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Gareth von Kallenbach (980 KP) rated Hide and Seek (2005) in Movies
Aug 14, 2019
The mind is a deep a complex organ that science still struggles to fully comprehend, despite the countless hours of research and study that have been expended in unlocking the mysteries contained within.
In the new thriller Hide and Seek, audiences are introduced to Dr. David Callaway (Robert De Niro), a Psychologist who is struggling to help his daughter Emile (Dakota Fanning) after the suicide of her mother. David believes that the best option is to move from New York City to a quite area upstate where he can focus on being a father to his daughter, who has become withdrawn despite intense counseling.
Despite opposition from Emily’s therapist and family friend Katherine (Famke Janssen), David and Emily relocate to a scenic and quite location and hour from the city.
At first everything seems to be going well with the move and David meets an attractive young lady named Elizabeth (Elisabeth Shue), who watches over a little girl for another member of her family. Thinking that a friend will snap Emily from her state, David encourages Elizabeth to come to the house.
David is convinced the addition of a friend will encourage Emily to stop talking about an imaginary friend named Charlie who seems to have preoccupied the little girls time. David is convinced that Charlie is a creation of Emily’s psyche that will fade over time especially as she makes friends and copes with the loss of her mother.
Emily instead withdraws even further from people and a series of bizarre and violent events ensue with Emily insisting that Charlie is the reason behind all of them. As David struggles to deal with the ever increasing tension caused by Charlie, he soon becomes caught up in a situation beyond his control.
The setup for the film is good as your mind races with a myriad of possibilities and outcome. Sadly many of my scenarios, and I suspect most of the audience were better and more satisfying then the conclusion of the film. The film quickly degrades into an abundance of absurdities and situations that seem lifted from the Drama 101 textbook as well as a dozen other and better films in the genre.
While the cast does good work with what they have, it is unsatisfying to see talent like Shue and Janssen reduced to minor supporting characters when they could have brought so much more to the film. Worse yet is De Niro seems to be going through the motions as this brilliant and gifted actor is not given any material that will challenge him and let his brilliant method acting shine.
For the first half of the film it is a mostly enjoyable and intriguing film that does hold your attention. However once the so called surprises of the film are revealed and the film moves towards it’s conclusion, you cant help but think that you have been cheated and deserved a much better payoff for sitting through the first hour of the film. Days after seeing it, I am still stunned at how badly the film ended and how such a good premise and talented cast were horribly wasted on a film that had surprisingly no scares or tension as the audience at my press screening sat largely in silence throughout the film.
My advice, save this for a rental as it is at best, a movie of the week quality film.
In the new thriller Hide and Seek, audiences are introduced to Dr. David Callaway (Robert De Niro), a Psychologist who is struggling to help his daughter Emile (Dakota Fanning) after the suicide of her mother. David believes that the best option is to move from New York City to a quite area upstate where he can focus on being a father to his daughter, who has become withdrawn despite intense counseling.
Despite opposition from Emily’s therapist and family friend Katherine (Famke Janssen), David and Emily relocate to a scenic and quite location and hour from the city.
At first everything seems to be going well with the move and David meets an attractive young lady named Elizabeth (Elisabeth Shue), who watches over a little girl for another member of her family. Thinking that a friend will snap Emily from her state, David encourages Elizabeth to come to the house.
David is convinced the addition of a friend will encourage Emily to stop talking about an imaginary friend named Charlie who seems to have preoccupied the little girls time. David is convinced that Charlie is a creation of Emily’s psyche that will fade over time especially as she makes friends and copes with the loss of her mother.
Emily instead withdraws even further from people and a series of bizarre and violent events ensue with Emily insisting that Charlie is the reason behind all of them. As David struggles to deal with the ever increasing tension caused by Charlie, he soon becomes caught up in a situation beyond his control.
The setup for the film is good as your mind races with a myriad of possibilities and outcome. Sadly many of my scenarios, and I suspect most of the audience were better and more satisfying then the conclusion of the film. The film quickly degrades into an abundance of absurdities and situations that seem lifted from the Drama 101 textbook as well as a dozen other and better films in the genre.
