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Sarah (7800 KP) rated It’s A Sin in TV
Feb 7, 2021
Outstanding drama
It’s A Sin is the latest drama from the mind of Russell T Davies, the man behind Queer as Folk, Cucumber and the revival of Doctor Who back in 2005. It follows a group of gay men and their friends in London from 1981 to 1991, depicting how the developing HIV and AIDS crisis impacted on their lives.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
Movie Metropolis (309 KP) rated Allied (2016) in Movies
Jun 11, 2019
There's a great film in here somewhere
Director Robert Zemeckis has some impressive film credits to his name. From cult classics like Back to the Future to last year’s nausea inducing The Walk, there hasn’t been a genre his skills haven’t graced over the last four decades.
His most recent effort, Allied, sees the veteran director tackle the war genre with a film that certainly has its moments, but just how good is this wartime romantic drama?
Max Vatan (Brad Pitt) and Marianne Beauséjour (Marion Cotillard) are World War II operatives who never reveal their true identities. After falling in love during a risky mission, they hope to leave all that double-dealing behind them and start new lives. Instead, suspicion and danger envelop their marriage as both husband and wife become pitted against each other in an escalating, potentially lethal test that has global consequences.
Allied is an assured piece of film-making that tackles the claustrophobia of war incredibly well, but considering the talent at both ends of the camera, it lacks depth, harmony and above all; a plot that remains coherent throughout.
Brad Pitt and Marion Cotillard are their usual dependable selves but they lack chemistry until the closing act and as a result, their relationship lacks believability, hampering what is in effect, a love story.
Elsewhere, the cinematography is too often blighted by poorly lit scenes that restrict the talents of Allied’s director. Robert Zemeckis is at his best embarking upon projects that leap off the screen with their vibrancy. Take Back to the Future and Forrest Gump as prime examples of this.
Nevertheless, the film’s final act almost makes up for these shortcomings and turns a plodding romantic drama into a tense, well-acted and above all interesting movie that has a great script; it’s just a shame the first hour lacks any punch.
When it comes to special effects, well, they’re used sparingly, with the upside of this being that they liven up the film nicely. The scenes of London during the blitz are harrowingly beautiful, with one sequence in particular being a standout throughout the entire running time.
Overall, Allied is a decent stab at constructing a meaningful wartime romantic drama, though looking to history should have perhaps sent alarm bells ringing; Pearl Harbour anyone. The story is intriguing most definitely, and it has some nice special effects, but the script it’s crafted around lacks depth until the final hour. It’s probably fair to say that this may slip under the radar when we look back at Robert Zemeckis’s illustrious career.
https://moviemetropolis.net/2016/11/26/theres-a-great-film-in-here-somewhere-allied-review/
His most recent effort, Allied, sees the veteran director tackle the war genre with a film that certainly has its moments, but just how good is this wartime romantic drama?
Max Vatan (Brad Pitt) and Marianne Beauséjour (Marion Cotillard) are World War II operatives who never reveal their true identities. After falling in love during a risky mission, they hope to leave all that double-dealing behind them and start new lives. Instead, suspicion and danger envelop their marriage as both husband and wife become pitted against each other in an escalating, potentially lethal test that has global consequences.
Allied is an assured piece of film-making that tackles the claustrophobia of war incredibly well, but considering the talent at both ends of the camera, it lacks depth, harmony and above all; a plot that remains coherent throughout.
Brad Pitt and Marion Cotillard are their usual dependable selves but they lack chemistry until the closing act and as a result, their relationship lacks believability, hampering what is in effect, a love story.
Elsewhere, the cinematography is too often blighted by poorly lit scenes that restrict the talents of Allied’s director. Robert Zemeckis is at his best embarking upon projects that leap off the screen with their vibrancy. Take Back to the Future and Forrest Gump as prime examples of this.
Nevertheless, the film’s final act almost makes up for these shortcomings and turns a plodding romantic drama into a tense, well-acted and above all interesting movie that has a great script; it’s just a shame the first hour lacks any punch.
When it comes to special effects, well, they’re used sparingly, with the upside of this being that they liven up the film nicely. The scenes of London during the blitz are harrowingly beautiful, with one sequence in particular being a standout throughout the entire running time.
Overall, Allied is a decent stab at constructing a meaningful wartime romantic drama, though looking to history should have perhaps sent alarm bells ringing; Pearl Harbour anyone. The story is intriguing most definitely, and it has some nice special effects, but the script it’s crafted around lacks depth until the final hour. It’s probably fair to say that this may slip under the radar when we look back at Robert Zemeckis’s illustrious career.
https://moviemetropolis.net/2016/11/26/theres-a-great-film-in-here-somewhere-allied-review/
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Bob Mann (459 KP) rated Suicide Squad (2016) in Movies
Sep 29, 2021
The length of time it’s taken me to catch this one at the cinema belies my lukewarm interest in the material: I’m not a ‘fan boy’ for either Marvel or DC properties. As it turns out, writer/director David “Fury” Ayer’s Suicide Squad is just plain frustrating in cinematic terms.
