Search
Search results
Deep Calleth Upon Deep by Satyricon
Album Watch
Only one duo is able to evoke sinister settings like the world of bleak woods lurking behind...
metal
BeFunky Pro - Photo Editor and Collage Maker
Photo & Video and Productivity
App
Photo Editor by BeFunky. Anything you want to do to your photo, you can do with BeFunkyPro! With all...
Lucy Buglass (45 KP) rated Velvet Buzzsaw (2019) in Movies
Jun 20, 2019
Ever since Netflix have proven themselves as a fantastic streaming platform, everyone gets hyped about their ‘Originals’. Velvet Buzzsaw was no exception, and when the first trailer dropped I was so excited to watch it. Everything about it seemed great; it was written and directed by Dan Gilroy (the guy who gave us the fantastic Nightcrawler), and the cast was incredible. Who could say no to Jake Gyllenhaal, Rene Russo AND Toni Collette? Not me. Unfortunately, this wonderful mix didn’t live up to my expectations at all and left me feeling very disappointed.
The main issue I had with Velvet Buzzsaw is that the pacing is horrendously slow. The first 45 minutes felt like nothing but exposition, when it was a relatively simple concept for the audience to grasp. The film follows a bunch of art critics, artists and patrons of the arts as they uncover a series of paintings from an unknown artist. However, they’re not your normal paintings because a supernatural force lurks within them waiting to enact revenge. That’s it, that’s the synopsis. So why waste so much screen time dragging things out? The trailer made this look like a fast paced, intense thriller, but the reality is nothing like that.
It’s a shame the pacing and screenplay is so weak, because Velvet Buzzsaw does have a few redeeming features. The quality of acting is very good, and visually it’s beautiful to look at, particularly the locations and the paintings that appear throughout. I especially enjoyed the characters Rhodora Haze (Rene Russo) and Gretchen (Toni Collette), as they embody the typically powerful, ruthless and bitchy personas one would expect from this industry. They satirise art lovers perfectly, which is partially why I haven’t rated this film lower. In all honesty, these actors deserved better than the script they were dealt, and it’s a shame such talent was wasted here. I’m having trouble understanding how you can take such an interesting concept and brilliant actors, and make it so boring.
Even the inevitable death scenes are pretty dull, and play like a straight to TV horror film that doesn’t quite hit the mark. Velvet Buzzsaw fails to execute any sort of suspense, or even terror, so when people eventually die you’re just sat there like “Huh, is that it?”. After such a slow first act, you expect some kind of payoff, but it never arrives. Again, the trailer had some pretty scary moments that made me expect a few jump scares or intense moments. I’m confused about why this was even marketed as a horror-thriller, when it lacks so many of the aspects that make both those genres great. I didn’t feel scared at all, and even when the characters we were supposed to hate met their demise, there was no morbid satisfaction in it. To be completely honest, I was apathetic towards the whole thing. I just wanted it to end.
If you are a fan of slow-burning films that take a while to get going, then you might enjoy Velvet Buzzsaw more than I did. I don’t necessarily have a problem with these types of films, but you still need to keep the audience gripped somehow. You need to give people a reason to keep watching.
Gilroy’s attempt to show the horrors of the art world falls flat, and certainly doesn’t live up to the expectations based on the success of Nightcrawler. Part of me even wondered how this was the same man, it felt so vastly different to his other work. Netflix Originals rarely let me down, but this time, they really did.
https://jumpcutonline.co.uk/review-velvet-buzzsaw-2019/
The main issue I had with Velvet Buzzsaw is that the pacing is horrendously slow. The first 45 minutes felt like nothing but exposition, when it was a relatively simple concept for the audience to grasp. The film follows a bunch of art critics, artists and patrons of the arts as they uncover a series of paintings from an unknown artist. However, they’re not your normal paintings because a supernatural force lurks within them waiting to enact revenge. That’s it, that’s the synopsis. So why waste so much screen time dragging things out? The trailer made this look like a fast paced, intense thriller, but the reality is nothing like that.
It’s a shame the pacing and screenplay is so weak, because Velvet Buzzsaw does have a few redeeming features. The quality of acting is very good, and visually it’s beautiful to look at, particularly the locations and the paintings that appear throughout. I especially enjoyed the characters Rhodora Haze (Rene Russo) and Gretchen (Toni Collette), as they embody the typically powerful, ruthless and bitchy personas one would expect from this industry. They satirise art lovers perfectly, which is partially why I haven’t rated this film lower. In all honesty, these actors deserved better than the script they were dealt, and it’s a shame such talent was wasted here. I’m having trouble understanding how you can take such an interesting concept and brilliant actors, and make it so boring.
