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Acanthea Grimscythe (300 KP) rated The Waking Land (The Waking Land, #1) in Books
May 16, 2018
Looking for a delightful, magical read? Callie Bates’s The Waking Land may sate your hunger. With several strong, female leads (like Rhia Knoll), the practice of forbidden arts, war, and just a taste of romance, this book easily lands as one of my most enjoyable reads so far this year.
I can honestly say this is one of the few books where the main character begins as the weakest. When we meet Lady Elanna Valtai, she appears weak and, quite honestly, brainwashed by her Ereni up-bringing. Throughout the first two-thirds of the novel, El proves to be unreliable. She is clueless as to where her loyalties truly lie, even as the truth rams itself down her throat. Fortunately, those she counts among her friends know what they’re doing and don’t have to rely on her for quite a while.
Loyce, the new Queen of Eren, on the other hand is an awful brat. Unfaithful to her husband (who readers never meet), she colludes with an equally disgusting noble boy, Denis Falconier. Their command over the Butcher of Novarre strikes fear into the hearts of those that dare to rebel. And the Butcher? He’s an altogether interesting figure on his own. Trust me on that one.
Eren and Caeris, the lands where this tale takes place, on beautifully rendered, proving Bates’s strength with the written word. Her command of language coupled with her love of nature come together seamlessly, visualizing a truly fantastic world. The story Bates weaves into this battle-worn land offers readers a faint taste of epic fantasy, in a style pleasing for fans of young adult literature. For some, The Waking Land may be the gateway to delving into high fantasy – Bates’s concept of magic is that wonderful.
The Waking Land is a fantastic ride through a world that fears magic. It is the timeless tale of how war erodes nations. Because of El’s wishy-washy portrayal and the sheer fact that we don’t see a lot of action until the last fifteen percent of the book, I cannot give this one five stars. A four though, certainly.
I would like to thank NetGalley, the publisher, and the author for providing me with a free copy of this book for the purpose of unbiased review.
I can honestly say this is one of the few books where the main character begins as the weakest. When we meet Lady Elanna Valtai, she appears weak and, quite honestly, brainwashed by her Ereni up-bringing. Throughout the first two-thirds of the novel, El proves to be unreliable. She is clueless as to where her loyalties truly lie, even as the truth rams itself down her throat. Fortunately, those she counts among her friends know what they’re doing and don’t have to rely on her for quite a while.
Loyce, the new Queen of Eren, on the other hand is an awful brat. Unfaithful to her husband (who readers never meet), she colludes with an equally disgusting noble boy, Denis Falconier. Their command over the Butcher of Novarre strikes fear into the hearts of those that dare to rebel. And the Butcher? He’s an altogether interesting figure on his own. Trust me on that one.
Eren and Caeris, the lands where this tale takes place, on beautifully rendered, proving Bates’s strength with the written word. Her command of language coupled with her love of nature come together seamlessly, visualizing a truly fantastic world. The story Bates weaves into this battle-worn land offers readers a faint taste of epic fantasy, in a style pleasing for fans of young adult literature. For some, The Waking Land may be the gateway to delving into high fantasy – Bates’s concept of magic is that wonderful.
The Waking Land is a fantastic ride through a world that fears magic. It is the timeless tale of how war erodes nations. Because of El’s wishy-washy portrayal and the sheer fact that we don’t see a lot of action until the last fifteen percent of the book, I cannot give this one five stars. A four though, certainly.
I would like to thank NetGalley, the publisher, and the author for providing me with a free copy of this book for the purpose of unbiased review.
Gareth von Kallenbach (980 KP) rated Tammy (2014) in Movies
Jun 19, 2019
Life for Tammy (Melissa McCarthy) is a struggle in frustration. She is an outspoken individual who is not shy about speaking her mind and acting out which is often as trouble seems to follow her everywhere.
Following one particularly bad morning, Tammy decides to move away from Illinois once and for all and when her mother offers her no real encouragement, Tammy takes to the road with her grandmother (Susan Sarandon).
Despite her health issues and love for the bottle, Tammy is happy to have the company as she admires the free spirit of her grandmother who wants to have an adventure and live life to the fullest at all times.
Of course trouble seems to find Tammy and before long she has to deal with a slew of problems as well as the increasingly self destructive behavior of her grandmother.
Complications arise when a farmer named Bobby (Mark Duplass), and his father Earl (Gary Cole), enter into the picture to provide distractions to the ladies and to make them start to see the consequences of their action.
Throw in short but solid supporting work from Kathy Bates and Dan Aykroyd, and this film should have been a laugh filled riot. Instead it stays in the bittersweet range far more than it does comedy, as many of the best jokes in the film were shown in the trailer.
