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Bob Mann (459 KP) rated Dune (2021) in Movies
Oct 28, 2021
“He’s Not The Messiah – He’s a Very Naughty Boy!”
Certain works of fiction have been labelled with the tag of “unfilmable”, and Frank Herbert’s 1965 novel “Dune” is one of those. It’s full of exposition done as internal monologues – which screams “movie voiceover”. And regular readers will know my hatred of those!
Amazingly, Denis Villeneuve manages to pull off the impossible with his version of Dune (part 1), which I saw last night as part of a Cineworld Unlimited preview event. It’s close to being a movie masterpiece.
Plot Summary:
The desert planet of Arrakis is home to the Freman tribe but is a political battleground since it is the only known source of ‘Spice’: a substance that enables interplanetary travel.
Paul (Timothée Chalamet) is the heir to the throne of the House of Atreides, headed by his father Duke Leto Atreides (Oscar Isaac). His mother (Rebecca Ferguson) is Leto’s concubine and possessed with hereditary gifts: mystical powers that make her part of a sect of galactic ‘witches’ with mystical powers. But the House of Atreides is gaining in power, and the Emperor throws a political spanner into the works by evicting the vicious House of Harkonnen from Arrakis and giving it to Atreides. This puts both Houses on the path of war.
Certification:
US: PG-13. UK: 12A.
Talent:
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, Stellan Skarsgård, Josh Brolin, Javier Bardem, Dave Bautista, Charlotte Rampling.
Directed by: Denis Villeneuve.
Written by: Jon Spaihts, Denis Villeneuve and Eric Roth. (Based on the novel by Frank Herbert).
“Dune” Review: Positives:
My 5*’s for this one goes for the overall vision, which is grandiose with scenes that stick in the brain. As he demonstrated in “Arrival“, Villeneuve likes to go for huge spacecraft that hang “in the sky in much the same way that bricks don’t”*. And the ships in this vision are just HUGE.
The ensemble cast does a great job, with Chalamet, Isaac and Ferguson being particularly impressive. Stellan Skarsgård (looking like he is about to tell “a very amusing story about a goat”, if you get that movie reference!) looks to have the most gruelling acting job, having to emerge from, and descend into, a bath of black goo!
Much like Villeneuve’s “Blade Runner 2049“, this movie has cinematography that is worthy of framing and sticking on your wall. (Greig Fraser is the man behind the camera here).
Hans Zimmer‘s music is phenomenal. I’m not sure it’s a good ‘sit down and listen to’ sort of soundtrack, but it fits the movie beautifully.
* I used this Douglas Adams quote for my “Arrival” review, and then Mark Kermode used the same quote: I like to think he read my review!
Negatives:
It wasn’t a problem for me, but I expect some will consider the movie to be too much mood and not enough action. I’ve seen some comment that the film was “emotionally empty”: but I really didn’t feel that, and am well-invested in the story ready for “Part 2”.
This is probably faithful to the books, but given all of the advanced spacecraft technology on show, and laser/blaster technology, it seems bonkers that when we get to hand-to-hand combat between the armies that we get into “swords and sandals” territory.
Observation:
There’s nothing new under the Tatooine suns. And so much of this film has you linking the concepts back to “Star Wars”:
“The Force” is now “The Way”
The Jedi are the ‘Ben and Jerry Set’. (Well, that’s what it sounded like to me… and I don’t even like Ice Cream!)
Both films centre on a Messiah-like “chosen one”, foretold by legend
“Spice” also features in “Star Wars” with “spice runners” (as in the Millenium Falcon doing the ‘Kessel Run’)
There’s even a ‘pit of sarlaac’ moment in “Dune”.
Of course, since Frank Herbert wrote “Dune” in 1965, there’s a significant question as to who is plagiarising who here!
Summary Thoughts on “Dune”
At 2 hours 35 minutes, it’s YET ANOTHER long movie: cementing October 2021 as the month of long movies. (I just did a quick tally, and of the six films I’ve seen this month they average 139 minutes in length: and that’s with “Venom: Let There Be Carnage” dragging the average down!)
But this is a movie that MUST be seen on the big screen. It’s a memorable movie experience and highly recommended.
I can’t wait for Villeneuve’s “Part 2”, currently in pre-production.
Amazingly, Denis Villeneuve manages to pull off the impossible with his version of Dune (part 1), which I saw last night as part of a Cineworld Unlimited preview event. It’s close to being a movie masterpiece.
Plot Summary:
The desert planet of Arrakis is home to the Freman tribe but is a political battleground since it is the only known source of ‘Spice’: a substance that enables interplanetary travel.
Paul (Timothée Chalamet) is the heir to the throne of the House of Atreides, headed by his father Duke Leto Atreides (Oscar Isaac). His mother (Rebecca Ferguson) is Leto’s concubine and possessed with hereditary gifts: mystical powers that make her part of a sect of galactic ‘witches’ with mystical powers. But the House of Atreides is gaining in power, and the Emperor throws a political spanner into the works by evicting the vicious House of Harkonnen from Arrakis and giving it to Atreides. This puts both Houses on the path of war.
Certification:
US: PG-13. UK: 12A.
