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Awix (3310 KP) rated First Man (2018) in Movies
Oct 26, 2018 (Updated Oct 26, 2018)
(Spoiler alert: Neil Armstrong lands on the Moon at the end.)
Neil Armstrong/Apollo 11 movie eschews flag-waving bombast and conventional spectacle by focusing much more on what was going on inside Armstrong's head during the moon mission and its build-up (by the way, I have a horrible suspicion that the moon-landing sequence in this movie was faked in a studio). Given that Armstrong himself was such a notably quiet and undemonstrative man, this seems like a good choice, although whether it excuses Damien Chazelle's choice to depict Armstrong's whole career in space as some kind of coping mechanism for dealing with a family tragedy is probably a matter of personal taste.
Like its subject, this is a notably low-key and unflashy film, and many may find it slow-going; space fans will probably have a lot to enjoy, though. The actual moon-landing sequence is superb, flag or no flag. In the end this is (perhaps inevitably) less of a guaranteed crowd-pleaser than La La Land (Chazelle and Gosling's last film together) but still a substantial and impressive movie.
Neil Armstrong/Apollo 11 movie eschews flag-waving bombast and conventional spectacle by focusing much more on what was going on inside Armstrong's head during the moon mission and its build-up (by the way, I have a horrible suspicion that the moon-landing sequence in this movie was faked in a studio). Given that Armstrong himself was such a notably quiet and undemonstrative man, this seems like a good choice, although whether it excuses Damien Chazelle's choice to depict Armstrong's whole career in space as some kind of coping mechanism for dealing with a family tragedy is probably a matter of personal taste.
Like its subject, this is a notably low-key and unflashy film, and many may find it slow-going; space fans will probably have a lot to enjoy, though. The actual moon-landing sequence is superb, flag or no flag. In the end this is (perhaps inevitably) less of a guaranteed crowd-pleaser than La La Land (Chazelle and Gosling's last film together) but still a substantial and impressive movie.
Tim Booth recommended Discreet Music by Brian Eno in Music (curated)
ClareR (5879 KP) rated Epic of Helinthia in Books
Apr 18, 2025
I really enjoyed this. Epic of Helinthia is a play on the Greek myths, using the usual Gods and Goddesses with the addition of a “younger” Goddess: Helinthia.
The humans of Helinthia’s island are caught in the crossfire when other Gods (namely Hera) decide to teach her a lesson. Of course the humans are just pawns to be played with.
I liked the action (fights, chases, lion attacks (I know!!)), the interference of other Gods/ Goddesses (Artemis and Apollo in particular) in order to help their favourite humans, and the fact that you could never be quite sure who you could trust.
The writing is immersive - the scenes are well set, the characters are both easy to live and hate, as well as empathise with.
It felt as though a lot of research had gone into the culture of the time as well as the mythology surrounding it, and it was rather violent and bloody on occasion (these were violent times!).
I’m so glad that I enjoyed this, as I have the next instalment all set to go from BookSirens - the Oracle of Helinthia is set to be out very soon (and my review will be up as soon as I’ve read it!).
The humans of Helinthia’s island are caught in the crossfire when other Gods (namely Hera) decide to teach her a lesson. Of course the humans are just pawns to be played with.
I liked the action (fights, chases, lion attacks (I know!!)), the interference of other Gods/ Goddesses (Artemis and Apollo in particular) in order to help their favourite humans, and the fact that you could never be quite sure who you could trust.
The writing is immersive - the scenes are well set, the characters are both easy to live and hate, as well as empathise with.
It felt as though a lot of research had gone into the culture of the time as well as the mythology surrounding it, and it was rather violent and bloody on occasion (these were violent times!).
I’m so glad that I enjoyed this, as I have the next instalment all set to go from BookSirens - the Oracle of Helinthia is set to be out very soon (and my review will be up as soon as I’ve read it!).
BankofMarquis (1832 KP) rated Creed II (2018) in Movies
Dec 7, 2018
Good Enough
By my count, this is the 8th time that Sylvester Stallone has put on the character of Rocky Balboa. This time it comes after the resurgence of this character (and franchise) with the introduction of Adonis Creed (Michael B. Jordan) and a script that allowed Stallone to explore the character in a way that he had not previously been able to - and garnered him a well-deserved Oscar nomination for his efforts.
