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LoganCrews (2861 KP) rated 3 From Hell (2019) in Movies
Oct 10, 2020 (Updated Oct 10, 2020)
RIP - Sid Haig
I... wanted to like this so badly, it physically hurts me to write this. I revere the first two films in this trilogy and thought it ended contently on the previous one - though I wouldn't necessarily be opposed to seeing more. However, the way this was practically forced out of Zombie when he wanted to make another film instead (after over a decade of swearing off interest in another sequel already) plus the whole thing being plagued with a stifled budget and Sig Haig's failing health on top of that just makes it a sad affair in more ways than one. It starts off okay, begins with a substantial amount of 'martyred killer' psychobabble ("Justice is a fucking knife", "All hail the man behind the grease paint!") and hallmark Zombie sadism, albeit significantly toned down this time around much to its detriment. I still applaud Zombie in his effort to make every entry into this canon a different experience, but there's nothing going on here - it's essentially a diet retread of đđ©đŠ đđŠđ·đȘđ'đŽ đđŠđ«đŠđ€đ”đŽ meets a boring hangout movie that barely even attempts to delve into the tantalizing Manson-era publicized serial killer culture it teases in its opening scenes. Looks like cheap DTV shit too, especially that criminal CGI blood. Just so disappointingly cursory in its storytelling, obviously this would have suffered without Haig anyway but the Richard Brake replacement character stands around and does jack shit. Moon-Zombie and Moseley are intact but to what effect? Their characters come out worse off than they were 15 years ago. Has enough alright moments to escape being too offensively bad but I'm still immeasurably let down. Dee Wallace is great, though. I wonder what Doctor Satan is up to.
I... wanted to like this so badly, it physically hurts me to write this. I revere the first two films in this trilogy and thought it ended contently on the previous one - though I wouldn't necessarily be opposed to seeing more. However, the way this was practically forced out of Zombie when he wanted to make another film instead (after over a decade of swearing off interest in another sequel already) plus the whole thing being plagued with a stifled budget and Sig Haig's failing health on top of that just makes it a sad affair in more ways than one. It starts off okay, begins with a substantial amount of 'martyred killer' psychobabble ("Justice is a fucking knife", "All hail the man behind the grease paint!") and hallmark Zombie sadism, albeit significantly toned down this time around much to its detriment. I still applaud Zombie in his effort to make every entry into this canon a different experience, but there's nothing going on here - it's essentially a diet retread of đđ©đŠ đđŠđ·đȘđ'đŽ đđŠđ«đŠđ€đ”đŽ meets a boring hangout movie that barely even attempts to delve into the tantalizing Manson-era publicized serial killer culture it teases in its opening scenes. Looks like cheap DTV shit too, especially that criminal CGI blood. Just so disappointingly cursory in its storytelling, obviously this would have suffered without Haig anyway but the Richard Brake replacement character stands around and does jack shit. Moon-Zombie and Moseley are intact but to what effect? Their characters come out worse off than they were 15 years ago. Has enough alright moments to escape being too offensively bad but I'm still immeasurably let down. Dee Wallace is great, though. I wonder what Doctor Satan is up to.
JT (287 KP) rated Rabbit Hole (2010) in Movies
Mar 10, 2020
Anyone with children will surely feel the pain in this film which is disheartening right to the core. Itâs emotionally draining with great central performances from Kidman and Eckhart.
Set eight months after the death of their son, Becca (Nicole Kidman) and Howie (Aaron Eckhart) are trying to come to terms with him not being in their lives anymore and both have a different way of dealing with it. Howie prefers to relive the past by watching videos on his phone late at night, while Becca wants to eradicate his memory altogether by giving away his clothes, removing his paintings from the fridge and cleaning his room so that all traces are gone.
The pair try to seek solace in counselling, talking with other couples who regale their grieving process. This doesnât sit well with Becca but Howie tries to stick with it. He even becomes close, too close in fact, with one of the other wives when he realises that the bond he has with his own wife might be slipping away. Their cause is not helped by the fact that Beccaâs slightly rebellious sister falls pregnant or that her Mum, Nat, is still hurting from the death of her own son, a drug user. This only angers Becca more when Nat compares the two.
The cause of the death is slowly discovered when Becca spots the culprit on a school bus and it is revealed that Jason (Miles Teller) was behind the wheel of the car. The pair engage in secret meetings, as if having some kind of affair but simply sit to talk and reflect on each others lives and the accident itself.
