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Bob Mann (459 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Morfydd Clark - astonishingly good as Maud (1 more)
Expert pacing from debut director Rose Glass
"My Little Saviour": Astonishing Saint Maud delivers psycho-religious chills
Saint Maud is the debut feature from writer/director Rose Glass, and it packs a punch. The film was first seen at last year's London Film Festival, but was due for broader nationwide release soon. What a crushing disappointment it must be for Ms Glass that so few people will likely get to see it in the current climate... at least, not for a while. Since it is an effective little chiller.
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Bob Mann (459 KP) rated Jackie (2016) in Movies
Sep 29, 2021
Spoiler! Her husband gets shot.
“Jackie” tells the story of the spiralling grief, loss and anger of Jackie Kennedy driven by the assassination of JFK in Dallas in November 1963. Hopping backwards and forwards in flashback, the film centres on the first interview given by Jackie (Natalie Portman, “Black Swan”) to a ‘Time’ journalist (Billy Crudup, “Watchmen”, “Spotlight”).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Movie Metropolis (309 KP) rated The Jungle Book (2016) in Movies
Jun 10, 2019
A New Classic
There’s an old saying; “if it ain’t broke, don’t fix it”, and that was the kind of reaction many people had towards Disney’s live-action remake of The Jungle Book.
Helmed by Iron Man director, Jon Favreau, it certainly garnered a mixed response come its first trailer release late last year. But what is the finished product like? And are we looking at a new classic?
Rudyard Kipling’s The Jungle Book is one of the most recognisable tales ever, despite its wafer thin plot, and the 1967 Disney animation is faithful to the first, and unfortunately also the latter.
We join this film in the midst of the action, as our young hero Mowgli (played by an unbelievably good Neel Sethi) learns how to run with his family – an adoptive pack of wolves. As the story progresses, Mowgli meets a whole host of friendly, and not so friendly, jungle animals as he strives to find just who he is.
This is a much darker interpretation of the classic story than we have been used to. There are scenes here that are genuinely terrifying, helped in part by the breath-taking CGI used to render the animals, with one infamous tiger in particular being the stuff of nightmares.
Speaking of which, an all-star cast that includes Ben Kingsley, Bill Murray, Scarlett Johansson, Idris Elba, Christopher Walken and Lupita Nyong’o lend their voices to fan favourites like Bagheera, Baloo, Kaa, Shere Khan, King Louie and Raksha. The vocal performances from each are sublime with Murray being a particular highlight with his comedic persona fitting perfectly with Baloo.
The jungle is brought to the screen in such detail that each frame is brimming with creatures, plants and life. In 3D, it is one of the most magnificent settings ever put to film as vibrant colours make the eyes dance with excitement. It lives and breathes right before your very eyes.
Then there’s the soundtrack. It’s true that the majority of the animation’s songs failed to make the cut, but looking back, it was only Bare Necessities that made any sort of impact and thankfully this survives, receiving a thundering orchestral backing track in the process. Christopher Walken’s gangster-like singing gives I Wanna Be Like You a whole new edge.
Nevertheless, it does, at times feel like Jon Favreau is going through the motions with the rest of the story – setting Mowgli up for one big set piece after another, though a few nice additions keep the plot flowing right up until the harrowing and beautifully filmed finale.
Overall, Disney has another classic on their hands. The Jungle Book is one of the most spectacular and breath-taking films ever put to the big screen. From a magnificent score to exceptional voice acting, it’s practically perfect in every way.
https://moviemetropolis.net/2016/04/16/a-new-classic-the-jungle-book-review/
Helmed by Iron Man director, Jon Favreau, it certainly garnered a mixed response come its first trailer release late last year. But what is the finished product like? And are we looking at a new classic?
Rudyard Kipling’s The Jungle Book is one of the most recognisable tales ever, despite its wafer thin plot, and the 1967 Disney animation is faithful to the first, and unfortunately also the latter.
We join this film in the midst of the action, as our young hero Mowgli (played by an unbelievably good Neel Sethi) learns how to run with his family – an adoptive pack of wolves. As the story progresses, Mowgli meets a whole host of friendly, and not so friendly, jungle animals as he strives to find just who he is.
This is a much darker interpretation of the classic story than we have been used to. There are scenes here that are genuinely terrifying, helped in part by the breath-taking CGI used to render the animals, with one infamous tiger in particular being the stuff of nightmares.