In CREED II we are back to an above average by-the-numbers boxing picture with Jordan's Adonis Creed character starting the picture on top, losing it all when he loses himself (and stops listening to Rocky) in his success only to go on a journey of redemption (by following Rocky's advice) at the end. This is, in essence, a regurgitation of ROCKY III and I was somewhat bored by it.
That is, until the final bout, then (gosh darnnit) I was drawn right into the melodrama, pomp and pageantry of the fight and was cheering along with the rest of the audience at all the appropriate moments.
In Creed II, Apollo Creed's son battles Ivan Drago's son. For those of you not up on your Rocky history, Drago (Dolph Lundgren, reprising his role) was the boxer that killed Apollo Creed (Adonis' father) in the ring all those years ago.
Jordan is properly cocky, arrogant, stubborn, shell-shocked, morose, repentant and cocky (again) as the script would indicate. Tessa Thompson (as his wife) deserves better material than what she is given as does Stallone, who falls back to "being Rocky" without anything really new here. Surprisingly, Dolph Lundgren does a nice job as the washed-up boxer who's life was "ruined" when he lost to Rocky at the end of Rocky IV (not a spoiler). Finally, Russel Horsnby (as the "I just want to earn money" promoter of the fight) and Phylicia Rashad (as Adonis' mother/Apollo's wife) are both really good in roles that deserved to be much bigger - and more fleshed out - than they were.
My biggest disappointment from this film is the ommision of Director Ryan Coogler. He brought a visceral attitude to the series in the first CREED film and I felt that this spark of energy was just missing throughout this film with Steven Caple, Jr at the helm. It seemed, to me, that this series is quickly devolving into "paycheck" movies for Stallone and that really saddens me.
All-in-all a rather above average "by-the-numbers" boxing flick with a really good fight at the end of the film that is well worth sticking around for.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
In CREED II we are back to an above average by-the-numbers boxing picture with Jordan's Adonis Creed character starting the picture on top, losing it all when he loses himself (and stops listening to Rocky) in his success only to go on a journey of redemption (by following Rocky's advice) at the end. This is, in essence, a regurgitation of ROCKY III and I was somewhat bored by it.
That is, until the final bout, then (gosh darnnit) I was drawn right into the melodrama, pomp and pageantry of the fight and was cheering along with the rest of the audience at all the appropriate moments.
In Creed II, Apollo Creed's son battles Ivan Drago's son. For those of you not up on your Rocky history, Drago (Dolph Lundgren, reprising his role) was the boxer that killed Apollo Creed (Adonis' father) in the ring all those years ago.
Jordan is properly cocky, arrogant, stubborn, shell-shocked, morose, repentant and cocky (again) as the script would indicate. Tessa Thompson (as his wife) deserves better material than what she is given as does Stallone, who falls back to "being Rocky" without anything really new here. Surprisingly, Dolph Lundgren does a nice job as the washed-up boxer who's life was "ruined" when he lost to Rocky at the end of Rocky IV (not a spoiler). Finally, Russel Horsnby (as the "I just want to earn money" promoter of the fight) and Phylicia Rashad (as Adonis' mother/Apollo's wife) are both really good in roles that deserved to be much bigger - and more fleshed out - than they were.
My biggest disappointment from this film is the ommision of Director Ryan Coogler. He brought a visceral attitude to the series in the first CREED film and I felt that this spark of energy was just missing throughout this film with Steven Caple, Jr at the helm. It seemed, to me, that this series is quickly devolving into "paycheck" movies for Stallone and that really saddens me.
All-in-all a rather above average "by-the-numbers" boxing flick with a really good fight at the end of the film that is well worth sticking around for.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Bong Mines Entertainment (15 KP) rated Parachute - Single by Jaclyn Manfredi in Music
Jun 18, 2019
Jaclyn Manfredi is a singer-songwriter from Long Island, New York. Not too long ago, she released a grungy contemporary R&B tune, entitled, “Parachute”.
“We’re five thousand feet in the air. But it feels like you couldn’t care. I can see right through your blank stare. And I know it’s time for me to prepare.” – lyrics
‘Parachute’ tells an interesting tale of a young woman who feels cold whenever she’s by her significant other’s side.
Every day, thoughts about their relationship being a mistake filter into her mind, and her frustration about her partner’s missteps has multiply sky high.
