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Sarah (7798 KP) rated Normal People in Books
Jan 9, 2019 (Updated Jan 9, 2019)
An adorable yet frustrating love story
I always enjoy reading books that are based around the most banal and ordinary of plots, yet are still hugely entertaining and enthralling. I think it takes a great author to make a plot like this rise above just average and readable, to something you can’t put down. And Sally Rooney really succeeds with this book.
It’s just a normal romance between two teenagers in Ireland, whose stories and family lives aren’t anything exceptional and are no doubt similar to many others, yet Sally Rooney has turned this into an adorable and un-putdownable read. There’s something so sweet and yet bleak and dark about this story that I really struggled to put it down. The central characters of Connell and Marianne are well developed yet flawed, and I’m sure many people could relate to them. I really enjoyed the twists and turns and changes in their relationship as the story progressed. The book itself is for the most part well written. It has a good structure and I liked how each chapter skips ahead a few months. My only issue with the writing is that I dislike how the dialogue hasn’t been separated out from the rest of the narrative. Since when is it acceptable to not separate dialogue and conversation between characters using speech marks etc? It made reading some of the conversation a little difficult at times. I’m not sure why books that tend to win awards and accolades do so by having questionable punctuation and prose... I’m also not too sure about the ending. It was unsatisfying and felt like the characters were never going to change or advance. But despite this, I really did think this was a great book.
It’s just a normal romance between two teenagers in Ireland, whose stories and family lives aren’t anything exceptional and are no doubt similar to many others, yet Sally Rooney has turned this into an adorable and un-putdownable read. There’s something so sweet and yet bleak and dark about this story that I really struggled to put it down. The central characters of Connell and Marianne are well developed yet flawed, and I’m sure many people could relate to them. I really enjoyed the twists and turns and changes in their relationship as the story progressed. The book itself is for the most part well written. It has a good structure and I liked how each chapter skips ahead a few months. My only issue with the writing is that I dislike how the dialogue hasn’t been separated out from the rest of the narrative. Since when is it acceptable to not separate dialogue and conversation between characters using speech marks etc? It made reading some of the conversation a little difficult at times. I’m not sure why books that tend to win awards and accolades do so by having questionable punctuation and prose... I’m also not too sure about the ending. It was unsatisfying and felt like the characters were never going to change or advance. But despite this, I really did think this was a great book.
Marylegs (44 KP) rated No Man Can Tame (The Dark-Elves of Nightbloom, #1) in Books
Aug 14, 2019
So, I have been in a bit of a book slump this year. I work hard. I have a two year old. I just don't have the time or the brain power for the types of books I used to read. 800 page epic novels are just too taxing on my time presently. Until I have the time like I use to, I want instant gratification from the books I read.
Now when I say this book is trash, I don't mean the story is rubbish. Far from it I thoroughly enjoyed reading it. What I mean is it isn't 'high' fiction, its probably not going to win any awards. What is is though, is a simple to read, quick paced, sexy book. I am not going to drag out descriptions about the characters and any flaws they may have had in character development (there were some, if I am to be anyway critical). I have read much much much worse books by 'high quality' authors. This was at it's simplest form a book that I have enjoyed reading. I enjoyed it so much that i will most likely read any future novels.
I also feel like it actually wouldn't take too much for this story to actually become 'high' fiction. but when a book it this short there is only so much character and world building that can be done. If it were ever re-edited to be expanded, would I read it again.... yes. The skeleton of the story is very good. but it is at present definitely a book written to get as quick as it can to the juicy (sexy) parts. some good shameless smut is included. So if you aren't into that, this is not the book for you.
This book well and truly got me out of my reading slump.
Now when I say this book is trash, I don't mean the story is rubbish. Far from it I thoroughly enjoyed reading it. What I mean is it isn't 'high' fiction, its probably not going to win any awards. What is is though, is a simple to read, quick paced, sexy book. I am not going to drag out descriptions about the characters and any flaws they may have had in character development (there were some, if I am to be anyway critical). I have read much much much worse books by 'high quality' authors. This was at it's simplest form a book that I have enjoyed reading. I enjoyed it so much that i will most likely read any future novels.