Talent:
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, Stellan Skarsgård, Josh Brolin, Javier Bardem, Dave Bautista, Charlotte Rampling.
Directed by: Denis Villeneuve.
Written by: Jon Spaihts, Denis Villeneuve and Eric Roth. (Based on the novel by Frank Herbert).
“Dune” Review: Positives:
My 5*’s for this one goes for the overall vision, which is grandiose with scenes that stick in the brain. As he demonstrated in “Arrival“, Villeneuve likes to go for huge spacecraft that hang “in the sky in much the same way that bricks don’t”*. And the ships in this vision are just HUGE.
The ensemble cast does a great job, with Chalamet, Isaac and Ferguson being particularly impressive. Stellan Skarsgård (looking like he is about to tell “a very amusing story about a goat”, if you get that movie reference!) looks to have the most gruelling acting job, having to emerge from, and descend into, a bath of black goo!
Much like Villeneuve’s “Blade Runner 2049“, this movie has cinematography that is worthy of framing and sticking on your wall. (Greig Fraser is the man behind the camera here).
Hans Zimmer‘s music is phenomenal. I’m not sure it’s a good ‘sit down and listen to’ sort of soundtrack, but it fits the movie beautifully.
* I used this Douglas Adams quote for my “Arrival” review, and then Mark Kermode used the same quote: I like to think he read my review!
Negatives:
It wasn’t a problem for me, but I expect some will consider the movie to be too much mood and not enough action. I’ve seen some comment that the film was “emotionally empty”: but I really didn’t feel that, and am well-invested in the story ready for “Part 2”.
This is probably faithful to the books, but given all of the advanced spacecraft technology on show, and laser/blaster technology, it seems bonkers that when we get to hand-to-hand combat between the armies that we get into “swords and sandals” territory.
Observation:
There’s nothing new under the Tatooine suns. And so much of this film has you linking the concepts back to “Star Wars”:
“The Force” is now “The Way”
The Jedi are the ‘Ben and Jerry Set’. (Well, that’s what it sounded like to me… and I don’t even like Ice Cream!)
Both films centre on a Messiah-like “chosen one”, foretold by legend
“Spice” also features in “Star Wars” with “spice runners” (as in the Millenium Falcon doing the ‘Kessel Run’)
There’s even a ‘pit of sarlaac’ moment in “Dune”.
Of course, since Frank Herbert wrote “Dune” in 1965, there’s a significant question as to who is plagiarising who here!
Summary Thoughts on “Dune”
At 2 hours 35 minutes, it’s YET ANOTHER long movie: cementing October 2021 as the month of long movies. (I just did a quick tally, and of the six films I’ve seen this month they average 139 minutes in length: and that’s with “Venom: Let There Be Carnage” dragging the average down!)
But this is a movie that MUST be seen on the big screen. It’s a memorable movie experience and highly recommended.
I can’t wait for Villeneuve’s “Part 2”, currently in pre-production.
"The door slid open and Clarke knew it was time to die." What a way to start the book. Kass Morgan dives right into her storyline with an in-your-face opener. It took a bit of time before I, as the reader realized what this book was about. She began by setting up a number of characters, switching between perspectives, to quickly introduce you to the players. Those people who will have the biggest impact upon the storyline.
Each character is thrown into the mix, destined to be sent to Earth. The first in a long, long time. While not all make it, we are still treated with back stories and past relationships. Had the author not included those scenes, her characters would have been much more difficult to relate to. You come to briefly understand what the person goes through, exactly why he/she is so angry and hurt, and what they each did to become subjected to the fate of the 100. Personally, I would have preferred that greater attention had been given to character development rather than relationship development.
The Earth was unlivable for so long, and yet they send these 100 "children" as guinea pigs, rather than trained professionals. People who could colonize, build shelters, feed the colony, study the land and environment, or even tend to the ill. Instead, these youths are forced to come together with a common goal - survival.
One gets to a certain point in the novel and then realizes they don't entirely know what these different living situations/names mean. Of course, the Walden and Arcadian people seem to be of a lower class, economic, and social standing than the Phoenix. Walden also had an outbreak at one point that had to be quarantined. But beyond that? I'm not entirely sure what the distinctions are. Clearly the Phoenix people are "posh", with foreign accents, prone to extravagances and taking what they have for granted. But how did they come to be in that, dare I say, caste to begins with? Were people settled based upon their original locations on Earth? Or perhaps based upon the money/knowledge they could provide? Unfortunately, that aspect of the story is not very clearly explained. It seems that the author took more time to focus on the intricacies of the relationships than the world building.
Sometimes the author was redundant, choosing to repeat the same fears/desire over and over again. Yes, we understand that the medicine is missing. Was it flung from the ship before the crash or during? Can they survive without it? We don't know yet, but if we didn't realize the medicine was important the first time it was mentioned... We certainly realized it after the tenth.
This book has a very unique concept in that it combines the post-apocalyptic Hunger Games or Divergent-type Earth with space. While it may exist in other novels, I've not yet read something similar. Where it does seem to follow typical YA novels is the fact that it has a love triangle. Those seem like they are a requirement, as they are in most popular young adult novels. (HG, Divergent, TMI, Vampire Diaries, etc.)