Later, she admits that they’re running out of time, and the air in their relationship is running thin.
‘Parachute’ contains a relatable storyline, ear-comforting vocals, and groovy instrumentation flavored with retro-soul, R&B, and funk elements.
“‘Parachute’ is a song about a toxic relationship that you can’t wait to get out of and the feeling of having a weight lifted off your shoulders.” – Jaclyn Manfredi
At the age of seventeen, Jaclyn Manfredi performed at the acclaimed Apollo Theatre and Carnegie Hall in New York City. Shortly afterward, she won the IMTA national singing talent competition in 2017.
Her musical influences include Amy Winehouse, Alicia Keys, and the contemporary funk of Bruno Mars.
https://www.bongminesentertainment.com/jaclyn-manfredi-parachute/
“We’re five thousand feet in the air. But it feels like you couldn’t care. I can see right through your blank stare. And I know it’s time for me to prepare.” – lyrics
‘Parachute’ tells an interesting tale of a young woman who feels cold whenever she’s by her significant other’s side.
Every day, thoughts about their relationship being a mistake filter into her mind, and her frustration about her partner’s missteps has multiply sky high.
Later, she admits that they’re running out of time, and the air in their relationship is running thin.
‘Parachute’ contains a relatable storyline, ear-comforting vocals, and groovy instrumentation flavored with retro-soul, R&B, and funk elements.
“‘Parachute’ is a song about a toxic relationship that you can’t wait to get out of and the feeling of having a weight lifted off your shoulders.” – Jaclyn Manfredi
At the age of seventeen, Jaclyn Manfredi performed at the acclaimed Apollo Theatre and Carnegie Hall in New York City. Shortly afterward, she won the IMTA national singing talent competition in 2017.
Her musical influences include Amy Winehouse, Alicia Keys, and the contemporary funk of Bruno Mars.
https://www.bongminesentertainment.com/jaclyn-manfredi-parachute/
Emma @ The Movies (1786 KP) rated Apollo 11 (2019) in Movies
Apr 7, 2020
I was sad to miss this one at the cinema, I imagine having it up on the big screen would have been very impressive, but only one of the mainstream cinemas had it on.
Space documentaries are always interesting, to think that all of that technology was really in its infancy and we were making such big strides for humanity is mindblowing... and that's why this felt like a letdown.
It's wonderful that we're getting this unseen footage but they've turned it into a film, it's not really a documentary at all. In a documentary I expect to learn things I didn't know before, but here while I was seeing things I'd never seen it's actually not showing you a new angle on the story. It's great to see everything evolving as it did on the day and through the journey but that isn't new. With such a rich story of science and discovery behind space exploration I am at a loss as to why they would forego having a narrator.
Having a narrator adds an extra layer of information that really does add something and makes the footage accessible to new viewers. I've seen documentaries on things like this before and so some of what I was seeing on screen was recognisable, but there were still some shots where I didn't know what I was looking at. Some prompting would have been useful, it was like walking through a museum where they've taken down the labels on the exhibits.
The footage is generally well edited throughout, and as I said before, the feel is that of a film as opposed to a documentary. They're compiled picture, audio and video images together to follow the crew on and above the Earth and the fact they can line it up so well is impressive. There's a montage as the crew return to Earth and this was particularly good when paired with "Mother Country" by John Stewart.
Putting the footage together can't have been an easy task, but some of it suffered for the sake of a shot. At one point we get a slightly out of place split screen "Go" sequence which showed all the departments calling out. I liked it as an idea but the audio isn't the best quality as it carries through, and after the initial effect it's difficult to understand what's going on and that detracts from some of the impact.
I appreciate the fact they dug into the archives for everything, the studio even used their 1969 logo, and crafting music that would have been possible then was impressive... even if a lot of it wasn't as inspiring as the moments it accompanied.
While Apollo 11 itself is a mindblowing event the way this "documentary" has been produced is not. Well crafted, yes, but its lack of further detail and background had a heavy negative impact for me. If I was rating just for the event then it would absolutely be a 5 star review, as a newly produced bit of work it doesn't bring anything new to the table even with it all being new footage.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/04/apollo-11-movie-review.html
Space documentaries are always interesting, to think that all of that technology was really in its infancy and we were making such big strides for humanity is mindblowing... and that's why this felt like a letdown.