I credit McCarthy, who along with Ben Falcone wrote the film, for trying to move beyond the manic comedies that she has done prior. The film is marketed as more of the same but it is not. The film drags in places as you keep waiting for the laughs to come and when they do it is very sporadic. Instead the focus in on emotions, life, and being accountable as well as other heady topics it is just a shame that McCarthy keeps having to play the lovable loser parts as to be honest they are starting to get old. I joked to my wife that a prison in the film looked much like the one in “Identity Thief”.
The film attempts to combine a buddy road trip with some deeper human issues but this is not “Thelma and Louise”, and it does seem that despite the best efforts of all involved, we have seen this trip many times before and it is one that did not need to be taken again.
http://sknr.net/2014/07/02/tammy/
Following one particularly bad morning, Tammy decides to move away from Illinois once and for all and when her mother offers her no real encouragement, Tammy takes to the road with her grandmother (Susan Sarandon).
Despite her health issues and love for the bottle, Tammy is happy to have the company as she admires the free spirit of her grandmother who wants to have an adventure and live life to the fullest at all times.
Of course trouble seems to find Tammy and before long she has to deal with a slew of problems as well as the increasingly self destructive behavior of her grandmother.
Complications arise when a farmer named Bobby (Mark Duplass), and his father Earl (Gary Cole), enter into the picture to provide distractions to the ladies and to make them start to see the consequences of their action.
Throw in short but solid supporting work from Kathy Bates and Dan Aykroyd, and this film should have been a laugh filled riot. Instead it stays in the bittersweet range far more than it does comedy, as many of the best jokes in the film were shown in the trailer.
I credit McCarthy, who along with Ben Falcone wrote the film, for trying to move beyond the manic comedies that she has done prior. The film is marketed as more of the same but it is not. The film drags in places as you keep waiting for the laughs to come and when they do it is very sporadic. Instead the focus in on emotions, life, and being accountable as well as other heady topics it is just a shame that McCarthy keeps having to play the lovable loser parts as to be honest they are starting to get old. I joked to my wife that a prison in the film looked much like the one in “Identity Thief”.
The film attempts to combine a buddy road trip with some deeper human issues but this is not “Thelma and Louise”, and it does seem that despite the best efforts of all involved, we have seen this trip many times before and it is one that did not need to be taken again.
http://sknr.net/2014/07/02/tammy/
LeftSideCut (3776 KP) rated American Horror Story - Season 6 in TV
Jan 16, 2020
Season 6 of AHS, subtitled Roanoke, may very well be my favourite season to date, if not it comes a very close second to Asylum.
The thing that really stands out for me is the pacing. It's pretty much perfect. The first half of Roanoke takes place in the form of a documentary, called My Roanoke Nightmare, where a young couple who moved into a run down house, recount their horrific experience of the spirits that haunted the ground, and endangered their lives. The documentary has a dramatisation of the events alongside the interviews, which effectively has the same AHS characters being played by two different people.
The build up is slow burning and hugely entertaining, as we know that these characters survive the ordeal, as they are involved in the documentary, so we can enjoy the ride without worrying about their fates.
In true AHS style though, the second half of the season takes place a few years after the documentary, and Roanoke truly kicks off in an epic fashion.
It's hard to properly describe the narrative, and it's really best experienced yourself. It's clever television.
The style of Roanoke is quite subtle, and gives the season a sort of old fashioned sense. It also experiments here and there with 'found footage', lending AHS a Blair Witch-esque edge.
All of the cast are once again great. Kathy Bates is a highlight, both her roles during the documentary, and after. Series regulars like Evan Peters, Angela Bassett and Lily Rabe are present and enjoyable, and it's awesome to see Cuba Gooding Jr. involved as well.
However this time around, AHS belongs to Sarah Paulson, who I thought really excelled during Roanoke, and Adina Porter, who gave the season it's more emotional moments. I think she's a fantastic actress, and was also a standout in her limited screentime during True Blood.
The gore and violence in Roanoke is probably at it's most visceral as far as AHS goes. There are some effectively gruesome moments littered throughout, and it's all looked like practical effects to me, which is how it should be! There are some really creepy shots as well, especially at the tail end of the season.
Roanoke is damn good. I'll be pleasantly surprised if AHS ever surpasses it.
The thing that really stands out for me is the pacing. It's pretty much perfect. The first half of Roanoke takes place in the form of a documentary, called My Roanoke Nightmare, where a young couple who moved into a run down house, recount their horrific experience of the spirits that haunted the ground, and endangered their lives. The documentary has a dramatisation of the events alongside the interviews, which effectively has the same AHS characters being played by two different people.