There is a bit of mystery in the book as well. It seems that the reason one of the characters is arrested must be kept a secret, even from the reader. The author continuously has the girl think to herself, 'Why isn't he asking me about my confinement?', 'He's happy, this is for the best [that he doesn't know.]', and even has her love interest say "I heard a rumor about a girl on Phoenix who was arrested for..." Yes, there was a dramatic pause. And no, he does not finish his sentence. After the third or fourth time, the author finally reveals the girl's situation during a flashback.
Throughout the novel, the author develops the relationship between two main characters. Unfortunately, it's a bit jarring and sporadic. It quickly jumps from bitter hatred from the moment they step foot on Earth to reconciliation after one act, then back to hatred. Again, after one act. While relationships can be a roller coaster, this is a bit too authentic to the carnival ride.
The relationship is not perfect, especially when she has a second possible love interest. A guy who after only a short while, thinks of only her before he falls asleep. That girl must be something. The first time they really spend any time together, he decides that making out is the best course of action. Much to the dismay of her other love interest, though it does not dissuade him. Sound familiar?
It doesn't take long before he snaps at her and their brief... Whatever it was is over. Or is it?
They must be masochists, because it seems they're just gluttons for punishment and emotional, gut wrenching hurt... Or just those that don't learn from history. (Doomed to repeat it and all that.) Who would continuously subject themselves to that kind of torment? Move on and let yourself heal. It's not a post-apocalyptic world that only the two of you can repopulate... There are other individuals in camp with you. (Like the second guy you may or may not like, but that you certainly make out with in the woods.) But that's just my perspective.
While I found myself bemused and skeptical at times about certain aspects of the book, none of those times corresponded to the purposefully exaggerated environment that they must adapt to on Earth. Rather it is the progression of relationships, situations characters find themselves in, and utterly disastrous karmic intervention. Seriously, they must have really messed with the world for it to so perfectly separate two lovers as it does.
I suspected there would be a particular plot twist and unsurprisingly it came to fruition approximately 98% of the way through the book. I'm intrigued to see where the author takes it and how it will develop in the sequel - The 100: Day
21 (which is next on my review list!)
I find myself enjoying the read, dispute the obvious flaws one notices whilst reading it. If you take it as an easy, enjoyable read - then that is what you will come away with. If you expect it to be a fantastic piece that delves into the human psyche to truly draw you into a character's life and relationships - then you will be quite disappointed. Overall, I would recommend this novel to those who enjoy dystopian, teen romance series.
Each character is thrown into the mix, destined to be sent to Earth. The first in a long, long time. While not all make it, we are still treated with back stories and past relationships. Had the author not included those scenes, her characters would have been much more difficult to relate to. You come to briefly understand what the person goes through, exactly why he/she is so angry and hurt, and what they each did to become subjected to the fate of the 100. Personally, I would have preferred that greater attention had been given to character development rather than relationship development.
The Earth was unlivable for so long, and yet they send these 100 "children" as guinea pigs, rather than trained professionals. People who could colonize, build shelters, feed the colony, study the land and environment, or even tend to the ill. Instead, these youths are forced to come together with a common goal - survival.
One gets to a certain point in the novel and then realizes they don't entirely know what these different living situations/names mean. Of course, the Walden and Arcadian people seem to be of a lower class, economic, and social standing than the Phoenix. Walden also had an outbreak at one point that had to be quarantined. But beyond that? I'm not entirely sure what the distinctions are. Clearly the Phoenix people are "posh", with foreign accents, prone to extravagances and taking what they have for granted. But how did they come to be in that, dare I say, caste to begins with? Were people settled based upon their original locations on Earth? Or perhaps based upon the money/knowledge they could provide? Unfortunately, that aspect of the story is not very clearly explained. It seems that the author took more time to focus on the intricacies of the relationships than the world building.
Sometimes the author was redundant, choosing to repeat the same fears/desire over and over again. Yes, we understand that the medicine is missing. Was it flung from the ship before the crash or during? Can they survive without it? We don't know yet, but if we didn't realize the medicine was important the first time it was mentioned... We certainly realized it after the tenth.
This book has a very unique concept in that it combines the post-apocalyptic Hunger Games or Divergent-type Earth with space. While it may exist in other novels, I've not yet read something similar. Where it does seem to follow typical YA novels is the fact that it has a love triangle. Those seem like they are a requirement, as they are in most popular young adult novels. (HG, Divergent, TMI, Vampire Diaries, etc.)
There is a bit of mystery in the book as well. It seems that the reason one of the characters is arrested must be kept a secret, even from the reader. The author continuously has the girl think to herself, 'Why isn't he asking me about my confinement?', 'He's happy, this is for the best [that he doesn't know.]', and even has her love interest say "I heard a rumor about a girl on Phoenix who was arrested for..." Yes, there was a dramatic pause. And no, he does not finish his sentence. After the third or fourth time, the author finally reveals the girl's situation during a flashback.
Throughout the novel, the author develops the relationship between two main characters. Unfortunately, it's a bit jarring and sporadic. It quickly jumps from bitter hatred from the moment they step foot on Earth to reconciliation after one act, then back to hatred. Again, after one act. While relationships can be a roller coaster, this is a bit too authentic to the carnival ride.