It's wonderful that we're getting this unseen footage but they've turned it into a film, it's not really a documentary at all. In a documentary I expect to learn things I didn't know before, but here while I was seeing things I'd never seen it's actually not showing you a new angle on the story. It's great to see everything evolving as it did on the day and through the journey but that isn't new. With such a rich story of science and discovery behind space exploration I am at a loss as to why they would forego having a narrator.
Having a narrator adds an extra layer of information that really does add something and makes the footage accessible to new viewers. I've seen documentaries on things like this before and so some of what I was seeing on screen was recognisable, but there were still some shots where I didn't know what I was looking at. Some prompting would have been useful, it was like walking through a museum where they've taken down the labels on the exhibits.
The footage is generally well edited throughout, and as I said before, the feel is that of a film as opposed to a documentary. They're compiled picture, audio and video images together to follow the crew on and above the Earth and the fact they can line it up so well is impressive. There's a montage as the crew return to Earth and this was particularly good when paired with "Mother Country" by John Stewart.
Putting the footage together can't have been an easy task, but some of it suffered for the sake of a shot. At one point we get a slightly out of place split screen "Go" sequence which showed all the departments calling out. I liked it as an idea but the audio isn't the best quality as it carries through, and after the initial effect it's difficult to understand what's going on and that detracts from some of the impact.
I appreciate the fact they dug into the archives for everything, the studio even used their 1969 logo, and crafting music that would have been possible then was impressive... even if a lot of it wasn't as inspiring as the moments it accompanied.
While Apollo 11 itself is a mindblowing event the way this "documentary" has been produced is not. Well crafted, yes, but its lack of further detail and background had a heavy negative impact for me. If I was rating just for the event then it would absolutely be a 5 star review, as a newly produced bit of work it doesn't bring anything new to the table even with it all being new footage.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/04/apollo-11-movie-review.html
Debbiereadsbook (1444 KP) rated Rhubarb 2 Go (The Rhubarb Effect #2) in Books
Oct 13, 2024
Burke just wants to be wooed!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is book 2 in The Rhubarb Effect series, and you should probably read Sticky for You, book 1, before this one. There is a bit of an ongoing story arc and that book sets the scene for this one. And you know, it's a FUN read!
As is this one! THis is Ricky and Burke's story. Ricky is a pole dancing rhubarb stalk and Burke is a mini bull. There are lots and LOTS of one liners in this book. Full of rhubarb jokes again, but also with poles, and balls and bull jokes. SOme very funny moments, but also some emotional ones.
Burke is very sensitive and Ricky is a bit like a (I apologise for using this, but I really couldn't find any other words that would fit!) bull in a china shop! He wants Burke, balls and all, and Burke just wants to be wooed.
I'm loving these books. They really are perfect for just having a quick, slightly silly read. Smexy, yes but with humour, and a touch of drama.
The monsters are still about, and no one knows who they are, but Max has a clue who they might be. I'm looking forward to finding out!
Book 3 is set up nicely, with that one about Apollo, another lion like Max and a rather grumpy rhubarb stalk!
4 insane stars (cos, I mean, where do they get these ideas from!)
*same worded review will appear elsewhere
This is book 2 in The Rhubarb Effect series, and you should probably read Sticky for You, book 1, before this one. There is a bit of an ongoing story arc and that book sets the scene for this one. And you know, it's a FUN read!
As is this one! THis is Ricky and Burke's story. Ricky is a pole dancing rhubarb stalk and Burke is a mini bull. There are lots and LOTS of one liners in this book. Full of rhubarb jokes again, but also with poles, and balls and bull jokes. SOme very funny moments, but also some emotional ones.
Burke is very sensitive and Ricky is a bit like a (I apologise for using this, but I really couldn't find any other words that would fit!) bull in a china shop! He wants Burke, balls and all, and Burke just wants to be wooed.
I'm loving these books. They really are perfect for just having a quick, slightly silly read. Smexy, yes but with humour, and a touch of drama.
The monsters are still about, and no one knows who they are, but Max has a clue who they might be. I'm looking forward to finding out!
Book 3 is set up nicely, with that one about Apollo, another lion like Max and a rather grumpy rhubarb stalk!
4 insane stars (cos, I mean, where do they get these ideas from!)
