of the situation. Watching speeding debris silently obliterate an entire space station while only hearing the internal suit audio of the protagonist might be the most frightening and memorable moments of any science fiction thriller I have seen in years.
Alfonso Cuaron is no stranger to striking imagery and near masterful shooting of important scenes. He has done so in his previous works, like Children of Men and Harry Potter and the Prisoner of Azkaban. He does so again through the action in Gravity. Although I will say a few visual metaphors in Gravity are a bit heavy handed in how they refer to the back story of the protagonist; yet nevertheless they end up having quite an impact despite arguable cheesiness.
The two leads do great in their roles; not hugely surprising considering Clooney and Bullock are established actors with great works under their belts. But at the same time both characters are light in their characterization, perhaps even ‘one-note’, particularly the case for Clooney. I do not necessarily think this is a bad thing, because it keeps the action of the film focused on the survival and the intensity of the situation. But, when those quieter scenes come by to pad the action, leaving the characters to mingle, I can’t help but feel like the drama is a little forced. There to give the audience someone to care about and desire to not die in space, and only for that purpose. Even if it’s forced, the personal struggle of Bullock’s character is admittedly compelling and you do want to see her make it out alive. Both the writing an acting for her character do an excellent job portraying her as someone overcoming an extremely difficult situation that she’s ill-equipped to deal with.
I’m not usually a fan of 3D, I think it’s often distracting and gimmicky. But this is one film that the 3D effect soars in. In the non-action moments it is nearly unnoticeable. And in those sequences where vessels are exploding spectacularly, space debris splintering in every direction, the 3D effect adds an extra layer of chaos and intensity around the characters’ fate. I seldom recommend going to see a film in 3D, but this is one I thoroughly recommend doing so.
Gravity is a pure focused thriller that tackles an environment so rich with possibility for great survival storytelling. Forget all the safe depictions of space like Star Wars and Star Trek, because this will make you as frightened of being stuck in space as Jaws did of being out in open water. It’s not perfect, certainly, as its drama ultimately draws too much attention to itself as a device of the plot, feeling a bit forced. Nevertheless, the superb acting on the parts of both leads ends up overcoming the potential shallowness of the characterization and makes you care about their survival – an absolute necessity in a film like this. The situations dealt with not only feel realistic, but are so excellently shot that the intensity is simply stunning.
http://sknr.net/2013/10/04/gravity/