Speaking of which, an all-star cast that includes Ben Kingsley, Bill Murray, Scarlett Johansson, Idris Elba, Christopher Walken and Lupita Nyong’o lend their voices to fan favourites like Bagheera, Baloo, Kaa, Shere Khan, King Louie and Raksha. The vocal performances from each are sublime with Murray being a particular highlight with his comedic persona fitting perfectly with Baloo.
The jungle is brought to the screen in such detail that each frame is brimming with creatures, plants and life. In 3D, it is one of the most magnificent settings ever put to film as vibrant colours make the eyes dance with excitement. It lives and breathes right before your very eyes.
Then there’s the soundtrack. It’s true that the majority of the animation’s songs failed to make the cut, but looking back, it was only Bare Necessities that made any sort of impact and thankfully this survives, receiving a thundering orchestral backing track in the process. Christopher Walken’s gangster-like singing gives I Wanna Be Like You a whole new edge.
Nevertheless, it does, at times feel like Jon Favreau is going through the motions with the rest of the story – setting Mowgli up for one big set piece after another, though a few nice additions keep the plot flowing right up until the harrowing and beautifully filmed finale.
Overall, Disney has another classic on their hands. The Jungle Book is one of the most spectacular and breath-taking films ever put to the big screen. From a magnificent score to exceptional voice acting, it’s practically perfect in every way.
https://moviemetropolis.net/2016/04/16/a-new-classic-the-jungle-book-review/
Cyn Armistead (14 KP) rated More Holmes for the Holidays in Books
Mar 1, 2018
[a:Martin H. Greenberg|6436872|Martin H. Greenberg|http://www.goodreads.com/assets/nophoto/nophoto-M-50x66.jpg] and company have provided a fine collection of Sherlockian holiday stories that fit in quite well with the traditional set.
"The Christmas Gift" by Anne Perry is a nice little piece about a stolen Stradivarius and a couple who want to marry against the wishes of the young lady's father. There is an excellent red herring, one of the few in this anthology.
In "The Four Wise Men" by Peter Lovesey, Watson must answer a call to duty from his former commanding officer in the Army, in order to help guard a medieval treasure in a Christmas pageant. The game is soon afoot, and Sherlock's powers of observation are as keen as ever.
Barbara Paul's "Eleemosynary, My Dear Watson" gives Holmes a jewel theft and a kidnapping to solve, which he does in his inimitable way. One clue seemed slightly too obvious to me, but it may not to other readers.
In "The Adventure of the Greatest Gift" by Loren D. Estleman, Holmes receives a wax cylinder containing a recording of a song popular in America. He takes it as a warning of a crime which could lead to war between Britain and France, and of course he leaps into action. This is Mycroft Holmes' only appearance in the volume.
There's plenty of misdirection in "The Case of the Rajah's Emerald" by Carolyn Wheat. Somehow, though, I suspected one of the great revelations in this one from the beginning, but I couldn't tell you exactly why. It didn't ruin the story for me, and there was still a surprise at the end.
On the other hand, Edward D. Hoch's "The Christmas Conspiracy" managed to take me completely unawares. I couldn't fathom why the crime would be committed or by whom, despite having a major clue dropped by one character. Very well done!
"The Music of Christmas" by L.B. Greenwood telegraphed the identity of the criminal from the start, but was well worth reading. One of the characters also tugged at the heartstrings.
Bill Crider's "The Adventure of the Christmas Bear" is largely memorable because of the appearance of Oscar Wilde as a character.
"The Adventure of the Naturalist's Stock Pin" by Jon L. Breen gives us Charles Darwin as Holmes' client. The mystery is less Sherlockian than some of the others, but I didn't mind reading it.
Daniel Stashower's "The Adventure of the Second Violet" was an interesting twist on a well-known Christmas story. I cannot say more without spoiling it, but he has a nice touch.
"The Human Mystery" by Tanith Lee is as dark as I expect from her, and was a depressing ending to the collection. It was, however, very well-written.
The anthology left me hungry for more Holmes, and wishing that I weren't between seasons of BBC's Sherlock or that I had another collection of stories on hand. That's the sign of a success, I think.
"The Christmas Gift" by Anne Perry is a nice little piece about a stolen Stradivarius and a couple who want to marry against the wishes of the young lady's father. There is an excellent red herring, one of the few in this anthology.
In "The Four Wise Men" by Peter Lovesey, Watson must answer a call to duty from his former commanding officer in the Army, in order to help guard a medieval treasure in a Christmas pageant. The game is soon afoot, and Sherlock's powers of observation are as keen as ever.