The build up is slow burning and hugely entertaining, as we know that these characters survive the ordeal, as they are involved in the documentary, so we can enjoy the ride without worrying about their fates.
In true AHS style though, the second half of the season takes place a few years after the documentary, and Roanoke truly kicks off in an epic fashion.
It's hard to properly describe the narrative, and it's really best experienced yourself. It's clever television.
The style of Roanoke is quite subtle, and gives the season a sort of old fashioned sense. It also experiments here and there with 'found footage', lending AHS a Blair Witch-esque edge.
All of the cast are once again great. Kathy Bates is a highlight, both her roles during the documentary, and after. Series regulars like Evan Peters, Angela Bassett and Lily Rabe are present and enjoyable, and it's awesome to see Cuba Gooding Jr. involved as well.
However this time around, AHS belongs to Sarah Paulson, who I thought really excelled during Roanoke, and Adina Porter, who gave the season it's more emotional moments. I think she's a fantastic actress, and was also a standout in her limited screentime during True Blood.
The gore and violence in Roanoke is probably at it's most visceral as far as AHS goes. There are some effectively gruesome moments littered throughout, and it's all looked like practical effects to me, which is how it should be! There are some really creepy shots as well, especially at the tail end of the season.
Roanoke is damn good. I'll be pleasantly surprised if AHS ever surpasses it.
Hazel (2934 KP) rated Bury Them Deep (Inspector McLean #10) in Books
Feb 16, 2020
Engrossing
I have said this before and I will say it again ... once more, this is a treat for crime fiction, with a hint of "other", lovers the world over ... Mr Oswald has provided yet another gripping story.
DCI Tony McLean is a Detective Chief Inspector and, as such, should not be on the front line of policing however, he just can't help himself particularly when a trusted colleague, Anya Renfrew, goes missing under suspicious circumstances. Is this connected to a massive multi-agency enquiry that is just about to get underway and which is so hush-hush, that most people involved don't know the full story? Was she just unfortunate to be in the wrong place at the wrong time? Or is this connected to numerous missing persons cases that have remained unsolved for many years? When it transpires why Anya was where she was when she disappeared and her address is not where she actually lives, the mystery deepens.
It's clear that Tony is at his happiest when in the thick of things rather than sitting at his desk reading reports and directing operations and this theme is strong throughout the book. Mr Oswald is able to effortlessly portray the enthusiasm and passion Tony has for investigating and solving the apparently unsolvable crimes whilst trying to appease the top brass and having a life outside of the Police. This ability brings Tony to life and makes him believable and "human".
It's not just Tony who is brought to life, this book is littered with excellent characters ... Grumpy Bob, Norman Bates, Gav, Bobby, Professor Harriet Turner, etc., etc., etc. Ex Detective Superintendent Grace Ramsey was a particular favourite of mine who is described as "a slim, middleaged woman in a severe dark suit with a face like licking piss off a nettle" ... that one line caused a laugh-out-loud moment and conjured up an image that has stuck with me and one that captures a few people I know!! I will definitely be using that one in the future 😎
The opening chapter had me hooked and wondering what the heck it would have to do with a crime in the 21st century however, the subtly of how this was woven and developed into the story was excellent and had me thinking that it isn't something that's beyond what is possible in these times unfortunately.
This is an engrossing read and one in which I was completely drawn into and enjoyed immensely from start to finish and, once again, I am thankful to Headline and NetGalley for my copy in return for an honest and unbiased review.
DCI Tony McLean is a Detective Chief Inspector and, as such, should not be on the front line of policing however, he just can't help himself particularly when a trusted colleague, Anya Renfrew, goes missing under suspicious circumstances. Is this connected to a massive multi-agency enquiry that is just about to get underway and which is so hush-hush, that most people involved don't know the full story? Was she just unfortunate to be in the wrong place at the wrong time? Or is this connected to numerous missing persons cases that have remained unsolved for many years? When it transpires why Anya was where she was when she disappeared and her address is not where she actually lives, the mystery deepens.
It's clear that Tony is at his happiest when in the thick of things rather than sitting at his desk reading reports and directing operations and this theme is strong throughout the book. Mr Oswald is able to effortlessly portray the enthusiasm and passion Tony has for investigating and solving the apparently unsolvable crimes whilst trying to appease the top brass and having a life outside of the Police. This ability brings Tony to life and makes him believable and "human".