The relationship is not perfect, especially when she has a second possible love interest. A guy who after only a short while, thinks of only her before he falls asleep. That girl must be something. The first time they really spend any time together, he decides that making out is the best course of action. Much to the dismay of her other love interest, though it does not dissuade him. Sound familiar?
It doesn't take long before he snaps at her and their brief... Whatever it was is over. Or is it?
They must be masochists, because it seems they're just gluttons for punishment and emotional, gut wrenching hurt... Or just those that don't learn from history. (Doomed to repeat it and all that.) Who would continuously subject themselves to that kind of torment? Move on and let yourself heal. It's not a post-apocalyptic world that only the two of you can repopulate... There are other individuals in camp with you. (Like the second guy you may or may not like, but that you certainly make out with in the woods.) But that's just my perspective.
While I found myself bemused and skeptical at times about certain aspects of the book, none of those times corresponded to the purposefully exaggerated environment that they must adapt to on Earth. Rather it is the progression of relationships, situations characters find themselves in, and utterly disastrous karmic intervention. Seriously, they must have really messed with the world for it to so perfectly separate two lovers as it does.
I suspected there would be a particular plot twist and unsurprisingly it came to fruition approximately 98% of the way through the book. I'm intrigued to see where the author takes it and how it will develop in the sequel - The 100: Day
21 (which is next on my review list!)
I find myself enjoying the read, dispute the obvious flaws one notices whilst reading it. If you take it as an easy, enjoyable read - then that is what you will come away with. If you expect it to be a fantastic piece that delves into the human psyche to truly draw you into a character's life and relationships - then you will be quite disappointed. Overall, I would recommend this novel to those who enjoy dystopian, teen romance series.
BankofMarquis (1832 KP) rated Motherless Brooklyn (2019) in Movies
Jan 15, 2021
A little too slow and self-indulgent for my tastes
There is no denying that Edward Norton is a talented performer. Ever since he burst onto the scene with his Oscar nominated performance in PRIMAL FEAR, he has been a presence both on and off the screen as an Actor, Writer, Producer and Director.
With his latest effort, MOTHERLESS BROOKLYN (based on the base selling novel by Jonathan Lethem), Norton puts ALL of his skills to work as he Produced, Directed, Wrote and Starred in this Private Eye thriller from 2019.
If only Norton had handed at least 1 of those jobs over to someone else.
Norton stars as Lionel Essrog, a Private Eye with Tourette’s Syndrome, who’s investigation into the murder of a mentor of his exposes corruption, racism, greed and abuse of power in City Hall in New York City in the 1950’s.
As the star, Norton brings a nice edge to Lionel, who’s Tourette’s causes him to twitch and belt out words randomly, as well as gives him a photographic memory. While the twitching and random swearing are a bit over the top at times, the photographic memory helps Lionel solve the case (of course it does).
And that’s where I have issue with writer Norton - as he cannot resist the urge to showcase Actor Norton’s propensity to go over the top and puts in many, many “Tourette’s moments” as well as putting in long dialogue scenes that tries to show the audience how smart Lionel is.
Unfortunately, Director Norton indulges Writer Norton and Actor Norton so the film has a languid pace that just sits on Lionel’s actions and words. This is a 2 hour movie packed into a 2 1/2 hour run time. Now, to be fair to Director Norton, there are some absolutely gorgeous and interesting pictures put on the screen and the atmosphere (and characters) that are created are interesting (enough) to ALMOST forgive the self-indulgent ways of Writer/Actor/Director Norton.
As for the rest of the cast, Bruce Willis is…Bruce Willis as a Private Eye that works with Lionel and Willem DaFoe is at his “Willem DeFoe-iest” in portraying a critic of New York City Hall with a secret past. It’s as if Director Norton said to both of these 2 fine actors to just “do your thing” while he focused on the myriad of other jobs he had on this film.
Special notice needs to be made of the work of Gugu Mbatha-Raw as Femme Fatale Laura Rose (a part that Norton specifically added to the film - her character was not in the book - and wrote just for her). She is quite good in this role and her scenes with Norton crackle somewhat louder than the rest of the film.
And then there is Alec Baldwin as a corrupt, racist, politician who is looking out for only 1 person - himself. While Baldwin is very good in this 100% serious role, I couldn’t be help but be reminded of a certain comedic character he has played for the past few years on Saturday Night Live.
The music by Daniel Pemberton and the Cinematography by Dick Pope add greatly to the atmosphere of this film - and that is good - for when the story bogs down (and it bogs down A LOT), there usually is something interesting to look at or listen to.
Not a bad film, but it could have been a much better film if someone would have taken at least ONE of the jobs off of Norton (I would vote for Director) and tightened things up and tone down Norton’s tendency to “ham it up” on screen.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
With his latest effort, MOTHERLESS BROOKLYN (based on the base selling novel by Jonathan Lethem), Norton puts ALL of his skills to work as he Produced, Directed, Wrote and Starred in this Private Eye thriller from 2019.
If only Norton had handed at least 1 of those jobs over to someone else.