Even the inevitable death scenes are pretty dull, and play like a straight to TV horror film that doesn’t quite hit the mark. Velvet Buzzsaw fails to execute any sort of suspense, or even terror, so when people eventually die you’re just sat there like “Huh, is that it?”. After such a slow first act, you expect some kind of payoff, but it never arrives. Again, the trailer had some pretty scary moments that made me expect a few jump scares or intense moments. I’m confused about why this was even marketed as a horror-thriller, when it lacks so many of the aspects that make both those genres great. I didn’t feel scared at all, and even when the characters we were supposed to hate met their demise, there was no morbid satisfaction in it. To be completely honest, I was apathetic towards the whole thing. I just wanted it to end.
If you are a fan of slow-burning films that take a while to get going, then you might enjoy Velvet Buzzsaw more than I did. I don’t necessarily have a problem with these types of films, but you still need to keep the audience gripped somehow. You need to give people a reason to keep watching.
Gilroy’s attempt to show the horrors of the art world falls flat, and certainly doesn’t live up to the expectations based on the success of Nightcrawler. Part of me even wondered how this was the same man, it felt so vastly different to his other work. Netflix Originals rarely let me down, but this time, they really did.
https://jumpcutonline.co.uk/review-velvet-buzzsaw-2019/
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)
Anti-stress Coloring Book Calm
Book and Games
App
Coloring Book for adults #HoliColoring. Your mandala, pleasantly relaxes after a hard day, soothing...
Harvey Penson (7 KP) rated The Revenant (2015) in Movies
Jul 12, 2017
Fantastic Cinematic Experience
Films are works of art, pieces not to be taken for granted, unless they are ones that want to be taken for granted. There is a new term for the word masterpiece…Revenant!!
Unbelievable, breath taking, exhilarating, these descriptions are not enough to describe this wonderful movie.
When left for dead by the rest of his military group, Hugh Glass (DiCaprio) must look death in the face and battle great woodlands to seek vengeance on the one who betrayed him. DiCaprio is mind blowing in his performance that looks so convincing, you’ll believe he actually went through it. You do not recognize this man at all in his performance, there is no sign of Belfort, Jack Dawson, or Cobb, DiCaprio shows us a completely new person, you won’t believe he is even an actor.
FWI I am being deadly serious here, not joking at all.
One of the most unique parts of the film, is the use in cinematography, the most effective, and beautiful use I have ever seen. So huge hats off to Emmanuel Lubezki. It pulls you in to the film, and you completely feel the rush of the film through your body.
Alejandro González Iñárritu has pulled of another remarkable, and stunning piece of cinema, that will take you to a whole new world of film. It may be long, but every moment pulls you closer.
This truly is the most amazing, beautiful, and unbelievable film I have ever seen, and is now close to becoming the best. It’s a whole new experience and must be viewed in cinemas. It’s a complete 10/10, and must be viewed by all film fans.
Unbelievable, breath taking, exhilarating, these descriptions are not enough to describe this wonderful movie.
When left for dead by the rest of his military group, Hugh Glass (DiCaprio) must look death in the face and battle great woodlands to seek vengeance on the one who betrayed him. DiCaprio is mind blowing in his performance that looks so convincing, you’ll believe he actually went through it. You do not recognize this man at all in his performance, there is no sign of Belfort, Jack Dawson, or Cobb, DiCaprio shows us a completely new person, you won’t believe he is even an actor.
FWI I am being deadly serious here, not joking at all.
One of the most unique parts of the film, is the use in cinematography, the most effective, and beautiful use I have ever seen. So huge hats off to Emmanuel Lubezki. It pulls you in to the film, and you completely feel the rush of the film through your body.
Alejandro González Iñárritu has pulled of another remarkable, and stunning piece of cinema, that will take you to a whole new world of film. It may be long, but every moment pulls you closer.
This truly is the most amazing, beautiful, and unbelievable film I have ever seen, and is now close to becoming the best. It’s a whole new experience and must be viewed in cinemas. It’s a complete 10/10, and must be viewed by all film fans.
RəX Regent (349 KP) rated The Adjustment Bureau (2011) in Movies
Mar 7, 2019
No Adjustment Necessary
Contains spoilers, click to show
Is it just me, or is Matt Damon just getting better and better? He is developing into a well-rounded actor, with a definite ability to draw in his audience and deliver some great performances. In this, Damon is a would-be Senator who meets a falls in love with Emily Blunt, a modern ballet dancer.
Meanwhile it quickly becomes clear that the world is being organised by a group of shady men in 50's suits and hats, don't forget the hats, who 'Adjust' Peoples life paths to adhere to the grand plan. Unfortunately for the star-crossed lovers, they are not meant to be together and the they must ultimately challenge them to pursue their own fate.
Philip K. Dick is a strange and often wonderful sci-fi novelist, whose work has often been adapted for the screen, with the likes of Bladerunner, Total Recall, Minority Report and more recently, and I believe more faithfully In A Scanner Darkly.