It's not just Tony who is brought to life, this book is littered with excellent characters ... Grumpy Bob, Norman Bates, Gav, Bobby, Professor Harriet Turner, etc., etc., etc. Ex Detective Superintendent Grace Ramsey was a particular favourite of mine who is described as "a slim, middleaged woman in a severe dark suit with a face like licking piss off a nettle" ... that one line caused a laugh-out-loud moment and conjured up an image that has stuck with me and one that captures a few people I know!! I will definitely be using that one in the future 😎
The opening chapter had me hooked and wondering what the heck it would have to do with a crime in the 21st century however, the subtly of how this was woven and developed into the story was excellent and had me thinking that it isn't something that's beyond what is possible in these times unfortunately.
This is an engrossing read and one in which I was completely drawn into and enjoyed immensely from start to finish and, once again, I am thankful to Headline and NetGalley for my copy in return for an honest and unbiased review.
LeftSideCut (3776 KP) rated American Horror Story - Season 4 in TV
Nov 18, 2019 (Updated Nov 18, 2019)
Season 4 of AHS, subtitled 'Freak Show' gets a bad wrap in my opinion.
It doesn't reach the lofty heights of the first two seasons, but there's plenty to love and it tries something new.
The bulk of the series revolves around Elsa Mars (Jessica Lange) and her group of travelling sideshow performers, all who have some sort of abnormality. As they arrive in 1951 Florida to set up shop and make a living amongst a world that fears and targets them, they are also being eyed up by Richard Spencer (Denis O'Hare), a shady businessman attempting to profit from their misfortune, and Dandy Mott (Finn Wittrock), who harbours an unhealthy obsession with the Freak Show, and in particular, conjoined twins Bette and Dot Tattler (Sarah Paulson).
All the while, a murderous and sinister clown called Twisty (John Carroll Lynch) is on the loose, causing the finger to be pointed at another Freak Show member, Jimmy Darling (Evan Peters).
All of these plot lines running at once actually run side by side pretty smoothly, making for an engaging narrative, with plenty of plot twists along the way.
The Twisty plot line is proper classic slasher horror, and is unfortunately tied up pretty quickly, but it makes way for a surprisingly touching story about family, and what it means to be different.
I found myself caring about almost everybody during Freak Show. It's very well written.
The cast are as usual, pretty great. As well as the cast members mentioned above, we have returning AHS in the likes of Kathy Bates, Francis Conroy, Emma Roberts, Angela Bassett, and Naomi Grossman, as well as some new blood in the form of Michael Chiklis, Erika Ervin, Mat Fraser, Wes Bentley, and Neil Patrick-Harris.
Sarah Paulson is the undisputed highlight during this season, playing two characters at once, with some fantastic effects work going on.
The only character I really struggled to get on board with here was Elsa, which is a shame as she's front and centre. No fault of the great Jessica Lange of course.
The season drags for a while in the mid section, but with so many likable characters, it's not a huge issue.
Freak Show is also the first season that has a concrete connection to other seasons in the AHS story, confirming finally that all the seasons take place in the same universe, which is incredibly exciting, and opens the door for a lot of possibilities.
The gore effects and horror elements continue to be a big plus for AHS, and as always, the anthology format keeps it feeling fresh. Another win for Ryan Murphy and co.
It doesn't reach the lofty heights of the first two seasons, but there's plenty to love and it tries something new.
The bulk of the series revolves around Elsa Mars (Jessica Lange) and her group of travelling sideshow performers, all who have some sort of abnormality. As they arrive in 1951 Florida to set up shop and make a living amongst a world that fears and targets them, they are also being eyed up by Richard Spencer (Denis O'Hare), a shady businessman attempting to profit from their misfortune, and Dandy Mott (Finn Wittrock), who harbours an unhealthy obsession with the Freak Show, and in particular, conjoined twins Bette and Dot Tattler (Sarah Paulson).
All the while, a murderous and sinister clown called Twisty (John Carroll Lynch) is on the loose, causing the finger to be pointed at another Freak Show member, Jimmy Darling (Evan Peters).
All of these plot lines running at once actually run side by side pretty smoothly, making for an engaging narrative, with plenty of plot twists along the way.
The Twisty plot line is proper classic slasher horror, and is unfortunately tied up pretty quickly, but it makes way for a surprisingly touching story about family, and what it means to be different.
I found myself caring about almost everybody during Freak Show. It's very well written.
The cast are as usual, pretty great. As well as the cast members mentioned above, we have returning AHS in the likes of Kathy Bates, Francis Conroy, Emma Roberts, Angela Bassett, and Naomi Grossman, as well as some new blood in the form of Michael Chiklis, Erika Ervin, Mat Fraser, Wes Bentley, and Neil Patrick-Harris.