Norton stars as Lionel Essrog, a Private Eye with Tourette’s Syndrome, who’s investigation into the murder of a mentor of his exposes corruption, racism, greed and abuse of power in City Hall in New York City in the 1950’s.
As the star, Norton brings a nice edge to Lionel, who’s Tourette’s causes him to twitch and belt out words randomly, as well as gives him a photographic memory. While the twitching and random swearing are a bit over the top at times, the photographic memory helps Lionel solve the case (of course it does).
And that’s where I have issue with writer Norton - as he cannot resist the urge to showcase Actor Norton’s propensity to go over the top and puts in many, many “Tourette’s moments” as well as putting in long dialogue scenes that tries to show the audience how smart Lionel is.
Unfortunately, Director Norton indulges Writer Norton and Actor Norton so the film has a languid pace that just sits on Lionel’s actions and words. This is a 2 hour movie packed into a 2 1/2 hour run time. Now, to be fair to Director Norton, there are some absolutely gorgeous and interesting pictures put on the screen and the atmosphere (and characters) that are created are interesting (enough) to ALMOST forgive the self-indulgent ways of Writer/Actor/Director Norton.
As for the rest of the cast, Bruce Willis is…Bruce Willis as a Private Eye that works with Lionel and Willem DaFoe is at his “Willem DeFoe-iest” in portraying a critic of New York City Hall with a secret past. It’s as if Director Norton said to both of these 2 fine actors to just “do your thing” while he focused on the myriad of other jobs he had on this film.
Special notice needs to be made of the work of Gugu Mbatha-Raw as Femme Fatale Laura Rose (a part that Norton specifically added to the film - her character was not in the book - and wrote just for her). She is quite good in this role and her scenes with Norton crackle somewhat louder than the rest of the film.
And then there is Alec Baldwin as a corrupt, racist, politician who is looking out for only 1 person - himself. While Baldwin is very good in this 100% serious role, I couldn’t be help but be reminded of a certain comedic character he has played for the past few years on Saturday Night Live.
The music by Daniel Pemberton and the Cinematography by Dick Pope add greatly to the atmosphere of this film - and that is good - for when the story bogs down (and it bogs down A LOT), there usually is something interesting to look at or listen to.
Not a bad film, but it could have been a much better film if someone would have taken at least ONE of the jobs off of Norton (I would vote for Director) and tightened things up and tone down Norton’s tendency to “ham it up” on screen.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated The Light Between Oceans (2016) in Movies
Sep 29, 2021
“You only have to forgive once. To resent, you have to do it all day, every day”.
In my review of “The Two Faces of January” I described it as a film that “will be particularly enjoyed by older viewers who remember when story and location were put far ahead of CGI-based special effects”. In watching this film I was again linking in my mind to that earlier film… and that was before the lead character suddenly brought up the two faces of Janus!
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
Hazel (1853 KP) rated The Witchwood Crown in Books
Jul 22, 2017
Gosh, what a long book!
Review I received this book for free through Goodreads First Reads.
Approximately 30 years ago, the first novel in Tad Williams’ Memory, Sorrow and Thorn trilogy was published. Fans all over the world adored this high fantasy story about a young kitchen boy, Simon, who goes on to become King of Ostern Ard. Now Williams’ has returned to the fictional lands with a follow-up trilogy, The Last King of Ostern Ard.
Three decades have been and gone since the ending of the previous series. The Witchwood Crown explores the changes that have occurred since the epic story finished, unfortunately, things are not looking good. Simon and his wife, Miriamele, have suffered a few personal tragedies, leaving them with two fatherless grandchildren. Young Lillia is an out spoken child who expostulates with everyone in order to get her way – she is a princess after all. Morgan, the heir, is rather obtuse in comparison; a lazy young man whose vexatious behaviour constantly causes the Royals to despair. However, this is only a tiny problem in their restless kingdom.
The Norn Queen, an antagonist of the original story, has been asleep for the past few decades. Mortals foolishly believed they were safe from the evil character, yet unexpectedly, she has awoken and is determined to destroy humanity. Too weak to carry out her own plans, she infiltrates the minds of the members of her immortal race, sending them off on perilous missions, for example, to extract blood from a live dragon.
As well as Simon’s city and the Norns, there are several more important characters and locations, each with their own on going storyline. A mix of assiduous and animus personas shake up the peace that had settled at the closing of Memory, Sorrow and Thorn. It is almost impossible to fathom whom the good and bad are, especially when reading from so many different points of view.
If the 700 odd pages did not already give it away, the inclusion of maps and appendixes prove the book to contain an extremely lengthy tale. Flitting from one set of characters to another, it is hard to keep up with the hundreds of names and roles. It does not help that the majority are unpronounceable, full of additional apostrophes making them as unlike English names as possible – a usual trait of fantasy fiction.
Not only are the names difficult to pronounce, the words and vernacular some of the characters use are just as dumbfounding. Thankfully, definitions are provided at the back of the book, but to keep flipping between pages can get quite tedious after a while.
The sheer number of characters makes it difficult to unearth the main storyline. In fact, there does not appear to be a strong plot at all. Judging by the ending, it is as though The Witchwood Crown is only an introduction to the narrative that will begin in the following book.
