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The Uprising: Colonial State, Christian Missionaries, and Anti-Slavery Movement in North-East India (1908-1954)
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In 1908, a Welsh doctor named Peter Fraser turned down a lucrative job with the British government...
The Business Improvement District Movement: Contributions to Public Administration & Management
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This comprehensive book covers the theory and practice of Business Improvement Districts or BIDs -...
Bob Mann (459 KP) rated The Invisible Man (2020) in Movies
Jan 9, 2021
Elisabeth Moss - excellent performance (1 more)
Slowly creeping tension - clever camera work
Have you seen "The Invisible Man"?
Cecilia Kass (Elisabeth Moss) is trapped in a highly controlling and violent relationship with technology mogul Adrian Griffin (Oliver Jackson-Cohen). Escaping from his fortress-like home, she lives in fear of his retribution. So she is much relieved, if a little surprised, at the report of his suicide. Now living with old friend James Lanier (Aldis Hodge) and his teenage daughter Sydney (Storm Reid), Cecilia can finally start to relax. But as strange things start to happen, is the ghost of Griffin back to haunt her? Or is it really all in her rapidly disintegrating mind, as her sister Emily (Harriet Dyer) and James suspect?
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Bob Mann (459 KP) rated Nomadland (2020) in Movies
May 5, 2021
Frances McDormand - outstanding acting (2 more)
Cinematography
A novel slice of American alternative lifestyle
Don't exit with your sail-boat still in the driveway
"Nomadland" sees a widowed and depressed Fern (Frances McDormand) take what she needs from her lockup garage and head out on the road in her beat-up converted camper-van. Taking work wherever she can get it, she joins and befriends a similar set of 'nomads', all equally battered by life in different ways.
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