Sarah Paulson is the undisputed highlight during this season, playing two characters at once, with some fantastic effects work going on.
The only character I really struggled to get on board with here was Elsa, which is a shame as she's front and centre. No fault of the great Jessica Lange of course.
The season drags for a while in the mid section, but with so many likable characters, it's not a huge issue.
Freak Show is also the first season that has a concrete connection to other seasons in the AHS story, confirming finally that all the seasons take place in the same universe, which is incredibly exciting, and opens the door for a lot of possibilities.
The gore effects and horror elements continue to be a big plus for AHS, and as always, the anthology format keeps it feeling fresh. Another win for Ryan Murphy and co.
Jesters_folly (230 KP) rated Psycho (1960) in Movies
Jan 6, 2021
Contains spoilers, click to show
Ah Psycho, the granddaddy of slashers and a film that I find somehow modern and dated at the same time.
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
BankofMarquis (1832 KP) rated Richard Jewell (2019) in Movies
Feb 2, 2020
Mellow paced - nothing special
89 year old Director/Actor Clint Eastwood has mellowed with age. He seems at peace with himself and prefers to work at a pace that he sets. His latest Directing effort - RICHARD JEWELL - has that sort of mellowness. It takes it time to tell it's story with no real urgency to it.
It could have used some life to be injected in it.
Based on the true events of the pipe bombing in Centennial Park in Atlanta during the 1996 Summer Olympics, RICHARD JEWELL tells the story of...well...Richard Jewell - the Security Guard who was hailed as a hero for warning people about the bomb, saving many lives, while also being listed as the #1 suspect in the bombing.
Director Eastwood and Writer Billy Ray do not spend much time making the audience guess at to whether or not they think that Jewell committed the crime (he did not - the real bomber was caught in 2006), rather they spend their time showing a person who's being railroaded by the FBI and who's life is caught up in the scramble by the press to "get the story." Again...this would be more interesting if Director Eastwood would show some sort of urgency to the proceedings, but this film is paced on an even keel from start to finish, and I never got caught up, emotionally, in the events that were transpiring in front of me.
Paul Walter Hauser (Shawn Eckhardt in I, TONYA) does a "fine enough" job as the titular character - but it isn't anything special and since the viewer is spending almost every scene with him "fine enough" isn't good enough. Adding to my disappointment are the portrayals by John Hamm (as an FBI Agent) and Olivia Wilde (as a Newspaper Reporter). Both of these performances border on caricature (especially Wilde's performance). I'm disappointed in Eastwood for letting this happen.
Injecting "some" life into this film is Kathy Bates - who was nominated for an Academy Award for Best Supporting Actress for her portrayal of Richard Jewell's mother - and she delivers better than the others...but not "Oscar Worthy". She does nail her "Oscar moment", but I don't think the script gives her much else to do.
The brightest spot in this film - by far - is the portrayal of Richard Jewell's lawyer, Watson Bryant, by Sam Rockwell and the performance of Nina Ariande as Bryant's Secretary/Girlfriend. If anyone should have been nominated for an Oscar for their performance in this film, it is Rockwell - his is the best one in the film and Ariande plays off him wonderfully well. I sat up a little taller in my seat whenever these two had a scene together.
But that's about it. It's a pretty "meh" movie - professionally made and paced deliberately and mellowly - like Clint Eastwood. But not like an Oscar contending film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
It could have used some life to be injected in it.
Based on the true events of the pipe bombing in Centennial Park in Atlanta during the 1996 Summer Olympics, RICHARD JEWELL tells the story of...well...Richard Jewell - the Security Guard who was hailed as a hero for warning people about the bomb, saving many lives, while also being listed as the #1 suspect in the bombing.
Director Eastwood and Writer Billy Ray do not spend much time making the audience guess at to whether or not they think that Jewell committed the crime (he did not - the real bomber was caught in 2006), rather they spend their time showing a person who's being railroaded by the FBI and who's life is caught up in the scramble by the press to "get the story." Again...this would be more interesting if Director Eastwood would show some sort of urgency to the proceedings, but this film is paced on an even keel from start to finish, and I never got caught up, emotionally, in the events that were transpiring in front of me.
Paul Walter Hauser (Shawn Eckhardt in I, TONYA) does a "fine enough" job as the titular character - but it isn't anything special and since the viewer is spending almost every scene with him "fine enough" isn't good enough. Adding to my disappointment are the portrayals by John Hamm (as an FBI Agent) and Olivia Wilde (as a Newspaper Reporter). Both of these performances border on caricature (especially Wilde's performance). I'm disappointed in Eastwood for letting this happen.