Pain never goes away, itâs something that is carried around with you forever, people seem to tread lightly around you, and life will never be the same again. Itâs certainly a tear jerker, there are plenty of moments to choose from in this but for me the film is all about the acting of which there is much to enjoy.
Kidman is at her best and Eckhart who was hand picked by Kidman to be her leading man is sublime and yet explosive in a number of highly charged scenes. The ending shot is one of hope, amid the shattered pieces of their lives scattered all over the place you feel that they might have crossed the road to a happier future.
Set eight months after the death of their son, Becca (Nicole Kidman) and Howie (Aaron Eckhart) are trying to come to terms with him not being in their lives anymore and both have a different way of dealing with it. Howie prefers to relive the past by watching videos on his phone late at night, while Becca wants to eradicate his memory altogether by giving away his clothes, removing his paintings from the fridge and cleaning his room so that all traces are gone.
The pair try to seek solace in counselling, talking with other couples who regale their grieving process. This doesnât sit well with Becca but Howie tries to stick with it. He even becomes close, too close in fact, with one of the other wives when he realises that the bond he has with his own wife might be slipping away. Their cause is not helped by the fact that Beccaâs slightly rebellious sister falls pregnant or that her Mum, Nat, is still hurting from the death of her own son, a drug user. This only angers Becca more when Nat compares the two.
The cause of the death is slowly discovered when Becca spots the culprit on a school bus and it is revealed that Jason (Miles Teller) was behind the wheel of the car. The pair engage in secret meetings, as if having some kind of affair but simply sit to talk and reflect on each others lives and the accident itself.
Pain never goes away, itâs something that is carried around with you forever, people seem to tread lightly around you, and life will never be the same again. Itâs certainly a tear jerker, there are plenty of moments to choose from in this but for me the film is all about the acting of which there is much to enjoy.
Kidman is at her best and Eckhart who was hand picked by Kidman to be her leading man is sublime and yet explosive in a number of highly charged scenes. The ending shot is one of hope, amid the shattered pieces of their lives scattered all over the place you feel that they might have crossed the road to a happier future.
Phillip McSween (751 KP) rated Coco (2017) in Movies
Dec 11, 2017
Amazing
The Book of Life was one of my favorite films of 2014. When I first saw the trailer for Coco, it was hard not for me to draw comparisons. A celebration of the Day of the Dead. Mariachi. Centered around music. Coco brings its own flavor, however, a unique experience all its own. In fact, if it weren't for the god-awful twenty-five-minute Frozen short right before (since removed due to numerous complaints), this would have been close to a perfect moviegoing experience.
Little Miguel loves music. He has to sneak away to watch old recordings of his favorite musician Ernesto de la Cruz because the rest of his family thinks music is a curse. Following a mysterious chain of events (don't want to ruin it for you), Miguel finds himself in the Land of the Dead and must somehow find a way to get home before its too late.
The colors. Oh man, the colors. Vibrant, popping off the screen. It screams life even during the scenes in the Land of the Dead. This is one film I wish I would have seen in IMAX. The colors add an amazing pop, from the spirit animals to the city landscapes at night, making this one of the most beautiful animated films I have seen.
The colors alone are just a small touch to the overall creativity and originality behind Coco. The Land of the Dead is loaded with sights to behold, some you might miss if you blink. The attention to detail is spectacular from the cool bridge that guides the dead to the Land of the Living to the colorful spirit animals. I've seen a lot of movies and I haven't seen anything like this.
Not only are the visuals amazing, but the music holds its own as well, driving the entire story in an entertaining and powerful way. There are a lot of touching moments that revolve around the soundtrack. There will be musical numbers that make you laugh while others leave you with more of a somber feel. Maybe I cried a little. Maybe I didn't. You'll never know for sure. One thing I can say is this movie was about as touching as any I have seen this year.
Disney/Pixar is known for leaving you with a great message and Coco is no exception. Miguel was willing to follow his dreams at all costs, even if it cost him his life. How many of us can say the same? Another phenomenal job by Pixar. I give the film a 96.
Little Miguel loves music. He has to sneak away to watch old recordings of his favorite musician Ernesto de la Cruz because the rest of his family thinks music is a curse. Following a mysterious chain of events (don't want to ruin it for you), Miguel finds himself in the Land of the Dead and must somehow find a way to get home before its too late.