While the cast does good work with what they have, it is unsatisfying to see talent like Shue and Janssen reduced to minor supporting characters when they could have brought so much more to the film. Worse yet is De Niro seems to be going through the motions as this brilliant and gifted actor is not given any material that will challenge him and let his brilliant method acting shine.
For the first half of the film it is a mostly enjoyable and intriguing film that does hold your attention. However once the so called surprises of the film are revealed and the film moves towards it’s conclusion, you cant help but think that you have been cheated and deserved a much better payoff for sitting through the first hour of the film. Days after seeing it, I am still stunned at how badly the film ended and how such a good premise and talented cast were horribly wasted on a film that had surprisingly no scares or tension as the audience at my press screening sat largely in silence throughout the film.
My advice, save this for a rental as it is at best, a movie of the week quality film.
Gareth von Kallenbach (980 KP) rated The 40 Year Old Virgin (2005) in Movies
Aug 14, 2019
Andy Stitzer (Steve Carell) is a guy who has found his place in the world. Andy has a small but comfortable apartment that is stocked with all manner of high tech electronics, as well as an impressive collection of valuable collectables.
Andy has a comfortable if not dynamic job managing inventory for a local electronics store as well as a group of co-workers who include Andy in their conversations.
Andy’s life takes an unexpected turn when it is revealed at an after hours poker game that he has never been with a woman in a physical way, making him a 40 year old virgin.
Shocked and amused, Andy’s co-workers make it their personal quest to get Andy fixed up and on with his life. Andy for the most part is not overly enthused as his past failures in dating and heavy petting have all ended in disaster causing him to forgo pursuing sex.
Andy takes this all in stride even when it results in some hilarious and often painful experiences ranging from chest waxing, to drunken woman intent on making Andy their pleasure toy. As the experiences go from one bizarre encounter after another, Andy becomes even more confused, especially when his co-workers continue to offer advice that seems less than practical.
During this time, Andy meets Trish (Catherine Keener), who works at a business across from the shop. Andy is unsure how to handle her openness but when persuaded, he realizes that she may indeed like him, and now it is time to put what he has been told into effect.
Playing it cool, Andy does not call right away, but after even more outrageous situations arise, Andy eventually calls Trish and they go out. Things go very well, that is until Andy is faced with situations he has never encountered and all of his life experiences have prepared him for what is to come next.
Directed by Judd Apatow, The 40 Year Old Virgin, is a comic triumph that is consistently funny throughout. Carell is fantastic as he shows that he is a true comic talent that has arrived after his scene stealing performances in “Bruce Almighty”, and “Anchorman”.
The film is very crude and raunchy, but unlike the recent Deuce Bigalow film, there is a sincerity and charm about the films that puts the debauchery in context. This is not a film that throws gross situations at you for shock value, they are included as a natural part of the story and as part of the characters lives.
While some may balk at this, it is important to remember that in a film that deals with single men and sex, in many ways this film could actually be seen as restrained in how the characters discuss and deal with the topics and situations.
That being said, the film is a true work of genius and should launch Carell as the next great comic actor. His ability to blend physical and subtle comedy is amazing as his ability to portray Andy as a sympathetic and understandable character is truly amazing. Talent such as his only comes along once in a great while and thankfully the 42 year old Carell is finally getting a chance to shine. If you love to laugh and do not mind crude humor, do not miss this film.
Andy has a comfortable if not dynamic job managing inventory for a local electronics store as well as a group of co-workers who include Andy in their conversations.
Andy’s life takes an unexpected turn when it is revealed at an after hours poker game that he has never been with a woman in a physical way, making him a 40 year old virgin.
Shocked and amused, Andy’s co-workers make it their personal quest to get Andy fixed up and on with his life. Andy for the most part is not overly enthused as his past failures in dating and heavy petting have all ended in disaster causing him to forgo pursuing sex.