The story concerns the efforts of Amanda Waller (Viola Davis) to assemble – for reasons that make almost zero sense! – the ‘worse of the worst’ out of US prisons to form a fighting force to combat the perceived threat of an “anti-Superman” villain that *might* appear in the future.
SUICIDE SQUAD
Viola Davis wondering Why? Just Why?
Among these super-villains are Deadshot (Will Smith) and Harley Quinn (Margot Robbie). Harley is the girlfriend of The Joker (Jared Leto) and they would be a great match on Match.com since both are several sandwiches short of a picnic.
Waller assembles her motley crew. Unfortunately, another of the super-villains is June Moon aka “The Enchantress” (Cara Delevingne, her of the scary eyebrows) – an ancient God-like being that has possessed June and who has her/its own agenda that threatens the whole world.
So why is this movie so frustrating? Because for all its inane silliness the film does have its fair share of scenes that stick in the mind. I’ve seen comment that Jared Leto’s much-vaunted Joker is peripheral: a cameo only on screen for a few minutes. But I didn’t find that… or at least his scenes were sufficiently memorable to seem much more substantial. The madness portrayed here is truly quite disturbing and threatening. Many of Leto’s scenes – such as the one with The Joker lying on the floor surrounded by weapons – are artfully done.
Margot Robbie’s Quinn although extremely sexualized – which will not be to the liking of some, but appeal to many male viewers – adds enormous charisma to her role. Will Smith also does his best with the material he has to inject some emotional heft into the father/daughter sub-plot.
Unfortunately this is all done against a fractured and frankly nonsensical story with inconsistencies and loose ends too numerous to list. (Oh, OK, I’ll do a few):
A super-being dispatches armies and nukes from hundred of miles away, yet can’t swat a couple of inconvenient humans at 10 paces?
A large early part of the film is filled with backstories (which I don’t necessarily object to for context) but here they are done in an extremely patchy manner: a number of the characters are sketched out so lightly that they might as well be wearing the red Star Trek shirts!
Waller’s motivations (and certainly her sociopathic actions at some points in the plot) are nebulous and don’t bear scrutiny. Why exactly does she thing a ‘bloke who can shoot well’ can do diddly-squat against a super-being spewing gravity defying electrical displays on the other side of the city?
Is this really a ‘Dirty Dozen’? Many of the super-villains seem to be not so bad after all… you know… with consciences and everything…. (I’m sure you could find ten times worse down behind Southampton docks on a Friday night).
And while some of the cinematography (Roman Vasyanov, “Fury”) and lighting is memorable, there are some cinema basics (like dark subtitles on a dark background) that seem just plain careless.
With a huge BvS quotient of 0.7 this should really have been much better. To put it another way, you could have made ten of last week’s 4-Fad film “The Shallows” for the cost of this (and stuck a better ending on it with the change).
Memorable visuals, but not a memorable film.
The story concerns the efforts of Amanda Waller (Viola Davis) to assemble – for reasons that make almost zero sense! – the ‘worse of the worst’ out of US prisons to form a fighting force to combat the perceived threat of an “anti-Superman” villain that *might* appear in the future.
SUICIDE SQUAD
Viola Davis wondering Why? Just Why?
Among these super-villains are Deadshot (Will Smith) and Harley Quinn (Margot Robbie). Harley is the girlfriend of The Joker (Jared Leto) and they would be a great match on Match.com since both are several sandwiches short of a picnic.
Waller assembles her motley crew. Unfortunately, another of the super-villains is June Moon aka “The Enchantress” (Cara Delevingne, her of the scary eyebrows) – an ancient God-like being that has possessed June and who has her/its own agenda that threatens the whole world.
So why is this movie so frustrating? Because for all its inane silliness the film does have its fair share of scenes that stick in the mind. I’ve seen comment that Jared Leto’s much-vaunted Joker is peripheral: a cameo only on screen for a few minutes. But I didn’t find that… or at least his scenes were sufficiently memorable to seem much more substantial. The madness portrayed here is truly quite disturbing and threatening. Many of Leto’s scenes – such as the one with The Joker lying on the floor surrounded by weapons – are artfully done.
Margot Robbie’s Quinn although extremely sexualized – which will not be to the liking of some, but appeal to many male viewers – adds enormous charisma to her role. Will Smith also does his best with the material he has to inject some emotional heft into the father/daughter sub-plot.
Unfortunately this is all done against a fractured and frankly nonsensical story with inconsistencies and loose ends too numerous to list. (Oh, OK, I’ll do a few):
A super-being dispatches armies and nukes from hundred of miles away, yet can’t swat a couple of inconvenient humans at 10 paces?
A large early part of the film is filled with backstories (which I don’t necessarily object to for context) but here they are done in an extremely patchy manner: a number of the characters are sketched out so lightly that they might as well be wearing the red Star Trek shirts!