The colors. Oh man, the colors. Vibrant, popping off the screen. It screams life even during the scenes in the Land of the Dead. This is one film I wish I would have seen in IMAX. The colors add an amazing pop, from the spirit animals to the city landscapes at night, making this one of the most beautiful animated films I have seen.
The colors alone are just a small touch to the overall creativity and originality behind Coco. The Land of the Dead is loaded with sights to behold, some you might miss if you blink. The attention to detail is spectacular from the cool bridge that guides the dead to the Land of the Living to the colorful spirit animals. I've seen a lot of movies and I haven't seen anything like this.
Not only are the visuals amazing, but the music holds its own as well, driving the entire story in an entertaining and powerful way. There are a lot of touching moments that revolve around the soundtrack. There will be musical numbers that make you laugh while others leave you with more of a somber feel. Maybe I cried a little. Maybe I didn't. You'll never know for sure. One thing I can say is this movie was about as touching as any I have seen this year.
Disney/Pixar is known for leaving you with a great message and Coco is no exception. Miguel was willing to follow his dreams at all costs, even if it cost him his life. How many of us can say the same? Another phenomenal job by Pixar. I give the film a 96.
Sarah (7798 KP) rated Mulan (2020) in Movies
Dec 18, 2020
Completely uninteresting
Mulan (2020) is the live action adaptation of the 1998 Disney animation of the same name, the latest in the live action remakes of Disney classics based on a young woman who disguises herself as a male soldier to save her father.
Iâll start with an admission: Iâve never seen the original animated Mulan. Despite being an avid Disney fan, growing up living and breathing everything Disney, somehow as an eleven year old when it was first released Mulan just passed me by, and has carried in doing so in the 20+ years since. Unlike the other live action Disney remakes in which I had so many preconceptions and so much love for the originals, I went into Mulan entirely open and with no expectations. This I hoped would prove to be a benefit when watching this remake, however Iâm afraid to say that it actually may have put me at even more of a disadvantage.
The biggest issue with this film is that is entirely lacking in everything youâd usually expect from an animated Disney film and what I donât doubt is present in the 1998 original. Disney films are full of heart, laughter, cutesy creatures and catchy songs whilst with an underlying serious plot with more menace and threat than youâd expect. This remake appears to have removed everything you know and love about Disney and replaced it with a very serious, very drawn out and actually quite dull plot. Yes there is still the good message in here that hopefully will motivate young women, but itâs lost behind a film that is severely lacking in any really spirit or character.
Yifei Liu does well as Mulan, at least with what sheâs given to work with as far as the script goes. However she really suffers with the romance side, as there is zero chemistry between Mulan and Honghui, even with Yoson Anâs charismatic performance. Jet Li is barely recognisable as the Emperor and Donnie Yen really needed to channel more of his Rogue One character to lighten the mood. Even the villains, Bori Khan (Jason Scott Lee) and Xianniang (Li Gong) have little to work with, with Xianniangâs witch being let down by the most by the poor writing and character development.
The cast however arenât really at fault here. The film looks good, the sets and costumes are impressive and everything feels lush and colourful. However I felt the action scenes had been so obviously âDisney-fiedâ that they lost all sense of fun and, well, action. They felt over choreographed and with the large amount of fight scenes in this, the lack of proper violence and blood was far too obvious. And the over-used slow motion alongside some questionable CGI was unbearable. Considering they wanted to make this a more accurate and serious Disney adaptation, itâs a shame they didnât go far enough to make the action a little more adult.
I really wanted to like this, but for me it was just severely deficient in anything that makes a Disney film likeable. Had I seen the original, it may have at least brought some form of love and nostalgia. However all this has succeeded in doing is making me want to watch the original, both as a comparison and for some much needed fun and laughter.
Iâll start with an admission: Iâve never seen the original animated Mulan. Despite being an avid Disney fan, growing up living and breathing everything Disney, somehow as an eleven year old when it was first released Mulan just passed me by, and has carried in doing so in the 20+ years since. Unlike the other live action Disney remakes in which I had so many preconceptions and so much love for the originals, I went into Mulan entirely open and with no expectations. This I hoped would prove to be a benefit when watching this remake, however Iâm afraid to say that it actually may have put me at even more of a disadvantage.
The biggest issue with this film is that is entirely lacking in everything youâd usually expect from an animated Disney film and what I donât doubt is present in the 1998 original. Disney films are full of heart, laughter, cutesy creatures and catchy songs whilst with an underlying serious plot with more menace and threat than youâd expect. This remake appears to have removed everything you know and love about Disney and replaced it with a very serious, very drawn out and actually quite dull plot. Yes there is still the good message in here that hopefully will motivate young women, but itâs lost behind a film that is severely lacking in any really spirit or character.