Reading the primary series first will have its benefits, however, it is not mandatory. New readers, like myself, are able to pick up snippets of past events and piece together the lead up to the current scenario. Although a work of historical fantasy, it is possible to see elements of real life within the story. Dragons and fairies may not exist in our world, but similar beliefs and systems are relatable. For instance, the days of the week are obviously based on the English names: Sunday, Moonday, Tiasday, Udunsday, Drorsday, Frayday and Satrinsday.
The most striking connection between real and imagined is the religious beliefs of different clans and species. Many of the mortals have taken, up what is suggested to be, a new religion. There are so many similarities; it is undoubtedly based on Christianity. Likewise, other beliefs are comparable to pagan rites and ceremonies of the distant past.
The Witchwood Crown is not an easy book to read, neither is it all that exciting. On the other hand, it is interesting. It is equivalent to reading historical information with the added benefit of mythical creatures. This is not a quick read; therefore you need to be dedicated to sitting down and pacing through the story. It is definitely targeted at high fantasy fans – in fact, the original stories influenced George R. R. Martin (A Game of Thrones) – who are used to the length and complexity of the narrative
Approximately 30 years ago, the first novel in Tad Williams’ Memory, Sorrow and Thorn trilogy was published. Fans all over the world adored this high fantasy story about a young kitchen boy, Simon, who goes on to become King of Ostern Ard. Now Williams’ has returned to the fictional lands with a follow-up trilogy, The Last King of Ostern Ard.
Three decades have been and gone since the ending of the previous series. The Witchwood Crown explores the changes that have occurred since the epic story finished, unfortunately, things are not looking good. Simon and his wife, Miriamele, have suffered a few personal tragedies, leaving them with two fatherless grandchildren. Young Lillia is an out spoken child who expostulates with everyone in order to get her way – she is a princess after all. Morgan, the heir, is rather obtuse in comparison; a lazy young man whose vexatious behaviour constantly causes the Royals to despair. However, this is only a tiny problem in their restless kingdom.
The Norn Queen, an antagonist of the original story, has been asleep for the past few decades. Mortals foolishly believed they were safe from the evil character, yet unexpectedly, she has awoken and is determined to destroy humanity. Too weak to carry out her own plans, she infiltrates the minds of the members of her immortal race, sending them off on perilous missions, for example, to extract blood from a live dragon.
As well as Simon’s city and the Norns, there are several more important characters and locations, each with their own on going storyline. A mix of assiduous and animus personas shake up the peace that had settled at the closing of Memory, Sorrow and Thorn. It is almost impossible to fathom whom the good and bad are, especially when reading from so many different points of view.
If the 700 odd pages did not already give it away, the inclusion of maps and appendixes prove the book to contain an extremely lengthy tale. Flitting from one set of characters to another, it is hard to keep up with the hundreds of names and roles. It does not help that the majority are unpronounceable, full of additional apostrophes making them as unlike English names as possible – a usual trait of fantasy fiction.
Not only are the names difficult to pronounce, the words and vernacular some of the characters use are just as dumbfounding. Thankfully, definitions are provided at the back of the book, but to keep flipping between pages can get quite tedious after a while.
The sheer number of characters makes it difficult to unearth the main storyline. In fact, there does not appear to be a strong plot at all. Judging by the ending, it is as though The Witchwood Crown is only an introduction to the narrative that will begin in the following book.
Reading the primary series first will have its benefits, however, it is not mandatory. New readers, like myself, are able to pick up snippets of past events and piece together the lead up to the current scenario. Although a work of historical fantasy, it is possible to see elements of real life within the story. Dragons and fairies may not exist in our world, but similar beliefs and systems are relatable. For instance, the days of the week are obviously based on the English names: Sunday, Moonday, Tiasday, Udunsday, Drorsday, Frayday and Satrinsday.
The most striking connection between real and imagined is the religious beliefs of different clans and species. Many of the mortals have taken, up what is suggested to be, a new religion. There are so many similarities; it is undoubtedly based on Christianity. Likewise, other beliefs are comparable to pagan rites and ceremonies of the distant past.
The Witchwood Crown is not an easy book to read, neither is it all that exciting. On the other hand, it is interesting. It is equivalent to reading historical information with the added benefit of mythical creatures. This is not a quick read; therefore you need to be dedicated to sitting down and pacing through the story. It is definitely targeted at high fantasy fans – in fact, the original stories influenced George R. R. Martin (A Game of Thrones) – who are used to the length and complexity of the narrative
Hazel (1853 KP) rated Minology II The Disquisitive Saga Of Filbert Monkston in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
What if scientists have been wrong about the way the human body works? What if there are thousands of tiny creatures controlling each and every organ, making sure everything in the body is in working order? This is the idea that Mark Murphy has based his books upon. These creatures are called min and not only do they help the body to function; they have their own lives to deal with as well.
<i>Minology II: The Disquisitive Saga of Filbert Monkston</i> is the second of the <i>Minology stories</i>. Filbert is a seventeen-year-old min who has grown up in the Gutlands as part of the Kushnick tribe. However he is beginning to question their religion. Why do they have these beliefs? Why do they sacrifice food? An argument with his father sparks off a series of events that cause trouble for many min.