I also feel like it actually wouldn't take too much for this story to actually become 'high' fiction. but when a book it this short there is only so much character and world building that can be done. If it were ever re-edited to be expanded, would I read it again.... yes. The skeleton of the story is very good. but it is at present definitely a book written to get as quick as it can to the juicy (sexy) parts. some good shameless smut is included. So if you aren't into that, this is not the book for you.
This book well and truly got me out of my reading slump.
Bong Mines Entertainment (15 KP) rated Symbolism by Caracol in Music
Jul 10, 2019
Caracol is a bilingual singer-songwriter based in Montreal, Canada. Not too long ago, she released a music video for her “Flooded Field” single featuring Illa J (brother of the late Jay Dilla).
“I could be your island. Headlights in the distance reaching out in silence if you won’t tell me how the water came. How can I really get you out of it? Your heart is a flooded field. Tell me what it means. Don’t know how to get to you.” – lyrics
‘Flooded Field’ tells an interesting tale of a supportive woman who wants to comfort her significant other.
Apparently, he has built a wall, so she doesn’t know how to get to him. But she has patience, therefore, she urges him to open up so she can nurture him with love.
‘Flooded Field’ contains a relatable storyline, ear-welcoming vocals, and groovy instrumentation flavored with an electro-reggae aroma.
‘Flooded Field’ is a featured track on Caracol’s latest album, entitled, “Symbolism”.
The 11-track project sums up her past musical experiences and her beginnings as a percussionist and back-up singer in reggae bands.
Also, it highlights her work as a sound engineer in film music and her presence in the songwriting community and pop music writing camps.
Her “Symbolism” adventure began when she met producer Joey Waronker during a creative trip to Los Angeles.
After falling in love with her demos, he decided to work with her, and during the recording process, Caracol reached new heights.
Caracol was recently nominated at the Canadian Indie Awards in the Electronic Artist of the Year category.
Her music influences include Santigold, Lykke Li, Grimes, Beach House, Wild Belle, and Portishead.
“I could be your island. Headlights in the distance reaching out in silence if you won’t tell me how the water came. How can I really get you out of it? Your heart is a flooded field. Tell me what it means. Don’t know how to get to you.” – lyrics
‘Flooded Field’ tells an interesting tale of a supportive woman who wants to comfort her significant other.
Apparently, he has built a wall, so she doesn’t know how to get to him. But she has patience, therefore, she urges him to open up so she can nurture him with love.
‘Flooded Field’ contains a relatable storyline, ear-welcoming vocals, and groovy instrumentation flavored with an electro-reggae aroma.
‘Flooded Field’ is a featured track on Caracol’s latest album, entitled, “Symbolism”.
The 11-track project sums up her past musical experiences and her beginnings as a percussionist and back-up singer in reggae bands.
Also, it highlights her work as a sound engineer in film music and her presence in the songwriting community and pop music writing camps.
Her “Symbolism” adventure began when she met producer Joey Waronker during a creative trip to Los Angeles.
After falling in love with her demos, he decided to work with her, and during the recording process, Caracol reached new heights.
Caracol was recently nominated at the Canadian Indie Awards in the Electronic Artist of the Year category.
Her music influences include Santigold, Lykke Li, Grimes, Beach House, Wild Belle, and Portishead.
ClareR (5674 KP) rated We Begin at the End in Books
Apr 17, 2020
We Begin at the End is described as a crime thriller, but it’s so much more than that.
At 15 years of age, Vincent King is sent to an adult prison for the murder of Sissie Radley. He doesn’t dispute this - he was driving the car, he didn’t realise he’d hit her, but he had hit her all the same. He goes to prison for 30 years, leaving his best friend Walk, and his girl friend Star Radley, Sissie’s sister, behind. Thirty years later, he’s released and returns to his hometown and his parents house.
In the meantime, Star has had two children: Duchess and Robin. Star clearly has problems with alcohol, and Duchess often has to look after her when she’s incapable of looking after herself. She also takes care of her younger brother, Robin s a mother would.
I don’t actually want to go in to too much detail, because there’s a lot of detail to go in to! Suffice it to say, that when I wasn’t reading this, I was thinking about it. It’s a beautifully written, melancholy story, and I became so attached to the main characters: not just the children, but also Walk, the Sheriff, and Vincent King himself. There are so many twists and turns. Just when you think you know what’s happening, something else comes along and changes everything. And the ending broke my heart! I spent the last Pigeonhole instalment blinking away the tears so that I could read it. If this book doesn’t win awards, then something is very wrong with the world! Wonderful, wonderful writing.