Yifei Liu does well as Mulan, at least with what sheâs given to work with as far as the script goes. However she really suffers with the romance side, as there is zero chemistry between Mulan and Honghui, even with Yoson Anâs charismatic performance. Jet Li is barely recognisable as the Emperor and Donnie Yen really needed to channel more of his Rogue One character to lighten the mood. Even the villains, Bori Khan (Jason Scott Lee) and Xianniang (Li Gong) have little to work with, with Xianniangâs witch being let down by the most by the poor writing and character development.
The cast however arenât really at fault here. The film looks good, the sets and costumes are impressive and everything feels lush and colourful. However I felt the action scenes had been so obviously âDisney-fiedâ that they lost all sense of fun and, well, action. They felt over choreographed and with the large amount of fight scenes in this, the lack of proper violence and blood was far too obvious. And the over-used slow motion alongside some questionable CGI was unbearable. Considering they wanted to make this a more accurate and serious Disney adaptation, itâs a shame they didnât go far enough to make the action a little more adult.
I really wanted to like this, but for me it was just severely deficient in anything that makes a Disney film likeable. Had I seen the original, it may have at least brought some form of love and nostalgia. However all this has succeeded in doing is making me want to watch the original, both as a comparison and for some much needed fun and laughter.
Jenny Houle (24 KP) rated The Weight of This World in Books
Jan 13, 2018
I received an ARC from FirstToRead for an unbiased review of THE WEIGHT OF THE WORLD.
It's particularly hard to explain the details of this book without spoilers, beyond the blurb already posted about it: "A combat veteran returned from war, Thad Broom canât leave the hardened world of Afghanistan behind, nor can he forgive himself for what he saw there. His mother, April, is haunted by her own demons, a secret trauma she has carried for years. Between them is Aiden McCall, loyal to both but unable to hold them together. Connected by bonds of circumstance and duty, friendship and love, these three lives are blown apart when Aiden and Thad witness the accidental death of their drug dealer and a riot of dope and cash drops in their laps. On a meth-fueled journey to nowhere, they will either find the grit to overcome the darkness or be consumed by it."
I don't entirely think I knew what I was getting myself into reading the book, which was well written but a little too graphic for me. I think in referring others to it, I will consider those who handle certain scenarios well, versus those who do not (for example, I'm not exactly rushing out to recommend this to any of my friends who've returned home from war and are dealing with PTSD).
The development of the three main characters and the intensity of their bonds and loyalty, despite all the ways they continued to fail one another, were a true depiction of human spirit. How we can love someone so much that we never mean to fail them, yet we can never do fully right by them.
I loved the epilogue but not the ending...if that makes sense (I'm afraid to say much for fear of spoilers). Part of me wanted so desperately for Aiden, Thad and April to all find their way away from Little Canada, alone or together, having beaten all their demons. Part of me, though, is realistic enough to know that is not how life works.
I will absolutely be hunting for other books by David Joy having read this one. So glad I took the time and stuck out the scenes that were hard to stomach.
It's particularly hard to explain the details of this book without spoilers, beyond the blurb already posted about it: "A combat veteran returned from war, Thad Broom canât leave the hardened world of Afghanistan behind, nor can he forgive himself for what he saw there. His mother, April, is haunted by her own demons, a secret trauma she has carried for years. Between them is Aiden McCall, loyal to both but unable to hold them together. Connected by bonds of circumstance and duty, friendship and love, these three lives are blown apart when Aiden and Thad witness the accidental death of their drug dealer and a riot of dope and cash drops in their laps. On a meth-fueled journey to nowhere, they will either find the grit to overcome the darkness or be consumed by it."
I don't entirely think I knew what I was getting myself into reading the book, which was well written but a little too graphic for me. I think in referring others to it, I will consider those who handle certain scenarios well, versus those who do not (for example, I'm not exactly rushing out to recommend this to any of my friends who've returned home from war and are dealing with PTSD).
The development of the three main characters and the intensity of their bonds and loyalty, despite all the ways they continued to fail one another, were a true depiction of human spirit. How we can love someone so much that we never mean to fail them, yet we can never do fully right by them.
I loved the epilogue but not the ending...if that makes sense (I'm afraid to say much for fear of spoilers). Part of me wanted so desperately for Aiden, Thad and April to all find their way away from Little Canada, alone or together, having beaten all their demons. Part of me, though, is realistic enough to know that is not how life works.