Barbara Paul's "Eleemosynary, My Dear Watson" gives Holmes a jewel theft and a kidnapping to solve, which he does in his inimitable way. One clue seemed slightly too obvious to me, but it may not to other readers.
In "The Adventure of the Greatest Gift" by Loren D. Estleman, Holmes receives a wax cylinder containing a recording of a song popular in America. He takes it as a warning of a crime which could lead to war between Britain and France, and of course he leaps into action. This is Mycroft Holmes' only appearance in the volume.
There's plenty of misdirection in "The Case of the Rajah's Emerald" by Carolyn Wheat. Somehow, though, I suspected one of the great revelations in this one from the beginning, but I couldn't tell you exactly why. It didn't ruin the story for me, and there was still a surprise at the end.
On the other hand, Edward D. Hoch's "The Christmas Conspiracy" managed to take me completely unawares. I couldn't fathom why the crime would be committed or by whom, despite having a major clue dropped by one character. Very well done!
"The Music of Christmas" by L.B. Greenwood telegraphed the identity of the criminal from the start, but was well worth reading. One of the characters also tugged at the heartstrings.
Bill Crider's "The Adventure of the Christmas Bear" is largely memorable because of the appearance of Oscar Wilde as a character.
"The Adventure of the Naturalist's Stock Pin" by Jon L. Breen gives us Charles Darwin as Holmes' client. The mystery is less Sherlockian than some of the others, but I didn't mind reading it.
Daniel Stashower's "The Adventure of the Second Violet" was an interesting twist on a well-known Christmas story. I cannot say more without spoiling it, but he has a nice touch.
"The Human Mystery" by Tanith Lee is as dark as I expect from her, and was a depressing ending to the collection. It was, however, very well-written.
The anthology left me hungry for more Holmes, and wishing that I weren't between seasons of BBC's Sherlock or that I had another collection of stories on hand. That's the sign of a success, I think.
Acanthea Grimscythe (300 KP) rated The Fall of Lisa Bellow in Books
May 16, 2018
Though wonderfully written, <i>The Fall of Lisa Bellow</i> is not what I expected it to be. That isn't to say that it isn't a good read, -- it most definitely is -- but because it was not as I had envisioned it, it took me much longer to get through the book than I had anticipated.
After school one day, thirteen-year-old Meredith Oliver decides she is in dire need of a large root beer as a reward to herself for completing her test in Algebra II. While there, she encounters Lisa Bellow, a popular girl she's grown up with and cannot stand. Any interaction that might have occurred between the two is cut short when an armed and masked man comes into the sandwich shop to rob it. Then, as an afterthought, he kidnaps Lisa, leaving Meredith and her family to deal with the trauma.
The Oliver family is horrible, though. Possessing attitudes that are largely and entirely focused on themselves, the main characters from whose perspective we read, Meredith and her mother, Claire, are absolutely unlovable. While not on the level of Gone Girl bad, they do serve as stark reminders of how low humans can sink in their day to day interactions. I do feel that Perabo fairly accurately portrayed the mind of a thirteen-year-old girl, at least, from the mindset of what those my age may have experienced in school. I can't really speak for today's children, as, contrary to the belief of our own parents, that things never change, we all know they do. In that regard, the slut-shaming was almost unbearable. It seemed the only reason Meredith had to dislike Lisa was her good looks and poor attitude, to which she responded by constantly referring to her in derogatory terms. Personally, I cannot recall referring to girls in my eighth grade class as sluts: in fact, I don't even remember which girls were popular and pretty.
Given that a young girl has been kidnapped, as a reader, you might expect the story to also focus a bit on finding said victim. Instead, it takes a unique approach by focusing not on the victim and her family, but rather the girl that was not kidnapped and her own, which is far more dysfunctional than it might seem. Some of that can be attributed to the two tragedies they've faced back to back, while the rest likely has to do with how the characters simply are. The plot follows Meredith's changes through what she has experienced, providing readers with a coming-of-age story, rather than something that is suspenseful. There's really not a whole to guess, and even as the book comes to a conclusion, there are questions that are left unanswered, issues that are unaddressed, and ultimately, bridges that are not mended.
<i>The Fall of Lisa Bellow</i> is beautiful, even if it isn't really much of a suspense. If you're looking for something on the more tame side of abduction tales, it fits that bill. I would like to thank NetGalley, Simon & Schuster, and the author for providing me with an advanced copy in exchange for an honest, unbiased review.