Waller’s motivations (and certainly her sociopathic actions at some points in the plot) are nebulous and don’t bear scrutiny. Why exactly does she thing a ‘bloke who can shoot well’ can do diddly-squat against a super-being spewing gravity defying electrical displays on the other side of the city?
Is this really a ‘Dirty Dozen’? Many of the super-villains seem to be not so bad after all… you know… with consciences and everything…. (I’m sure you could find ten times worse down behind Southampton docks on a Friday night).
And while some of the cinematography (Roman Vasyanov, “Fury”) and lighting is memorable, there are some cinema basics (like dark subtitles on a dark background) that seem just plain careless.
With a huge BvS quotient of 0.7 this should really have been much better. To put it another way, you could have made ten of last week’s 4-Fad film “The Shallows” for the cost of this (and stuck a better ending on it with the change).
Memorable visuals, but not a memorable film.
Dana (24 KP) rated Queen of Shadows in Books
Mar 23, 2018
Warning, if you have not read this book or any of the other ones before this, this review will have some minor spoilers, so if you don't want to find out stuff, do not read this review!!
I think this may have become my favorite of this series! After being somewhat disappointed with Heir of Fire (in relation to the other books in the series), Queen of Shadows had me jumping for joy.
I have loved how much the relationships between the characters have grown and have continuously evolved in the four books (plus The Assassin's Blade). In Heir of Fire, I couldn't really get into the story with Manon and her thirteen, but in this book, their story brought a lot more to the table. Her relationship with Eldie made me feel like she was more than she was in Heir of Fire. The fact that characters from the other books got such big parts in this novel. (Lysanna for the win!) Kaltain (from the first novel) and Lysanna (from The Assassin's Blade) became so important to this story line. It was great to see Aelin interacting with another female again in a way that wasn't just violence and heartache. I even love Rowan from this book. In the last book, he was kind if distant and unapproachable, but in Queen of Shadows, we got to see more of who he really was.
Chaol's development in this story was very good to see as well. From being a whiny little brat in Heir of Fire to being a decent human being in this book was fun to witness.
Abraxos is the freaking cutest little dragon I have ever read. I love him and I want my own!!!
It was cool to get to see Aelin slip on her Celaena mask again. The contrasts between the two is amazing to witness. Without those scenes, we wouldn't have been able to see how much she had actually grown--from being the bitchy assassin to being a badass queen, that was amazing. I think it was also very important to be able to see everyone's reactions to her slipping on the mask as well.
The changing of the narrators in this novel felt a lot more natural in the story than it did in Heir of Fire. It was as if they had all developed to a point where they cold tell their own stories in a way that made sense.
It is definitely important to read The Assassin's Blade before this book because without it, you won't get the weight of the actions that play out as much. You get more of the history behind Aelin, Lysanna, and Arobynn that make everything that happens make sense.
The action scenes were very well done. I enjoyed how the frenzied actions that were happening in the battles were equal to the frenzied writing on the page.
I think this may have become my favorite of this series! After being somewhat disappointed with Heir of Fire (in relation to the other books in the series), Queen of Shadows had me jumping for joy.
I have loved how much the relationships between the characters have grown and have continuously evolved in the four books (plus The Assassin's Blade). In Heir of Fire, I couldn't really get into the story with Manon and her thirteen, but in this book, their story brought a lot more to the table. Her relationship with Eldie made me feel like she was more than she was in Heir of Fire. The fact that characters from the other books got such big parts in this novel. (Lysanna for the win!) Kaltain (from the first novel) and Lysanna (from The Assassin's Blade) became so important to this story line. It was great to see Aelin interacting with another female again in a way that wasn't just violence and heartache. I even love Rowan from this book. In the last book, he was kind if distant and unapproachable, but in Queen of Shadows, we got to see more of who he really was.
Chaol's development in this story was very good to see as well. From being a whiny little brat in Heir of Fire to being a decent human being in this book was fun to witness.
Abraxos is the freaking cutest little dragon I have ever read. I love him and I want my own!!!
It was cool to get to see Aelin slip on her Celaena mask again. The contrasts between the two is amazing to witness. Without those scenes, we wouldn't have been able to see how much she had actually grown--from being the bitchy assassin to being a badass queen, that was amazing. I think it was also very important to be able to see everyone's reactions to her slipping on the mask as well.
The changing of the narrators in this novel felt a lot more natural in the story than it did in Heir of Fire. It was as if they had all developed to a point where they cold tell their own stories in a way that made sense.
It is definitely important to read The Assassin's Blade before this book because without it, you won't get the weight of the actions that play out as much. You get more of the history behind Aelin, Lysanna, and Arobynn that make everything that happens make sense.
The action scenes were very well done. I enjoyed how the frenzied actions that were happening in the battles were equal to the frenzied writing on the page.
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