Injecting "some" life into this film is Kathy Bates - who was nominated for an Academy Award for Best Supporting Actress for her portrayal of Richard Jewell's mother - and she delivers better than the others...but not "Oscar Worthy". She does nail her "Oscar moment", but I don't think the script gives her much else to do.
The brightest spot in this film - by far - is the portrayal of Richard Jewell's lawyer, Watson Bryant, by Sam Rockwell and the performance of Nina Ariande as Bryant's Secretary/Girlfriend. If anyone should have been nominated for an Oscar for their performance in this film, it is Rockwell - his is the best one in the film and Ariande plays off him wonderfully well. I sat up a little taller in my seat whenever these two had a scene together.
But that's about it. It's a pretty "meh" movie - professionally made and paced deliberately and mellowly - like Clint Eastwood. But not like an Oscar contending film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated Richard Jewell (2019) in Movies
Mar 2, 2020
Richard longs to work in law enforcement, but his eagerness to make the best impression doesn't endear him to his employers or the people he's bound to protect.
As the Olympics come to Atlanta he manages to get a job working security, he's keen and overly vigilant but when he spots a suspicious package he acts without hesitation. He's the hero and his actions saved countless lives. Looking for any new angles to report the story a local paper identifies Jewell as the main suspect in the case and his life is suddenly turned upside down.
Looking at the state of the media today, films like this highlight just how long people have been suffering for the sake of a story. Innocent until proven guilty doesn't always matter in the court of public opinion when what we're fed is presented as fact. But that's a whole other story we could debate on for years.
This film was made by its actors. Paul Walter Hauser in the lead gave a stellar performance. The naivety and trust he managed to get across had a sincerity that really helped you connect with the film.
Inter-personal relationships also added so much to it overall. His back and forth with Watson Bryant (Sam Rockwell) is amusing without breaking the seriousness of what's happening, this odd friendship borders on a brotherly bond and Rockwell's acting gets across the feat, exasperation and determination when we need to feel it.
Kathy Bates may well have been my favourite though. Bobi Jewell, the loving mother torn apart by the actions of the press and police, and literally having her dirty laundry aired in public. the journey of emotions she goes through is striking and again, it's such a genuine feeling that I was completely taken aback when she broke down.
There's also strong talent in the support cast. Olivia Wilde as Kathy Scruggs giving us a rollercoaster too. She shows us the determined journalist who's willing to stowaway in cars for the chance of an interview, to a more vulnerable and redemptive investigative journalist. Her confidence to doubt was well handled by Wilde and the moment she breaks is understated but touching.
The locations and wardrobe give the perfect setting for the film, to actually film in Centennial Park must have been a challenging but motivating opportunity.
Paul Walter Hauser gets a powerful moment near the end of the film that really brought Jewell out of the cocoon we saw in him throughout the film, it was a great end to a wonderfully acted piece of cinema.
While I've praised a lot here it's a film that feels a little heavy at times, the way that law enforcement pile on Jewell every time they interact makes it a tense watch, I don't think there was really any way to lighten that, and actually, I don't think I'd have wanted them to if there was.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/richard-jewell-movie-review.html
As the Olympics come to Atlanta he manages to get a job working security, he's keen and overly vigilant but when he spots a suspicious package he acts without hesitation. He's the hero and his actions saved countless lives. Looking for any new angles to report the story a local paper identifies Jewell as the main suspect in the case and his life is suddenly turned upside down.
Looking at the state of the media today, films like this highlight just how long people have been suffering for the sake of a story. Innocent until proven guilty doesn't always matter in the court of public opinion when what we're fed is presented as fact. But that's a whole other story we could debate on for years.
This film was made by its actors. Paul Walter Hauser in the lead gave a stellar performance. The naivety and trust he managed to get across had a sincerity that really helped you connect with the film.
Inter-personal relationships also added so much to it overall. His back and forth with Watson Bryant (Sam Rockwell) is amusing without breaking the seriousness of what's happening, this odd friendship borders on a brotherly bond and Rockwell's acting gets across the feat, exasperation and determination when we need to feel it.
Kathy Bates may well have been my favourite though. Bobi Jewell, the loving mother torn apart by the actions of the press and police, and literally having her dirty laundry aired in public. the journey of emotions she goes through is striking and again, it's such a genuine feeling that I was completely taken aback when she broke down.
There's also strong talent in the support cast. Olivia Wilde as Kathy Scruggs giving us a rollercoaster too. She shows us the determined journalist who's willing to stowaway in cars for the chance of an interview, to a more vulnerable and redemptive investigative journalist. Her confidence to doubt was well handled by Wilde and the moment she breaks is understated but touching.