After school one day, thirteen-year-old Meredith Oliver decides she is in dire need of a large root beer as a reward to herself for completing her test in Algebra II. While there, she encounters Lisa Bellow, a popular girl she's grown up with and cannot stand. Any interaction that might have occurred between the two is cut short when an armed and masked man comes into the sandwich shop to rob it. Then, as an afterthought, he kidnaps Lisa, leaving Meredith and her family to deal with the trauma.
The Oliver family is horrible, though. Possessing attitudes that are largely and entirely focused on themselves, the main characters from whose perspective we read, Meredith and her mother, Claire, are absolutely unlovable. While not on the level of Gone Girl bad, they do serve as stark reminders of how low humans can sink in their day to day interactions. I do feel that Perabo fairly accurately portrayed the mind of a thirteen-year-old girl, at least, from the mindset of what those my age may have experienced in school. I can't really speak for today's children, as, contrary to the belief of our own parents, that things never change, we all know they do. In that regard, the slut-shaming was almost unbearable. It seemed the only reason Meredith had to dislike Lisa was her good looks and poor attitude, to which she responded by constantly referring to her in derogatory terms. Personally, I cannot recall referring to girls in my eighth grade class as sluts: in fact, I don't even remember which girls were popular and pretty.
Given that a young girl has been kidnapped, as a reader, you might expect the story to also focus a bit on finding said victim. Instead, it takes a unique approach by focusing not on the victim and her family, but rather the girl that was not kidnapped and her own, which is far more dysfunctional than it might seem. Some of that can be attributed to the two tragedies they've faced back to back, while the rest likely has to do with how the characters simply are. The plot follows Meredith's changes through what she has experienced, providing readers with a coming-of-age story, rather than something that is suspenseful. There's really not a whole to guess, and even as the book comes to a conclusion, there are questions that are left unanswered, issues that are unaddressed, and ultimately, bridges that are not mended.
<i>The Fall of Lisa Bellow</i> is beautiful, even if it isn't really much of a suspense. If you're looking for something on the more tame side of abduction tales, it fits that bill. I would like to thank NetGalley, Simon & Schuster, and the author for providing me with an advanced copy in exchange for an honest, unbiased review.
Movie Metropolis (309 KP) rated Inside Out (2015) in Movies
Jun 10, 2019
A delightful treat
If there’s one thing Pixar knows how to do, it’s create memorable films. Long after you’ve walked out the cinema, the likes of Wall.E and Finding Nemo stay with you.
2015 marks the first time the studio will release two films in the same year, with The Good Dinosaur coming to cinemas in December and the subject of this review, Inside Out, in this year’s busy summer season.
But has this increased workload for Pixar’s animators resulted in a poorer quality movie?
Inside Out follows the story of young Riley, an eleven-year-old girl coming to terms with growing up in a new home away from her friends and the neighbourhood she knows and loves.
Deep inside her head, however, we find a whole host of colourful characters controlling Riley’s emotions. Joy, Sadness, Fear, Anger and Disgust all play a part in keeping her level-headed. Unfortunately, after a near disaster it falls on upbeat Joy and ever-blue Sadness to bring Riley back to who she once was.
Inside Out continues Pixar’s trend of creating beautifully animated films that really strike a chord with audiences. The sheer amount of colour is absolutely breath-taking and children will find much to enjoy in both the central characters and the numerous environments inside Riley’s head, while adults will love the stunning recreation of San Francisco in all its bustling glory.
The cast, which includes voice work by Bill Hader (Monsters University), Kyle MacLachlan (Desperate Housewives) and Diane Lane (Man of Steel) all do sterling jobs in bringing their characters to life but it is in Phyllis Smith, who plays Sadness, that we find the best portrayal.
A relatively unknown actress with few film credits to her name, Smith is truly wonderful as the little blue lady who keeps a check on the more upsetting moments in Riley’s life.
Elsewhere, Pixar has once again created a story that really focuses on the themes of growth, family bonding and what it means to grow up in today’s society with numerous cultural references that children and adults alike will enjoy.
However, it’s important to note that Inside Out is one of the more emotional films Pixar has created. At numerous points throughout the movie there were a couple of children in the cinema wiping away the tears – though this shows how heavily invested in the characters they became.
Unfortunately, despite being 94 minutes in length, Inside Out does feel a little drawn out in places and lacks the deeper storytelling elements that has made some of the studios other films so charming. This isn’t to say it lacks charm, but it’s in slightly shorter supply here.