Many thanks to The Pigeonhole for serialising this book, and for Chris Whitaker for popping in now and again to answer questions. It has been one of my favourite Pigeonhole books.
At 15 years of age, Vincent King is sent to an adult prison for the murder of Sissie Radley. He doesn’t dispute this - he was driving the car, he didn’t realise he’d hit her, but he had hit her all the same. He goes to prison for 30 years, leaving his best friend Walk, and his girl friend Star Radley, Sissie’s sister, behind. Thirty years later, he’s released and returns to his hometown and his parents house.
In the meantime, Star has had two children: Duchess and Robin. Star clearly has problems with alcohol, and Duchess often has to look after her when she’s incapable of looking after herself. She also takes care of her younger brother, Robin s a mother would.
I don’t actually want to go in to too much detail, because there’s a lot of detail to go in to! Suffice it to say, that when I wasn’t reading this, I was thinking about it. It’s a beautifully written, melancholy story, and I became so attached to the main characters: not just the children, but also Walk, the Sheriff, and Vincent King himself. There are so many twists and turns. Just when you think you know what’s happening, something else comes along and changes everything. And the ending broke my heart! I spent the last Pigeonhole instalment blinking away the tears so that I could read it. If this book doesn’t win awards, then something is very wrong with the world! Wonderful, wonderful writing.
Many thanks to The Pigeonhole for serialising this book, and for Chris Whitaker for popping in now and again to answer questions. It has been one of my favourite Pigeonhole books.
Edgar Wright recommended Knives Out (2019) in Movies (curated)
Bong Mines Entertainment (15 KP) rated Underground - Single by Lindsey Stirling in Music
Jun 25, 2019
Lindsey Stirling is an electronic violinist based in Los Angeles, California. Not too long ago, she released a music video for her “Underground” single.
The Tom Teller-directed music video finds Lindsey Stirling inside a futuristic dystopia which features neon lights and acrobatic dancers.
Her “Underground” single contains adventurous instrumentation centered around her immaculate violin performance.
Also, the four-and-half-minute tune is a somber and enticing introduction to her upcoming studio album, entitled, “Artemis”.
“There have been times of my life where I have felt completely overcome by the ‘shadow’ of grief or depression. I felt like I’d never feel full happiness again. But the moon has taught me a powerful lesson. Just because she gets covered in shadow doesn’t mean she isn’t still there, and that she won’t fight back to reclaim her full light. Also, Artemis is the goddess of the moon. This album tells her story. It tells my story. I think it tells everyone’s story.” – Lindsey Stirling
‘Artemis’ will be available on September 6, 2019, via BMG. The anticipated project will tackle themes of overcoming obstacles and fighting through life’s downfalls to reclaim one’s happiness and strength.
Also, it recounts the story of Artemis, Goddess of the Moon, whose life uniquely draws parallels to Stirling’s personal experiences.
Lindsey Stirling is internationally recognized for her performances on America’s Got Talent and Dancing With The Stars.
As a solo artist, she has amassed well over 11M YouTube subscribers and 2 billion-plus YouTube streams. Also, she has won multiple Billboard Music Awards since releasing her self-titled debut album in 2012.
According to Billboard, in 2016, Stirling was the highest grossing Electronic Artist. Ahead of headlining acts like The Chainsmokers, Flume, and Kygo. Also, she’s a New York Times Bestselling author, and she was featured in Forbes ’30 Under 30’ list.
The Tom Teller-directed music video finds Lindsey Stirling inside a futuristic dystopia which features neon lights and acrobatic dancers.
Her “Underground” single contains adventurous instrumentation centered around her immaculate violin performance.
Also, the four-and-half-minute tune is a somber and enticing introduction to her upcoming studio album, entitled, “Artemis”.
“There have been times of my life where I have felt completely overcome by the ‘shadow’ of grief or depression. I felt like I’d never feel full happiness again. But the moon has taught me a powerful lesson. Just because she gets covered in shadow doesn’t mean she isn’t still there, and that she won’t fight back to reclaim her full light. Also, Artemis is the goddess of the moon. This album tells her story. It tells my story. I think it tells everyone’s story.” – Lindsey Stirling
‘Artemis’ will be available on September 6, 2019, via BMG. The anticipated project will tackle themes of overcoming obstacles and fighting through life’s downfalls to reclaim one’s happiness and strength.