Andy takes this all in stride even when it results in some hilarious and often painful experiences ranging from chest waxing, to drunken woman intent on making Andy their pleasure toy. As the experiences go from one bizarre encounter after another, Andy becomes even more confused, especially when his co-workers continue to offer advice that seems less than practical.
During this time, Andy meets Trish (Catherine Keener), who works at a business across from the shop. Andy is unsure how to handle her openness but when persuaded, he realizes that she may indeed like him, and now it is time to put what he has been told into effect.
Playing it cool, Andy does not call right away, but after even more outrageous situations arise, Andy eventually calls Trish and they go out. Things go very well, that is until Andy is faced with situations he has never encountered and all of his life experiences have prepared him for what is to come next.
Directed by Judd Apatow, The 40 Year Old Virgin, is a comic triumph that is consistently funny throughout. Carell is fantastic as he shows that he is a true comic talent that has arrived after his scene stealing performances in “Bruce Almighty”, and “Anchorman”.
The film is very crude and raunchy, but unlike the recent Deuce Bigalow film, there is a sincerity and charm about the films that puts the debauchery in context. This is not a film that throws gross situations at you for shock value, they are included as a natural part of the story and as part of the characters lives.
While some may balk at this, it is important to remember that in a film that deals with single men and sex, in many ways this film could actually be seen as restrained in how the characters discuss and deal with the topics and situations.
That being said, the film is a true work of genius and should launch Carell as the next great comic actor. His ability to blend physical and subtle comedy is amazing as his ability to portray Andy as a sympathetic and understandable character is truly amazing. Talent such as his only comes along once in a great while and thankfully the 42 year old Carell is finally getting a chance to shine. If you love to laugh and do not mind crude humor, do not miss this film.
Gareth von Kallenbach (980 KP) rated Fever Pitch (2005) in Movies
Aug 14, 2019
Spring is the time of year when past failures of the fall are forgotten by most baseball fans. While hope springs eternal every spring for most fans, Boston Red Sox fans have long had a love/hate relationship with their team. This is due in large part to the Red Sox’s ongoing and often bizarre ability to snatch defeat from the jaws of victory for year after year, decade after decade, causing fans to claim that the team has been cursed ever since they traded Babe Ruth to the New York Yankees back in 1918. They have failed to win a championship since.
That is, until the magical season of 2005 where lifetimes of tears and frustrations were cleansed by an improbable and historic comeback from a three games to none series deficit to the Yankees, and a four game sweep of the St Louis Cardinals in the World Series.
In the new romantic comedy Fever Pitch two worlds are about to collide in a fury of romance and humor when workaholic Lindsey Meeks (Drew Barrymore), meets and starts to date a school teacher named Ben (Jimmy Fallon). Though their first date is hampered by a bad virus, Lindsey is taken by Ben’s gentle and compassionate nature, finding him very kind, loving and attentive.
As the two become closer over the winter, Ben asks Lindsey to attend opening day at Fenway with him as a sign of his love and commitment to her. Knowing Ben’s passion for the game, Lindsey accepts but soon finds out, that Ben is fanatical about his love of the Sox and that every aspect of his life has to be scheduled around their
games. While this is at first a minor issue, as time goes on it becomes a bigger problem when Ben refuses to take trips or attend parties and functions that interfere with games.
Naturally this soon wears very thin for Lindsey as she begins to question how committed Ben is to her and their future. The humor in the film arises from watching the very kind and lovable Ben become a different person when he is watching his beloved Sox. Rather then painting Ben as an oddball, the story does show why he has such an extreme devotion to the team, as well as how the people around him react to his devotion. His male friends simply accept it as they are rabid fans themselves, while we learn that every woman in his past has had an issue with his love of the Sox.
What really makes the film shine is the solid work by the two leads. Barrymore has a charm and grace to her that lets Lindsey come off as a very lovable and compassionate lady, rather than a selfish shrew who craves attention. Fallon meanwhile is solid, showing the duality of his life, as well as the dilemma he has between wanting to be with Lindsey and his lifelong devotion to the Sox.
The film moves at a steady pace and has more than enough humor to make you leave the theater with a smile, even if you are not a baseball fan. While some may say the plot is a bit shallow and formulistic, the film wisely puts the attention on the two leads and not on the sports action which results in a very winning combo.