Overall, Pixar has added another cracking film to its ever-increasing roster. Whilst not hitting the heights of Wall.E or Toy Story, it makes for a memorable and sensible film for the whole family to enjoy.
It’s the perfect start to the summer holidays. Roll on The Good Dinosaur.
https://moviemetropolis.net/2015/07/26/a-delightful-treat-inside-out-review/
2015 marks the first time the studio will release two films in the same year, with The Good Dinosaur coming to cinemas in December and the subject of this review, Inside Out, in this year’s busy summer season.
But has this increased workload for Pixar’s animators resulted in a poorer quality movie?
Inside Out follows the story of young Riley, an eleven-year-old girl coming to terms with growing up in a new home away from her friends and the neighbourhood she knows and loves.
Deep inside her head, however, we find a whole host of colourful characters controlling Riley’s emotions. Joy, Sadness, Fear, Anger and Disgust all play a part in keeping her level-headed. Unfortunately, after a near disaster it falls on upbeat Joy and ever-blue Sadness to bring Riley back to who she once was.
Inside Out continues Pixar’s trend of creating beautifully animated films that really strike a chord with audiences. The sheer amount of colour is absolutely breath-taking and children will find much to enjoy in both the central characters and the numerous environments inside Riley’s head, while adults will love the stunning recreation of San Francisco in all its bustling glory.
The cast, which includes voice work by Bill Hader (Monsters University), Kyle MacLachlan (Desperate Housewives) and Diane Lane (Man of Steel) all do sterling jobs in bringing their characters to life but it is in Phyllis Smith, who plays Sadness, that we find the best portrayal.
A relatively unknown actress with few film credits to her name, Smith is truly wonderful as the little blue lady who keeps a check on the more upsetting moments in Riley’s life.
Elsewhere, Pixar has once again created a story that really focuses on the themes of growth, family bonding and what it means to grow up in today’s society with numerous cultural references that children and adults alike will enjoy.
However, it’s important to note that Inside Out is one of the more emotional films Pixar has created. At numerous points throughout the movie there were a couple of children in the cinema wiping away the tears – though this shows how heavily invested in the characters they became.
Unfortunately, despite being 94 minutes in length, Inside Out does feel a little drawn out in places and lacks the deeper storytelling elements that has made some of the studios other films so charming. This isn’t to say it lacks charm, but it’s in slightly shorter supply here.
Overall, Pixar has added another cracking film to its ever-increasing roster. Whilst not hitting the heights of Wall.E or Toy Story, it makes for a memorable and sensible film for the whole family to enjoy.
It’s the perfect start to the summer holidays. Roll on The Good Dinosaur.
https://moviemetropolis.net/2015/07/26/a-delightful-treat-inside-out-review/
BankofMarquis (1832 KP) rated 21 Bridges (2019) in Movies
Sep 22, 2020
Direction and Lead Performances elevate a "so-so" script
The world lost a tremendous talent when 44 year old Chadwick Boseman lost his battle with cancer. Whether it was as Jackie Robinson in 42, Thurgood Marshall in THURGOOD or as T'Challa/Black Panther in the Marvel movies, Boseman's charm and charisma lept off the screen and drew you into whatever project he is in.
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
This charm and charisma is very much in evidence in the by-the-book cops chasing robbers action flick 21 BRIDGES. As the cop chasing "the fugitive", Boseman elevates the proceedings to a level above what this average script had to offer.
Set in NYC, 21 BRIDGES tells the tale of Detective Andre Davis (Bozeman) who must chase down a couple of thieves - and cop killers - before they can escape New York. Told in one night, Davis makes the call to close the "21 Bridges" of the island of Manhattan so the bad guys are stuck on the island.
And...that's the first disappointment with this film, it doesn't do anything with that premise. Do the bad guys try to escape on one of those "21 Bridges"? Nope. The bridges are never really mentioned again...so why call this film "21 Bridges"?
What does work is Boseman's performance. His Davis is competent, honest, smart and earnest and you are drawn into his work. As is the work of the person who is thrust into the action as his partner, Vice Cop Frankie Burns (Sienna Miller). You might roll your eyes when you hear Miller's name for her early career was more about being on the tabloid pages than it was about being on the screen, but she has morphed herself - and her career - into something quite interesting through turns in films like FOXCATCHER and AMERICAN SNIPER and she is as equally interesting as Bozeman in this film. The 2 make a good pair.