Also, it recounts the story of Artemis, Goddess of the Moon, whose life uniquely draws parallels to Stirling’s personal experiences.
Lindsey Stirling is internationally recognized for her performances on America’s Got Talent and Dancing With The Stars.
As a solo artist, she has amassed well over 11M YouTube subscribers and 2 billion-plus YouTube streams. Also, she has won multiple Billboard Music Awards since releasing her self-titled debut album in 2012.
According to Billboard, in 2016, Stirling was the highest grossing Electronic Artist. Ahead of headlining acts like The Chainsmokers, Flume, and Kygo. Also, she’s a New York Times Bestselling author, and she was featured in Forbes ’30 Under 30’ list.
Emma @ The Movies (1786 KP) rated Nativity Rocks! (2018) in Movies
Sep 25, 2019
It's becoming a habit for me that I haven't seen previous films in franchises, I apologise, at some point I'll find the time to get them all in. I'm led to believe that the Nativity films are all very similar in concept though.
Nativity Rock! is what would happen if School Of Rock did a Christmas remix, and it was definitely an enthusiastic way to edge into Christmas.
The jokes flow quite freely and Jerry spends basically his entire time being the comedy relief. His childish character became frustrating fairly quickly, but I can't argue with the fact he was amusing. I really need to find out how to do the invisible dog trick he's mastered.
What occurred to me quite quickly is that this film is ridiculous. There are story lines aplenty. All equally implausible. Some that seemingly defy the laws of time and motion when it comes to geography. Where they all needed? Probably not.
As far as the cast goes it's a wide group of familiar faces who generally do a good job of their parts... but even as a villain Craig Revel Horwood is just terrible, what is he even famous for?
There won't be awards waiting for this one, it doesn't have a massive amount going for it apart from the fact it's entertaining. I spent most of my time smiling and tapping my foot. It's not a masterpiece but it'll make a good Christmas diversion.
What you should do
If you're looking for a festive family outing then this isn't a bad option. I'd pick it second to The Grinch but I think either way the kids will have a good time.
Movie thing you wish you could take home
Jerry's unrelenting optimism, mine occasionally fluctuates.
Nativity Rock! is what would happen if School Of Rock did a Christmas remix, and it was definitely an enthusiastic way to edge into Christmas.
The jokes flow quite freely and Jerry spends basically his entire time being the comedy relief. His childish character became frustrating fairly quickly, but I can't argue with the fact he was amusing. I really need to find out how to do the invisible dog trick he's mastered.
What occurred to me quite quickly is that this film is ridiculous. There are story lines aplenty. All equally implausible. Some that seemingly defy the laws of time and motion when it comes to geography. Where they all needed? Probably not.
As far as the cast goes it's a wide group of familiar faces who generally do a good job of their parts... but even as a villain Craig Revel Horwood is just terrible, what is he even famous for?
There won't be awards waiting for this one, it doesn't have a massive amount going for it apart from the fact it's entertaining. I spent most of my time smiling and tapping my foot. It's not a masterpiece but it'll make a good Christmas diversion.
What you should do
If you're looking for a festive family outing then this isn't a bad option. I'd pick it second to The Grinch but I think either way the kids will have a good time.
Movie thing you wish you could take home
Jerry's unrelenting optimism, mine occasionally fluctuates.
Matthew Krueger (10051 KP) rated Parasite (2019) in Movies
Aug 21, 2020
the depiction of the rich and poor. (2 more)
The depiction of class conflict.
The depiction of social inequality.
overhyped (1 more)
strange and weird.
Just Strange Overall
Parasite- i heard excellent things about it, people rating it 9's and 10's. Calling it "one of the best movies of 2019", calling it "one of the best movies all of time". All of the hype, all of the rewards, all of the critcism, was it deserved well yes and no. Here is the thing the movie was okay. Bong Joon-Ho does a excellent depicking the rich and the poor. Other than that, the movie was hard to follow. Im not the biggest fan of foreign language films cause their are hard to follow. But i do like some foreign language films. One of my favorites is "Pans Labyrinith". "Cronos", "Let The Right One In", "The Orphanage", Juila's Eyes", "The Devil's Backbone" and "Thelma". Are all excellent Foreign langauge films. Its just this one i couldnt get into.