The locations and wardrobe give the perfect setting for the film, to actually film in Centennial Park must have been a challenging but motivating opportunity.
Paul Walter Hauser gets a powerful moment near the end of the film that really brought Jewell out of the cocoon we saw in him throughout the film, it was a great end to a wonderfully acted piece of cinema.
While I've praised a lot here it's a film that feels a little heavy at times, the way that law enforcement pile on Jewell every time they interact makes it a tense watch, I don't think there was really any way to lighten that, and actually, I don't think I'd have wanted them to if there was.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/richard-jewell-movie-review.html
JT (287 KP) rated Sleep Tight (2011) in Movies
Mar 10, 2020
Jaume Balagueró brought terror to our screens with [Rec] in 2007, a tightly filmed horror set inside the walls of an apartment block over run with flesh eating zombies.
In Sleep Tight Balagueró again goes back inside an apartment block, this time the zombies are replaced by normal residents and a concierge with a sinister secret. César (Luis Tosar) is unhappy, and has been pretty much all his life, from the opening shot we see him standing on a ledge high above the streets preparing himself to drop to the concrete below.
He goes about his daily business with meticulous routine greeting the residents with a wry smile and engaging them in conversation day to day, but deep down he loathes it.It seems that his quest is to make others just as unhappy as he is, with main target being the gorgeous Clara (Marta Etura). Initially César seems pleasant enough, he’s polite and courteous and is always making himself available to those who need his help, whether it’s from feeding dogs to fumigating apartments.
It’s when we finally see him under Clara’s bed lying in wait that you realize that Balagueró is about to deliver us a 21st century boogieman. The lengths that César will go to to put Clara in harm’s way will leave you with your jaw open. The idea being that he wants to break her, “we’ll wipe that smile off her face,” he tells his bed ridden mother in hospital.
This almost nods right away to a Hitchcockian feel to the film, think of César as the Spanish version of Norman Bates without the dress, although at one point he does toy with the idea of using a large kitchen knife. During his torment of poor Clara he infests her house with bugs, injects things into her moisturizing products and even goes so far as to sleep in the same bed, with a little help from chloroform.
It would be unfair to explain anything more as it would give too much of the story away, and when Clara’s boyfriend Marcos arrives on the scene things only get worse. During the film you almost feel sorry for César and you’d be guilty for feeling anything but admiration towards him, at his dedication the very least.
It’s a voyeuristic nightmare, more so for the audience as Clara doesn’t really have much of a clue what is going on. Even when César is caught in the apartment during one of the films more gripping scenes he has an embarrassed excuse.
Balagueró proves to critics that he can capture as much tension and suspense through conventional cameras as opposed to the point of view of a hand held camcorder, which he used so effectively throughout [Rec] and its sequel.
Sleep Tight is an edgy slow burning thriller, a different take on the horror genre that will leave you gasping after the final act.
In Sleep Tight Balagueró again goes back inside an apartment block, this time the zombies are replaced by normal residents and a concierge with a sinister secret. César (Luis Tosar) is unhappy, and has been pretty much all his life, from the opening shot we see him standing on a ledge high above the streets preparing himself to drop to the concrete below.
He goes about his daily business with meticulous routine greeting the residents with a wry smile and engaging them in conversation day to day, but deep down he loathes it.It seems that his quest is to make others just as unhappy as he is, with main target being the gorgeous Clara (Marta Etura). Initially César seems pleasant enough, he’s polite and courteous and is always making himself available to those who need his help, whether it’s from feeding dogs to fumigating apartments.
It’s when we finally see him under Clara’s bed lying in wait that you realize that Balagueró is about to deliver us a 21st century boogieman. The lengths that César will go to to put Clara in harm’s way will leave you with your jaw open. The idea being that he wants to break her, “we’ll wipe that smile off her face,” he tells his bed ridden mother in hospital.
This almost nods right away to a Hitchcockian feel to the film, think of César as the Spanish version of Norman Bates without the dress, although at one point he does toy with the idea of using a large kitchen knife. During his torment of poor Clara he infests her house with bugs, injects things into her moisturizing products and even goes so far as to sleep in the same bed, with a little help from chloroform.
It would be unfair to explain anything more as it would give too much of the story away, and when Clara’s boyfriend Marcos arrives on the scene things only get worse. During the film you almost feel sorry for César and you’d be guilty for feeling anything but admiration towards him, at his dedication the very least.