The rest of the supporting cast - Taylor Kitsch, Keith David and the great J.K. Simmons - are solid, if not spectacular. But there are 2 standouts. Alexander Siddig (Dr. Bashir in STAR TREK: DEEP SPACE 9) is interesting as the "money launderer" and Stephan James (IF BEALE STREET COULD TALK) is just as charming and charismatic as Bozeman as one of the the thieves on the run. If you are looking for a young, charismatic actor to fill the hole created by Bozeman's death, James could very well fit the bill.
I've mentioned that the script by Adam Mervis and Matthew Michael Carnahan is nothing special, but what is special is the Direction by Brian Kirk (a TV Director of such shows as GAME OF THRONES and LUTHER). This is his Major Motion Picture debut (as far as I could tell) and there were some VERY interesting shots and some taught, tense moments. He'll be a director to watch in the future.
While nothing too special, 21 BRIDGES is better than "good enough" - a cops 'n robbers film that will hold your interest for the relatively quick 1 hour and 39 minute running time.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Daniel Boyd (1066 KP) rated The Jungle Book (2016) in Movies
Jul 21, 2017
Incredible CGI (2 more)
Amazing voice acting
New versions of classic songs
The King Of The Swingers
I was sceptical going in, as I’m not a huge fan of the original Disney cartoon version and the fact that the only live action performance in the movie was being delivered by a child actor definitely made me fairly dubious. However I actually enjoyed this movie. The young actor portraying Mowgli is a bit cringeworthy at times, but when you think that all he had to work with was a bunch of green screens and voiceovers, he did a remarkably good job, especially considering his age. He wasn’t anywhere near as good as Jaeden Lieberher was in Midnight Special, but he did a decent job of carrying the movie’s plot along. The CG work in this movie is mind blowing. Disney have gone all out and went for a hyper realistic style of animation and at times, even as an animator myself, I forgot that these animals and environments were cartoons and totally bought them as real world objects and environments. Also the cast is made up of Hollywood gold and all of the voice performances are spot on. Ben Kingsley does a great job as the parental panther who guides Mowgli along his journey and whoever decided to cast Bill Murray as Baloo deserves a raise, as that is a stroke of casting genius. Murray is hilarious here and his relationship with Mowgli is also fantastic. Scarlett Johannsen does a decent job as the snake, but to be honest it is more of a cameo role as she is in the movie for under five minutes. Of course it would be a crime not to mention the legend that is Christopher Walken and his fantastic performance as King Louie. He gives off a perfect blend of charm and villainy and his rendition of King Of The Swingers is also very entertaining. However, although all of the above voice performances were great, there is one that completely steals the show and that is Idris Elba as the antagonist Lion, Sher Khan. The command that Elba has over his vocal performance is incredible, he is such a threatening presence throughout the entire movie and he completely steals every single scene that he is in. Several people have also complained about the use of the music in the film, but that was actually one of my favourite parts of the film, Bare Necessities is used as more of a shanty than an actual song, and King Of The Swingers performed by Walken, is in my opinion very well implemented and serves as an awesome new take on the classic song. The one gripe that I have about the film is that, it is quite slow at times and I was left fairly bored several times, as were a lot of the kids in the theatre by the looks of it. If I didn’t have to keep an eye on the kids we were looking after I probably would have drifted off and to be honest I don’t know if they really enjoyed much either, they seemed to either be scared by Sher Khan and hiding their eyes or bored and fidgety. Although it’s hard to deny that this is a very well made movie and while not totally faithful to its source material, it is a fresh new take on the classic story for a new generation. I would like to see the film again without a wriggling child on my knee, but I did enjoy myself with this movie overall.
Zuky the BookBum (15 KP) rated Anatomy of Innocence: Testimonies of the Wrongfully Convicted in Books
Mar 15, 2018
With movements like Black Lives Matter at the forefront of society right now, and multiple documentaries about wrongful convictions such as Steven Avery and The West Memphis Three out, there has never been a better time for this book to come out and be read. This topic is <i><b>so important.</i></b>
Reading about the lives of these poor, innocent human beings being treated like theyre dirt, like theyre less than dirt, is devastating. A number of these stories actually brought tears to my eyes. How this injustice goes on, I cant fathom. In many of these stories we hear how there are alibis that prove the person wasnt there to commit the crime, but they convict them anyway. There are confessions from other people to crimes, yet they will convict someone else. There is someone elses DNA on a victim's body but they will commit someone whose DNA is not on the body. And possibly the worst one of them all, there are statements from VICTIMS that the person they have arrested is not the right person, yet they will still convict them. How can a legal system, thats supposed to protect us and who were supposed to trust, let this happen? It makes my blood boil.