I will absolutely be hunting for other books by David Joy having read this one. So glad I took the time and stuck out the scenes that were hard to stomach.
Acanthea Grimscythe (300 KP) rated Nail's Crossing (Bill Maytubby & Hannah Bond Mystery #1) in Books
May 16, 2018
As seen on <a href="http://theghastlygrimoire.com/"; target="_new">The Ghastly Grimoire</a>
Nailâs Crossing is a fast-paced police procedural from debut author Kris Lackey. Set in Southeastern Oklahoma, the novel dips into Arkansas (my stomping grounds) and Louisiana. Some scenes take place in Oklahoma City, in neighborhoods I know well and the locales depicted in this book are precisely why when I received an email regarding it, I absolutely had to read it.
This book is in the first in a series centered around Bill Maytubby, a reservation police officer, and Hannah Bond, a sturdy, no-bullshit female officers from the county. In these two and the many side characters, Lackey proves adept at making his cast realistic and relateable â which is something I find wanting in other books far too often.
The plot of Nailâs Crossing deals with the aftermath of a young womanâs murder and a varied group of individuals that are responsible for her death. By focusing on the apprehension of the criminals, rather than the psychology behind why they killed the woman make this title a refreshing read, especially after all the books Iâve read lately that try and compare themselves to Gone Girl.
Iâve been in a bit of a slump recently, so the fact I devoured Lackeyâs book in only a couple sittings speaks volumes to his ability to maintain a constant flow of action. Unlike many books Iâve read where the author refers to stereotypes to depict certain demographics, Lackeyâs portrayal of poverty-stricken southerners is accurate. Considering I live in one of Arkansasâs poorest counties, this meant a lot to me. Lackey has given those without voices one within the pages of his novel that, if youâre looking for it, remind readers that weâre our own culture as well (and not by clinging to Confederate rhetoric like the ones of today seem to).
I look forward to more books in this series, thatâs for sure. Iâd like to thank Blackstone Audiobooks for providing me with a free copy of this book at no charge in exchange for an honest and unbiased review.
Nailâs Crossing is a fast-paced police procedural from debut author Kris Lackey. Set in Southeastern Oklahoma, the novel dips into Arkansas (my stomping grounds) and Louisiana. Some scenes take place in Oklahoma City, in neighborhoods I know well and the locales depicted in this book are precisely why when I received an email regarding it, I absolutely had to read it.
This book is in the first in a series centered around Bill Maytubby, a reservation police officer, and Hannah Bond, a sturdy, no-bullshit female officers from the county. In these two and the many side characters, Lackey proves adept at making his cast realistic and relateable â which is something I find wanting in other books far too often.
The plot of Nailâs Crossing deals with the aftermath of a young womanâs murder and a varied group of individuals that are responsible for her death. By focusing on the apprehension of the criminals, rather than the psychology behind why they killed the woman make this title a refreshing read, especially after all the books Iâve read lately that try and compare themselves to Gone Girl.
Iâve been in a bit of a slump recently, so the fact I devoured Lackeyâs book in only a couple sittings speaks volumes to his ability to maintain a constant flow of action. Unlike many books Iâve read where the author refers to stereotypes to depict certain demographics, Lackeyâs portrayal of poverty-stricken southerners is accurate. Considering I live in one of Arkansasâs poorest counties, this meant a lot to me. Lackey has given those without voices one within the pages of his novel that, if youâre looking for it, remind readers that weâre our own culture as well (and not by clinging to Confederate rhetoric like the ones of today seem to).
I look forward to more books in this series, thatâs for sure. Iâd like to thank Blackstone Audiobooks for providing me with a free copy of this book at no charge in exchange for an honest and unbiased review.