It’s a voyeuristic nightmare, more so for the audience as Clara doesn’t really have much of a clue what is going on. Even when César is caught in the apartment during one of the films more gripping scenes he has an embarrassed excuse.
Balagueró proves to critics that he can capture as much tension and suspense through conventional cameras as opposed to the point of view of a hand held camcorder, which he used so effectively throughout [Rec] and its sequel.
Sleep Tight is an edgy slow burning thriller, a different take on the horror genre that will leave you gasping after the final act.
Veronica Pena (690 KP) rated Rope (1948) in Movies
Mar 12, 2020
did i speak too soon?
Contains spoilers, click to show
If you've read my other reviews, you know that I'm currently in a Hitchcock film class. I've been dreading watching his films because of the ones I've seen, with the exception of Psycho, have been the same story told in different ways. I was equally as dreadful when it came to watching this film. However, I was pleasantly surprised.
In Psycho, while we saw a serial killer, it was almost as if Norman had no choice because he'd been overtaken, so to speak, by Norma Bates. Norman knew what had been done, what his mother had done, and he cleaned up after her, defended her, took care of her. In Shadow of a Doubt, while Uncle Charlie was also a killer, Hitchcock played with the likable villain scenario that we talked about last week. He was this dapper, well-liked, well-respected man that seemed like he could never be capable of the things he was accused. And even when he did die, only little Charly and the detective really knew the truth of who Uncle Charlie was. In Sabotage, we saw murder but it wasn't purposeful. The bomb that was meant to explode, wasn't meant to explode where it did - on a public bus, killing not only the nephew but several strangers and a puppy.
Rope is glaringly different in comparison. We see Brandon who is ecstatic, almost euphoric about what he and Phillip had done. He almost gets off on the idea that they just killed a man, a friend of theirs, and invited that man's family, friends, and fiance over for a party while that man's dead body lying there, unbeknownst to the guests. Brandon was excited by that. In contrast, Phillip is paranoid, drinking rapidly and in excess trying to calm himself down, but really only making himself more suspicious. The nuance and the contrast of Brandon and Phillip's characters are different than anything we've seen from Hitchcock thus far, but even further than that, we see Rupert come in and kind of save the day. He puts the pieces together, observant of both Brandon and Phillip's awkwardness and behavior throughout the party, then noticing the hat and the rope, he comes back and realizes what they have done. Instead of taking vengeance into his own hands, something that we saw in Sabotage, he fires 3 shots out of the window, causing passersby and neighbors to call the police. Rupert than sits next to the chest that holds David's body, almost protecting him, while he waits for the authorities to arrive for Brandon and Phillip.
This film, more than any other one besides Psycho, has been my favorite to watch and the one that kept me drawn in. This film does not fit the original narrative I've held. It's in a completely different game entirely.
In Psycho, while we saw a serial killer, it was almost as if Norman had no choice because he'd been overtaken, so to speak, by Norma Bates. Norman knew what had been done, what his mother had done, and he cleaned up after her, defended her, took care of her. In Shadow of a Doubt, while Uncle Charlie was also a killer, Hitchcock played with the likable villain scenario that we talked about last week. He was this dapper, well-liked, well-respected man that seemed like he could never be capable of the things he was accused. And even when he did die, only little Charly and the detective really knew the truth of who Uncle Charlie was. In Sabotage, we saw murder but it wasn't purposeful. The bomb that was meant to explode, wasn't meant to explode where it did - on a public bus, killing not only the nephew but several strangers and a puppy.
Rope is glaringly different in comparison. We see Brandon who is ecstatic, almost euphoric about what he and Phillip had done. He almost gets off on the idea that they just killed a man, a friend of theirs, and invited that man's family, friends, and fiance over for a party while that man's dead body lying there, unbeknownst to the guests. Brandon was excited by that. In contrast, Phillip is paranoid, drinking rapidly and in excess trying to calm himself down, but really only making himself more suspicious. The nuance and the contrast of Brandon and Phillip's characters are different than anything we've seen from Hitchcock thus far, but even further than that, we see Rupert come in and kind of save the day. He puts the pieces together, observant of both Brandon and Phillip's awkwardness and behavior throughout the party, then noticing the hat and the rope, he comes back and realizes what they have done. Instead of taking vengeance into his own hands, something that we saw in Sabotage, he fires 3 shots out of the window, causing passersby and neighbors to call the police. Rupert than sits next to the chest that holds David's body, almost protecting him, while he waits for the authorities to arrive for Brandon and Phillip.
This film, more than any other one besides Psycho, has been my favorite to watch and the one that kept me drawn in. This film does not fit the original narrative I've held. It's in a completely different game entirely.