In this book, each persons story is written by a prolific crime writer, so all of these accounts are really well written and they really bring out raw emotions in you because theyre so well presented and you can feel the exonerees pain.
Many of these people spent over a decade, if not over <b>two decades</b> of their life trapped in the walls of dirty prisons for crimes they were innocent of, such as murder, child murder, rape and GBH. The brutality of the officers arresting these people makes me sick. <b>Literal</b> torture is used on innocent people, as young as 17, to coax a <b>false confession</b> out of them, all because they want to be able to arrest someone. What makes me sicker is that these officers and the higher powers who turn(ed) a blind eye to this kind of abuse are never charged or made to own up to their brutalities AND because of the idiocy of these *insert the worst possible swear word and insults here* policemen, real child sex offenders and heartless murderers are <b>NEVER CAUGHT.</b>
This book is hopeful, but it is also heart breaking and while I could go on forever talking about the hatred and rage that this book makes me feel, but Im going to end it with this instead.
<b><blockquote>GLORIA KILLIAN
DAVID BATES
RAY TOWLER
MICHAEL EVANS
KEN WYNIEMKO
KIRK BLOODWORTH
AUDREY EDMUNDS
ALTON LOGAN
PETER REILLY
GINNY LEFEVER
BILL DILLON
JEFF DESKOVIC
ANTOINE DAY
JERRY MILLER
JUAN RIVERA</blockquote></b>
<b>You are brave and you are strong. Thank you for sharing your stories with us and shining a light on a subject so often ignored. I hope the world does nothing but right by you from here on in. You, over anyone, deserve it.</b>
I have been inspired. I am now going to look into the UKs own Innocence Group and see what I can do to help those 10% who are wrongly convicted and being left to rot in prison.
<i>Thanks to Netgalley and W. W. Norton & Company for giving me the opportunity to read this book in exchange for an honest review.</i>
Reading about the lives of these poor, innocent human beings being treated like theyre dirt, like theyre less than dirt, is devastating. A number of these stories actually brought tears to my eyes. How this injustice goes on, I cant fathom. In many of these stories we hear how there are alibis that prove the person wasnt there to commit the crime, but they convict them anyway. There are confessions from other people to crimes, yet they will convict someone else. There is someone elses DNA on a victim's body but they will commit someone whose DNA is not on the body. And possibly the worst one of them all, there are statements from VICTIMS that the person they have arrested is not the right person, yet they will still convict them. How can a legal system, thats supposed to protect us and who were supposed to trust, let this happen? It makes my blood boil.
In this book, each persons story is written by a prolific crime writer, so all of these accounts are really well written and they really bring out raw emotions in you because theyre so well presented and you can feel the exonerees pain.
Many of these people spent over a decade, if not over <b>two decades</b> of their life trapped in the walls of dirty prisons for crimes they were innocent of, such as murder, child murder, rape and GBH. The brutality of the officers arresting these people makes me sick. <b>Literal</b> torture is used on innocent people, as young as 17, to coax a <b>false confession</b> out of them, all because they want to be able to arrest someone. What makes me sicker is that these officers and the higher powers who turn(ed) a blind eye to this kind of abuse are never charged or made to own up to their brutalities AND because of the idiocy of these *insert the worst possible swear word and insults here* policemen, real child sex offenders and heartless murderers are <b>NEVER CAUGHT.</b>
This book is hopeful, but it is also heart breaking and while I could go on forever talking about the hatred and rage that this book makes me feel, but Im going to end it with this instead.
<b><blockquote>GLORIA KILLIAN
DAVID BATES
RAY TOWLER
MICHAEL EVANS
KEN WYNIEMKO
KIRK BLOODWORTH
AUDREY EDMUNDS
ALTON LOGAN
PETER REILLY
GINNY LEFEVER
BILL DILLON
JEFF DESKOVIC
ANTOINE DAY
JERRY MILLER
JUAN RIVERA</blockquote></b>
<b>You are brave and you are strong. Thank you for sharing your stories with us and shining a light on a subject so often ignored. I hope the world does nothing but right by you from here on in. You, over anyone, deserve it.</b>
I have been inspired. I am now going to look into the UKs own Innocence Group and see what I can do to help those 10% who are wrongly convicted and being left to rot in prison.