Sean Farrell (9 KP) rated Zoo in Books
Mar 15, 2018
Working in a library it's hard not to notice how popular (and prolific) James Patterson is. While I was skeptical of just how good anything could be when it's written by someone who spits out books at a dizzying pace, and who is probably handing much of the actual writing off to one of the other authors he seems to employ, I still figured at some point I should read something of his just to see what I thought. Being a completely standalone story, and of somewhat more interest to me than his typical "murder-of-the-month" fare, "Zoo" seemed like a good way to dip my toes in the water. It tells the story of the world's population falling victim to an uprising of animal violence and the scientist who is trying to warn everybody of the coming problem and its cause. It's a somewhat simple story, but it's told briskly and has a number of memorably suspenseful scenes. The science behind everything sounds relatively plausible, whether or not it really is I couldn't tell you, though I have my doubts. Either way, it was good enough to sell the rather dire and dramatic circumstances that unfold over the course of the novel. The characters are likable enough, but don't really feel all that fleshed out. On some other negative notes; the dialogue is sometimes quite bad and there are too many times where people make horrifically stupid decisions for reasons that I found it hard to believe would have been enough to get them to make them. That aside, it was fast paced and suspenseful enough to keep me reading. The short chapters make it feel like it's propelling along at a higher speed, even if it does seem like some sequences were ended too abruptly, negating any chance of building up real suspense. The end in particular, while logical to the story, felt pretty abrupt and left me feeling just a little unsatisfied. I enjoyed reading Mr. Patterson more than I expected I might, but I don't know that I'll be coming back for more any time soon.
Talking as Fast as I Can: From Gilmore Girls to Gilmore Girls, and Everything in Between
9.2
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A NEW YORK TIMES BESTSELLER In this collection of personal essays, the beloved star of Gilmore Girls...
memoir celebrity
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a mĂ©nage Ă trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60âs soundtrack. Got that unpleasant vision in your mind? Good! Youâre halfway there to getting the feel of âBad Times at the El Royaleâ. And they really are bad times!
The Plot
Itâs 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: âa bi-state establishmentâ straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the âTop Gunâ sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
Iâve often expressed my admiration for the Screen Actorâs Guild Awards and their category of âBest Ensemble Castâ: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a âBest Stunt Teamâ award that Iâve previously lobbied for). And here is my second serious candidate for the âBest Ensemble Castâ Oscar in 2018, my first being âThree Billboards in Ebbing, Missouriâ (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota ânot Fanningâ Johnson is far better in this film than any recent stuff Iâve seen her in. Another standout was another newcomer to me â young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While weâre on lookalikes, Lewis Pullman (best known to me for âBattle of the Sexesâ) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with âThe Hateful 8â in that respect) and with its quirky episodic flash cards (compare with âPulp Fictionâ or âKill Billâ) but for me was much more appetising since â although very violent â it never stooped to the queasy âblow your face offâ excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and â most of all â an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise itâs been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of âAliasâ and âLostâ, and has previously written the great screenplays for films including âCloverfieldâ, âThe Martianâ and âWorld War Zâ. His only previous directorial feature was âThe Cabin in the Woodsâ (which Iâve not seen), but after this he is definitely on my movie radar: his next film will be âX-forceâ: a âDeadpool 2â follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I canât wait to see that.
If thereâs a criticism itâs that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time â no more â and it might have felt tighter still.
I didnât mention one star name in âThe Turnsâ section, and thatâs Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the âThorâ star as being âall kinds of badâ: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. Itâs an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I canât believe this film hasnât been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
Itâs 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: âa bi-state establishmentâ straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the âTop Gunâ sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
Iâve often expressed my admiration for the Screen Actorâs Guild Awards and their category of âBest Ensemble Castâ: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a âBest Stunt Teamâ award that Iâve previously lobbied for). And here is my second serious candidate for the âBest Ensemble Castâ Oscar in 2018, my first being âThree Billboards in Ebbing, Missouriâ (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota ânot Fanningâ Johnson is far better in this film than any recent stuff Iâve seen her in. Another standout was another newcomer to me â young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While weâre on lookalikes, Lewis Pullman (best known to me for âBattle of the Sexesâ) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with âThe Hateful 8â in that respect) and with its quirky episodic flash cards (compare with âPulp Fictionâ or âKill Billâ) but for me was much more appetising since â although very violent â it never stooped to the queasy âblow your face offâ excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and â most of all â an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise itâs been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of âAliasâ and âLostâ, and has previously written the great screenplays for films including âCloverfieldâ, âThe Martianâ and âWorld War Zâ. His only previous directorial feature was âThe Cabin in the Woodsâ (which Iâve not seen), but after this he is definitely on my movie radar: his next film will be âX-forceâ: a âDeadpool 2â follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I canât wait to see that.
If thereâs a criticism itâs that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time â no more â and it might have felt tighter still.
I didnât mention one star name in âThe Turnsâ section, and thatâs Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the âThorâ star as being âall kinds of badâ: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. Itâs an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I canât believe this film hasnât been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