The plot: Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.
Should it got all of these awards, well yes and no. Like i said it does a excellent job depicking the rich from the poor, class conflict, social inequality and wealth disparity. Bong Joon-Ho did a excellent job wih the subject matter. Just for me it was kinda of boring, hard to follow and just strange. I dont if i should of gotten all of those rewards, i mean it was well desvered but their were better movies.
I know other loved this film, just me i didnt. Again this is my opinion. I just want people to know that. Watch it if you want to. Just the hype was overhyped for me.
The plot: Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.
Should it got all of these awards, well yes and no. Like i said it does a excellent job depicking the rich from the poor, class conflict, social inequality and wealth disparity. Bong Joon-Ho did a excellent job wih the subject matter. Just for me it was kinda of boring, hard to follow and just strange. I dont if i should of gotten all of those rewards, i mean it was well desvered but their were better movies.
I know other loved this film, just me i didnt. Again this is my opinion. I just want people to know that. Watch it if you want to. Just the hype was overhyped for me.
LeftSideCut (3778 KP) rated Pig (2021) in Movies
Nov 30, 2021
Nicolas Cage's placement within the zeitgeist is almost legendary at this point. His various unhinged performances over the decades have ensured that he's the go-to-guy for any movie with a whacky premise that needs a lead who will commit to the part, no matter how ludicrous. Pig is a film that has fallen a little foul of this. It's a film that had been mistakenly billed to me as "John Wick but with Nicolas Cage and a pig", a film that's very synopsis lends itself to the absurdity that surrounds Cage and his career.
The finished project however is an emotional and heartfelt triumph. For starters, the whole movie is shot beautifully with plenty of stunning cinematography on display. It verges into arthouse territory fairly regularly, but works hand in hand with the way the narrative chugs along, quite wonderfully.
The slower pace of proceedings is filled with great dialogue and great turns from the likes of Adam Arkin and the ever-reliable Alex Wolff, but make no mistake, Pig belongs to Cage 100%. His performance here is nothing short of fantastic. His character is layered, and aspects of him are slowly revealed as the story unfolds, and Cage delivers it all pretty flawlessly. No joke, probably his career highlight.
The tone is a rollercoaster, from optimism amongst sadness to flat out despair. The climactic scene in particular is an absolutly beautiful and emotional shit show, that lands perfectly thanks to its stellar cast.
Pig is a movie that I didn't expect to get me as much as it did. It's an incredibly competent, subtle, and well realised debut full-length feature from Michael Sarnoski, that I imagine will be criminally overlooked when awards season rolls around. Give Nicolas Cage an Oscar dammit!
The finished project however is an emotional and heartfelt triumph. For starters, the whole movie is shot beautifully with plenty of stunning cinematography on display. It verges into arthouse territory fairly regularly, but works hand in hand with the way the narrative chugs along, quite wonderfully.
The slower pace of proceedings is filled with great dialogue and great turns from the likes of Adam Arkin and the ever-reliable Alex Wolff, but make no mistake, Pig belongs to Cage 100%. His performance here is nothing short of fantastic. His character is layered, and aspects of him are slowly revealed as the story unfolds, and Cage delivers it all pretty flawlessly. No joke, probably his career highlight.
The tone is a rollercoaster, from optimism amongst sadness to flat out despair. The climactic scene in particular is an absolutly beautiful and emotional shit show, that lands perfectly thanks to its stellar cast.
Pig is a movie that I didn't expect to get me as much as it did. It's an incredibly competent, subtle, and well realised debut full-length feature from Michael Sarnoski, that I imagine will be criminally overlooked when awards season rolls around. Give Nicolas Cage an Oscar dammit!
Movie Metropolis (309 KP) rated Labor Day (2014) in Movies
Jun 11, 2019
Director Jason Reitman is no stranger to obtaining a few awards from his varied career, with films like Juno and Up in the Air under his belt, you would be forgiven for thinking that he could put himself on autopilot – however his latest offering Labor Day stays well clear of such drama.
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/