That is, until the magical season of 2005 where lifetimes of tears and frustrations were cleansed by an improbable and historic comeback from a three games to none series deficit to the Yankees, and a four game sweep of the St Louis Cardinals in the World Series.
In the new romantic comedy Fever Pitch two worlds are about to collide in a fury of romance and humor when workaholic Lindsey Meeks (Drew Barrymore), meets and starts to date a school teacher named Ben (Jimmy Fallon). Though their first date is hampered by a bad virus, Lindsey is taken by Ben’s gentle and compassionate nature, finding him very kind, loving and attentive.
As the two become closer over the winter, Ben asks Lindsey to attend opening day at Fenway with him as a sign of his love and commitment to her. Knowing Ben’s passion for the game, Lindsey accepts but soon finds out, that Ben is fanatical about his love of the Sox and that every aspect of his life has to be scheduled around their
games. While this is at first a minor issue, as time goes on it becomes a bigger problem when Ben refuses to take trips or attend parties and functions that interfere with games.
Naturally this soon wears very thin for Lindsey as she begins to question how committed Ben is to her and their future. The humor in the film arises from watching the very kind and lovable Ben become a different person when he is watching his beloved Sox. Rather then painting Ben as an oddball, the story does show why he has such an extreme devotion to the team, as well as how the people around him react to his devotion. His male friends simply accept it as they are rabid fans themselves, while we learn that every woman in his past has had an issue with his love of the Sox.
What really makes the film shine is the solid work by the two leads. Barrymore has a charm and grace to her that lets Lindsey come off as a very lovable and compassionate lady, rather than a selfish shrew who craves attention. Fallon meanwhile is solid, showing the duality of his life, as well as the dilemma he has between wanting to be with Lindsey and his lifelong devotion to the Sox.
The film moves at a steady pace and has more than enough humor to make you leave the theater with a smile, even if you are not a baseball fan. While some may say the plot is a bit shallow and formulistic, the film wisely puts the attention on the two leads and not on the sports action which results in a very winning combo.
Emma @ The Movies (1786 KP) rated Cold Pursuit (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
What can I say about Cold Pursuit? It's bad. Unfortunately it's not in the "so bad it's good" category.
From its opening with an Oscar Wilde quote and music that sounds like a mix of the 80s and Sherlock Holmes I was intrigued. I knew I wasn't expecting a masterpiece but I had hoped for something entertaining at the very least.
One thing that I was quickly baffled by was the between scene captions, a terrible font pops up with the relevant information and then it blows away as if made by snow... but not every time. I did wonder if even the graphics people got bored of doing it.
SOP for me and new movie releases is that I make 2 A5 sides of notes, for Cold Pursuit I made 7... SEVEN... and the general consensus of most of them was "WTF", "ridiculous" and "why?!" In fact those were probably the most used words on all the pages.
The characters are all over the place. Viking's relationship with his son, the token gay relationship that felt like it had just been wedged in and White Bull's gang dubious frolicking... I just don't even know what to say about it.
I can't sit here and list all the bizarre things, neither of us have the time for that so let's skip to the things I enjoyed. There are just three things, much quicker than covering the other stuff!
Wingman's wife was a star for me, and that nail sharpening technique was inspired... totally stealing that.
One of the scenes has Coxman chasing his next target with his snowplow. He comes up on him quite menacingly and then the film did a great job of fooling me, I was expecting one thing and given another. That part of the scene came together quite well, it's just a shame about what followed.
Viking's son was surprisingly wise in almost all of his scenes, very laid back, just going with the flow. Out of all of it though I loved the scene about fantasy football when he's talking with Mustang. It was was a nice little addition.
That's it, I'm done with the things I liked.
The cinema was "full" when I saw it. There were 30-40 people, which for our cinema and this type of film on opening night in a small screen, wasn't bad at all. There were old and young, there were people who snored and people who laughed, I fell into neither of those last categories. Honestly I was in too much shock to do anything other than pick my jaw up off the floor.