<i>Thanks to Netgalley and W. W. Norton & Company for giving me the opportunity to read this book in exchange for an honest review.</i>
Gareth von Kallenbach (971 KP) rated The Jungle Book (2016) in Movies
Jun 19, 2019
Disney’s animated take on Rudyard Kipling’s classic The Jungle Book is a timeless classic. My mother is even fond of telling me about the Jungle Book theme I had in my room as an infant. So it was with great interest that we covered the new live-action film version which continues a successful tradition for Disney of adapting their animated classics into live-action features. For those not familiar with the story it involves a young boy named Mowgli (Neel Sethi), who was found alone in the jungle by a panther named Bagheera (Ben Kingsley), Mowgli is put in the care of a Wolfpack under the custody of Raksha (Lupita Nyong”o), who raised him as one of her own in the ways of the pack.
Mowgli grew and thrived under this arrangement and was loved and accepted by those in his group. Unfortunately Mowgli eventually draws the attention of a tiger named Shere Khan (Idris Elba), who has a deep disliking and fear of humans and what they’re capable of and thus demands that Mowgli be turned over to him so he removed the human threat from the jungle. Unwilling to let Mowgli be killed, Bagheeera agrees to take the boy to the Human Village where he will have the protection and guidance of his people going forward.
As they embark on a journey filled with sights, sounds, splendor, and danger, they meet all sorts of new characters along the way. From the lovable Baloo (Bill Murray), to the dangerous Kaa (Scarlett Johansson), their adventure is anything but boring especially with Shere Khan constantly lurking and new dangers and surprises around every corner.
Director Jon Favreau keeps the film in line with the source material and offers a lavish and fun production that while heavy on CGI imagery never overshadows the focus being on the characters as they are what propel the story even though the jungle itself very much is a central character to the story. There is action and adventure and parent should be warned that there are a few parts that may be a bit too intense for younger viewers. That being said, the film is just an absolute delight from beginning to end and moves at a brisk enough pace that never drags. There are a couple of musical numbers included which thankfully do not undermine some of the more action intense sequences of the film which had been ramped up considerably from their animated version counterparts.
There’s been talk that a sequel is early in the planning stages and I for one would definitely love to see more adventures especially since it’s reported that the same team that brought this to the screen would be involved in the sequel. The cast is incredibly strong and supports one another very well and what makes this film so great is that like many of the Disney classics it has the broad generational appeal that will allow adults to really enjoy the film rather than feel that they’re simply along to keep the kids happy.
Disney has announced that they would plan to do several live-action adaptations of their animated classics and based on their recent track record of success, in doing so I can’t wait to see what they have next as “The Jungle Book” is an absolute delight that is not to be missed.
http://sknr.net/2016/04/14/the-jungle-book/
Mowgli grew and thrived under this arrangement and was loved and accepted by those in his group. Unfortunately Mowgli eventually draws the attention of a tiger named Shere Khan (Idris Elba), who has a deep disliking and fear of humans and what they’re capable of and thus demands that Mowgli be turned over to him so he removed the human threat from the jungle. Unwilling to let Mowgli be killed, Bagheeera agrees to take the boy to the Human Village where he will have the protection and guidance of his people going forward.
As they embark on a journey filled with sights, sounds, splendor, and danger, they meet all sorts of new characters along the way. From the lovable Baloo (Bill Murray), to the dangerous Kaa (Scarlett Johansson), their adventure is anything but boring especially with Shere Khan constantly lurking and new dangers and surprises around every corner.
Director Jon Favreau keeps the film in line with the source material and offers a lavish and fun production that while heavy on CGI imagery never overshadows the focus being on the characters as they are what propel the story even though the jungle itself very much is a central character to the story. There is action and adventure and parent should be warned that there are a few parts that may be a bit too intense for younger viewers. That being said, the film is just an absolute delight from beginning to end and moves at a brisk enough pace that never drags. There are a couple of musical numbers included which thankfully do not undermine some of the more action intense sequences of the film which had been ramped up considerably from their animated version counterparts.
There’s been talk that a sequel is early in the planning stages and I for one would definitely love to see more adventures especially since it’s reported that the same team that brought this to the screen would be involved in the sequel. The cast is incredibly strong and supports one another very well and what makes this film so great is that like many of the Disney classics it has the broad generational appeal that will allow adults to really enjoy the film rather than feel that they’re simply along to keep the kids happy.
Disney has announced that they would plan to do several live-action adaptations of their animated classics and based on their recent track record of success, in doing so I can’t wait to see what they have next as “The Jungle Book” is an absolute delight that is not to be missed.
http://sknr.net/2016/04/14/the-jungle-book/