*same worded review will appear elsewhere
Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
Andy K (10823 KP) rated Creed (2015) in Movies
Jun 15, 2019
Local Philadelphia retired boxing legend Rocky Balboa is persuaded by up and coming young protege and son to his former adversary and friend, Apollo Creed, to reenter the ring this time as a trainer to mentor the young man. Everyone is Rocky's life has left him at this point so he is alone working at a successful restaurant. After some hesitation, Rocky agrees to take on the training challenge.
Creed initially has desire to make a name for himself on his own terms trying to disown his father's legacy. When it is discovered who he truly is, he is forced to embrace his family's tradition in order to secure an important early fight in his career.
The film hit all the generic plot points for a movies like this with n huge surprises, but that is not a complaint. The characters are well written and the dialogue seems genuine. It's great to see Stallone resurrect the role that made him a star in 1976 with a freshness which is exuded while he takes on his new pupil.
It;s hard to believe so much time has passed since we have seen Rocky and how his life has changed in the process. He seems like a broken man having outlived all the people which meant most to him in his life.
The boxing scenes are well put together and grounded in reality having some real professionals onscreen like famous sportscasters and boxing personalities.
You are never bored while watching and thoroughly entertained by the training montages.
Creed initially has desire to make a name for himself on his own terms trying to disown his father's legacy. When it is discovered who he truly is, he is forced to embrace his family's tradition in order to secure an important early fight in his career.
The film hit all the generic plot points for a movies like this with n huge surprises, but that is not a complaint. The characters are well written and the dialogue seems genuine. It's great to see Stallone resurrect the role that made him a star in 1976 with a freshness which is exuded while he takes on his new pupil.
It;s hard to believe so much time has passed since we have seen Rocky and how his life has changed in the process. He seems like a broken man having outlived all the people which meant most to him in his life.
The boxing scenes are well put together and grounded in reality having some real professionals onscreen like famous sportscasters and boxing personalities.
You are never bored while watching and thoroughly entertained by the training montages.
BookInspector (124 KP) rated Summer at Sandcastle Cottage in Books
Jul 1, 2021
This book is told from multiple perspectives, Kitty, Apollo and Jemini are sharing their thoughts and feelings. I really liked not only the main characters but all characters mentioned in this book. They all are very realistic, unique and incredibly funny. The protagonists had a difficult past, but I am happy about their present life.
The narrative was very entertaining and enjoyable. I really enjoyed the little twists and turns, that the author incorporated into this novel. The topics discussed in this book were difficult relationships, everyday life, racism, looking for love, friendships and plenty more. One thing that really annoyed me is the term “politically correct” used in multiple places throughout this book. I don’t think it was needed and it irked me a lot.
I absolutely loved the setting of this book. I would love to spend holidays in a place like Firefly Common, where you can go to the beach and enjoy idyllic walks. The book is set during summer, so it was a great escape to somewhere nice during the lockdown. The chapters of the book have medium length, but the story is very entertaining and the pages just fly by. The ending was quite predictable, but I liked the way this story was concluded. There is a short story/prequel to this book called Christmas At Sandcastle Cottage. I haven’t read it, but I hope it would explain the past situations of the main characters better.
So, to conclude, I really enjoyed this funny, romantic novel, filled with intriguing and humorous characters as well as the plot that takes you to a beautiful place and makes you believe in a better life.
The narrative was very entertaining and enjoyable. I really enjoyed the little twists and turns, that the author incorporated into this novel. The topics discussed in this book were difficult relationships, everyday life, racism, looking for love, friendships and plenty more. One thing that really annoyed me is the term “politically correct” used in multiple places throughout this book. I don’t think it was needed and it irked me a lot.
I absolutely loved the setting of this book. I would love to spend holidays in a place like Firefly Common, where you can go to the beach and enjoy idyllic walks. The book is set during summer, so it was a great escape to somewhere nice during the lockdown. The chapters of the book have medium length, but the story is very entertaining and the pages just fly by. The ending was quite predictable, but I liked the way this story was concluded. There is a short story/prequel to this book called Christmas At Sandcastle Cottage. I haven’t read it, but I hope it would explain the past situations of the main characters better.
So, to conclude, I really enjoyed this funny, romantic novel, filled with intriguing and humorous characters as well as the plot that takes you to a beautiful place and makes you believe in a better life.