The cinematography, art direction and ultimately the direction as a whole was very stylised without becoming uncomfortable or otherworldly, which I think was quite an achievement.
This has been referred to by other critics as 'Inception light', and though I can recognise a vague comparison, I wouldn't like to compare them myself. This was an interesting science fiction story, dealing with deep ideas in a lighter and ultimately more palatable way. Damon and Blunt were both enjoyable to watch as their romance blossomed, though be it in small vignettes, and the shady men themselves were often amusing if not outright funny.
There is nothing particularly new for fans of the genre, and though it is not as deep or intense as Bladerunner, this is certainly a nice addition to the Philip K. Dick movie cannon and it's always great to see a decent Sci-Fi film.
Meanwhile it quickly becomes clear that the world is being organised by a group of shady men in 50's suits and hats, don't forget the hats, who 'Adjust' Peoples life paths to adhere to the grand plan. Unfortunately for the star-crossed lovers, they are not meant to be together and the they must ultimately challenge them to pursue their own fate.
Philip K. Dick is a strange and often wonderful sci-fi novelist, whose work has often been adapted for the screen, with the likes of Bladerunner, Total Recall, Minority Report and more recently, and I believe more faithfully In A Scanner Darkly.
The cinematography, art direction and ultimately the direction as a whole was very stylised without becoming uncomfortable or otherworldly, which I think was quite an achievement.
This has been referred to by other critics as 'Inception light', and though I can recognise a vague comparison, I wouldn't like to compare them myself. This was an interesting science fiction story, dealing with deep ideas in a lighter and ultimately more palatable way. Damon and Blunt were both enjoyable to watch as their romance blossomed, though be it in small vignettes, and the shady men themselves were often amusing if not outright funny.
There is nothing particularly new for fans of the genre, and though it is not as deep or intense as Bladerunner, this is certainly a nice addition to the Philip K. Dick movie cannon and it's always great to see a decent Sci-Fi film.
BookwormMama14 (18 KP) rated A Song Unheard (Shadows Over England, #2) in Books
Jan 2, 2019
Roseanna's books continue to completely blow my mind! Filled with so much heart-wrenching, heart-stopping, heart-melting events that it literally takes DAYS to recover. My poor heart can't handle any more at the moment. That being said...YOU NEED TO READ THIS SERIES!!! (Start with Book One, A Name Unknown) Set during the beginning of World War I we see a different side of the war than what we may be used to. The Belgium Orchestra Relief Fund...Based in Wales. So.Much.Music! I LOVE it!!!
One of the aspects of this story that struck me in the heart, is the fact that God KNOWS us. And He will speak to us in a unique and individual way that will grip our heart and MEAN SOMETHING to us. For me personally, God uses books, songs, art, and dance...pretty much anything in the 'arts'...to speak life and truth into my life. For Willa...well...you will have to wait and see.
Lukas and Willa create the perfect romantic tension and reminds us that no one is beyond saving. I absolutely adore Margot (Lukas's sister) and am so glad that we also get to see this story from her perspective in Brussels. Her brilliant mind and unique gift for "puzzles" adds a whole different layer to the story. It just goes to show, that when God has given us a gift, there are numerous ways that we can use it to help others and glorify Him.
If you love romance, mystery, history, and have a soft spot for music...You will fall in love with Lukas, Margot, and Willa and her "family" in a heartbeat.
I received a complimentary copy of A Song Unheard from the publishers. I was not required to write a positive review. All opinions expressed are mine alone.
One of the aspects of this story that struck me in the heart, is the fact that God KNOWS us. And He will speak to us in a unique and individual way that will grip our heart and MEAN SOMETHING to us. For me personally, God uses books, songs, art, and dance...pretty much anything in the 'arts'...to speak life and truth into my life. For Willa...well...you will have to wait and see.
Lukas and Willa create the perfect romantic tension and reminds us that no one is beyond saving. I absolutely adore Margot (Lukas's sister) and am so glad that we also get to see this story from her perspective in Brussels. Her brilliant mind and unique gift for "puzzles" adds a whole different layer to the story. It just goes to show, that when God has given us a gift, there are numerous ways that we can use it to help others and glorify Him.
If you love romance, mystery, history, and have a soft spot for music...You will fall in love with Lukas, Margot, and Willa and her "family" in a heartbeat.
I received a complimentary copy of A Song Unheard from the publishers. I was not required to write a positive review. All opinions expressed are mine alone.
Gareth von Kallenbach (980 KP) rated The Neon Demon (2016) in Movies
Aug 6, 2019
A combination that looks like it may be a vapid display of glitz and garbage, the trailers for “Neon Demon” don’t dare give away just how far this film will take audiences.
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”