After storming off, Filbert and his friend Gordon come into contact with a strange group of travellers. Not realizing how dangerous they are, Filbert and Gordon get drawn into a trap. Baron Floppy, Filbert’s father, on the other hand, regrets the outburst at his son and is extremely worried when he never returns home. Along with a search party he goes out to find his son. As the story leads up to reuniting the father and son an old mystery is uncovered and finally solved after many years of it being left unanswered.
As with the first <i>Minology</i> book, this is a lighthearted read containing a lot of humour. Many of the min are not the most intelligent of creatures resulting in rather a lot of misunderstandings which can be particularly amusing. The storyline itself can be quite gripping as the mystery unravels.
Although <i>Minology II</i> does not exactly follow on from the previous novel, it would be handy to read the books in order as the first story provides more information about who the min are and a little about the body they are inhabiting.
Overall, <i>Minology II</i> is a good short read, however could have done with another proof read before publication. It is a shame that the writer cannot tell the difference between the words ‘were’ and ‘where’!
What if scientists have been wrong about the way the human body works? What if there are thousands of tiny creatures controlling each and every organ, making sure everything in the body is in working order? This is the idea that Mark Murphy has based his books upon. These creatures are called min and not only do they help the body to function; they have their own lives to deal with as well.
<i>Minology II: The Disquisitive Saga of Filbert Monkston</i> is the second of the <i>Minology stories</i>. Filbert is a seventeen-year-old min who has grown up in the Gutlands as part of the Kushnick tribe. However he is beginning to question their religion. Why do they have these beliefs? Why do they sacrifice food? An argument with his father sparks off a series of events that cause trouble for many min.
After storming off, Filbert and his friend Gordon come into contact with a strange group of travellers. Not realizing how dangerous they are, Filbert and Gordon get drawn into a trap. Baron Floppy, Filbert’s father, on the other hand, regrets the outburst at his son and is extremely worried when he never returns home. Along with a search party he goes out to find his son. As the story leads up to reuniting the father and son an old mystery is uncovered and finally solved after many years of it being left unanswered.
As with the first <i>Minology</i> book, this is a lighthearted read containing a lot of humour. Many of the min are not the most intelligent of creatures resulting in rather a lot of misunderstandings which can be particularly amusing. The storyline itself can be quite gripping as the mystery unravels.
Although <i>Minology II</i> does not exactly follow on from the previous novel, it would be handy to read the books in order as the first story provides more information about who the min are and a little about the body they are inhabiting.
Overall, <i>Minology II</i> is a good short read, however could have done with another proof read before publication. It is a shame that the writer cannot tell the difference between the words ‘were’ and ‘where’!
Louise (64 KP) rated See What I Have Done in Books
Jul 2, 2018
*I received a copy of this book from Netgalley and the Publisher Grove Atlantic in exchange for an honest review*
I do like reading Historical Fiction but even more so when the book is based on a true story. This is the story following the murders of Andrew and Abby Borden. They were found with their skulls smashed in by their daughter Lizzie. Lizzie and Emma Borden are spinsters and still live with their father, step-mother and Bridget the maid. They seemed to have a sheltered life and been well-kept by their father. This story delves in to the lives of the Bordens and what happened behind closed doors of this well-respected family.
<b>"Lizzie Borden took an axe, And gave her mother forty whacks; When she saw what she had done, She gave her father forty-one,"</b>
I am going to be truthful and say that this book was ok but nothing really blew me away. I don’t think that there was much added to this story than what you could actually read on Wikipedia. The story was repetitive, slow and didn’t always hold my attention. The problem with stories like these are you know how they are going to end you don’t have that thrill of finding out who done it. I liked the writing style of this book and the way she wrote Lizzie’s character.
The story is told from four perspectives, Lizzie, Emma, Bridget and Benjamin.It was through them that the story was told of the events leading up to the murders and afterwards. The character that stuck out the me was Lizzie, she was spoilt, childish, rude and clearly deluded. Benjamin was the only character that was added to put a bit of a spin on the story but really didn’t come to anything and a bit pointless.
How easy it was to get away with murder though in the 1800’s, there was no DNA testing, no blood spatter analysis or proper interrogations in those days, yet in there were times in the story when I wanted the police to grasp onto something and for them to start piecing it altogether. Lizzie’s statement of what happened was fragmented,not making sense and was taken as shock, whereas nowadays this would be deemed as suspicious behaviour and you would be arrested at the drop of a hat.
In conclusion I think this is a good debut novel by Sarah Schmidt but it didn’t really bring anything new to the table.
I rated this 3 out of 5 stars
I do like reading Historical Fiction but even more so when the book is based on a true story. This is the story following the murders of Andrew and Abby Borden. They were found with their skulls smashed in by their daughter Lizzie. Lizzie and Emma Borden are spinsters and still live with their father, step-mother and Bridget the maid. They seemed to have a sheltered life and been well-kept by their father. This story delves in to the lives of the Bordens and what happened behind closed doors of this well-respected family.
<b>"Lizzie Borden took an axe, And gave her mother forty whacks; When she saw what she had done, She gave her father forty-one,"</b>
I am going to be truthful and say that this book was ok but nothing really blew me away. I don’t think that there was much added to this story than what you could actually read on Wikipedia. The story was repetitive, slow and didn’t always hold my attention. The problem with stories like these are you know how they are going to end you don’t have that thrill of finding out who done it. I liked the writing style of this book and the way she wrote Lizzie’s character.
The story is told from four perspectives, Lizzie, Emma, Bridget and Benjamin.It was through them that the story was told of the events leading up to the murders and afterwards. The character that stuck out the me was Lizzie, she was spoilt, childish, rude and clearly deluded. Benjamin was the only character that was added to put a bit of a spin on the story but really didn’t come to anything and a bit pointless.
How easy it was to get away with murder though in the 1800’s, there was no DNA testing, no blood spatter analysis or proper interrogations in those days, yet in there were times in the story when I wanted the police to grasp onto something and for them to start piecing it altogether. Lizzie’s statement of what happened was fragmented,not making sense and was taken as shock, whereas nowadays this would be deemed as suspicious behaviour and you would be arrested at the drop of a hat.
In conclusion I think this is a good debut novel by Sarah Schmidt but it didn’t really bring anything new to the table.
I rated this 3 out of 5 stars
The Heiress: The Revelations of Anne de Bourgh
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In this gorgeously written and spellbinding historical novel based on Pride and Prejudice, the...
Good dark fantasy in an interesting setting
Faithless takes place in a world where blacksmithing is a big deal. Those who master the arts of smithing are priests in the religion of the Forgefather. The lowest class of people are those spending their lives down mines, struggling to find anything more valuable than coal in order to meet their tally and avoid a whipping. This is the essence of the world we are in, with an established class system and clear economy, based on metal ores.
There is a hint of magic here, with chanting at the forge, but until the final few chapters it is unclear whether this is magic or simply a way to mark time and ensure the metal is at the right temperature and worked at the right pace. Not overly labouring the magic here was an excellent choice by the author, as it keeps the attention on the mundane aspects of life, which is excellently told.
The story follows two main characters, firstly Wynn, a young lad sold (or mis-sold in his mind) by his father, a struggling farmer, into the mines for a life of back-breaking work down cramped, dangerous caves, endlessly trying to find enough ore to avoid a beating. His only chance of escaping the mines is to pass the tests and have a chance of ascending to the temple and possibly priesthood. Some way through the book we then meet Kharios, a young adult who appears to have somewhat failed in his first attempts at entering the priesthood (smithing) and is trying to get back to the forge.
The characters' stories are very similar, with hard, thankless, dangerous labour and periods of learning. For some time I struggled to tell the difference between them, thinking they seemed like very similar characters, but I have since re-thought that for reasons.
I found the pacing a little off. There were times I felt like I was reading a biography of a miner, rather than a fantasy novel, as long chapters are essentially that. And then these develop into long chapters learning smithing, was again a bit of a slog. And then all of a sudden we have periods of conflict down the mines, accidents, cave-ins, and the eventual calamity that leads to the second half of the book. The changes in pace were sudden and exciting, but the change was a little extreme at times.
I loved the way the two stories seemed at times independent yet similar, but eventually start to overlap. Though again, we have a change in pace where exciting, cataclysmic events are put aside for another chapter of walloping hot iron.
These pacing issues aside, this was an interesting and well written book with an unusual setting and a good message on belief systems.
There is a hint of magic here, with chanting at the forge, but until the final few chapters it is unclear whether this is magic or simply a way to mark time and ensure the metal is at the right temperature and worked at the right pace. Not overly labouring the magic here was an excellent choice by the author, as it keeps the attention on the mundane aspects of life, which is excellently told.
The story follows two main characters, firstly Wynn, a young lad sold (or mis-sold in his mind) by his father, a struggling farmer, into the mines for a life of back-breaking work down cramped, dangerous caves, endlessly trying to find enough ore to avoid a beating. His only chance of escaping the mines is to pass the tests and have a chance of ascending to the temple and possibly priesthood. Some way through the book we then meet Kharios, a young adult who appears to have somewhat failed in his first attempts at entering the priesthood (smithing) and is trying to get back to the forge.
The characters' stories are very similar, with hard, thankless, dangerous labour and periods of learning. For some time I struggled to tell the difference between them, thinking they seemed like very similar characters, but I have since re-thought that for reasons.
I found the pacing a little off. There were times I felt like I was reading a biography of a miner, rather than a fantasy novel, as long chapters are essentially that. And then these develop into long chapters learning smithing, was again a bit of a slog. And then all of a sudden we have periods of conflict down the mines, accidents, cave-ins, and the eventual calamity that leads to the second half of the book. The changes in pace were sudden and exciting, but the change was a little extreme at times.
I loved the way the two stories seemed at times independent yet similar, but eventually start to overlap. Though again, we have a change in pace where exciting, cataclysmic events are put aside for another chapter of walloping hot iron.
These pacing issues aside, this was an interesting and well written book with an unusual setting and a good message on belief systems.
Digital Forensics
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The definitive text for students of digital forensics, as well as professionals looking to deepen...