Ultimately Cold Pursuit is another prime example of why you shouldn't put some of your best scenes in the trailers. The whole thing could probably have been sold on lesser scenes in the trailer and then the impact of the bigger ones would have potentially given it a few more stars.
What you should do
I can't in good conscience recommend this to anyone, Neeson has performed much better acts of revenge in many of his other films... just watch one of those... perhaps from behind a snow globe to make it seem like you're watching Cold Pursuit.
Movie thing you wish you could take home
Please could I have Coxman's ability to get into places where he clearly doesn't meet the dress code.
From its opening with an Oscar Wilde quote and music that sounds like a mix of the 80s and Sherlock Holmes I was intrigued. I knew I wasn't expecting a masterpiece but I had hoped for something entertaining at the very least.
One thing that I was quickly baffled by was the between scene captions, a terrible font pops up with the relevant information and then it blows away as if made by snow... but not every time. I did wonder if even the graphics people got bored of doing it.
SOP for me and new movie releases is that I make 2 A5 sides of notes, for Cold Pursuit I made 7... SEVEN... and the general consensus of most of them was "WTF", "ridiculous" and "why?!" In fact those were probably the most used words on all the pages.
The characters are all over the place. Viking's relationship with his son, the token gay relationship that felt like it had just been wedged in and White Bull's gang dubious frolicking... I just don't even know what to say about it.
I can't sit here and list all the bizarre things, neither of us have the time for that so let's skip to the things I enjoyed. There are just three things, much quicker than covering the other stuff!
Wingman's wife was a star for me, and that nail sharpening technique was inspired... totally stealing that.
One of the scenes has Coxman chasing his next target with his snowplow. He comes up on him quite menacingly and then the film did a great job of fooling me, I was expecting one thing and given another. That part of the scene came together quite well, it's just a shame about what followed.
Viking's son was surprisingly wise in almost all of his scenes, very laid back, just going with the flow. Out of all of it though I loved the scene about fantasy football when he's talking with Mustang. It was was a nice little addition.
That's it, I'm done with the things I liked.
The cinema was "full" when I saw it. There were 30-40 people, which for our cinema and this type of film on opening night in a small screen, wasn't bad at all. There were old and young, there were people who snored and people who laughed, I fell into neither of those last categories. Honestly I was in too much shock to do anything other than pick my jaw up off the floor.
Ultimately Cold Pursuit is another prime example of why you shouldn't put some of your best scenes in the trailers. The whole thing could probably have been sold on lesser scenes in the trailer and then the impact of the bigger ones would have potentially given it a few more stars.
What you should do
I can't in good conscience recommend this to anyone, Neeson has performed much better acts of revenge in many of his other films... just watch one of those... perhaps from behind a snow globe to make it seem like you're watching Cold Pursuit.
Movie thing you wish you could take home
Please could I have Coxman's ability to get into places where he clearly doesn't meet the dress code.
Gareth von Kallenbach (980 KP) rated Scott Pilgrim vs. the World (2010) in Movies
Aug 8, 2019
Scott Pilgrim, played by Michael Cera, is a young man whose life is going nowhere fast. At 23, he describes himself as in between jobs and spends his free time playing bass in a struggling band. But Scott does have a girlfriend named Knives Chau (Ellen Wong), never mind that she is still in high school and things are about as chaste as they can get. Undaunted, Scott keeps plugging away despite the supportive taunts of his gay roomie Wallace (Kieran Culkin), and the members of his band.
Things change for Scott when he meets a girl named Ramona (Mary Elizabeth Winstead), at a party. Ramona shows no interest in Scott but he’s inexplicably drawn to her and eventually gets the roller blading delivery girl to go out with him, despite the strong protests of his sister Stacey (Anna Kendrick), and his drummer/ex-girlfriend Kim (Allison Pine). The upswing Scott’s life takes at meeting the girl of his dreams and his band’s shot at a recording deal is tempered by the complications of choosing between Knives, who is becoming more clingy, and Ramona, who brings with her a lot of angry baggage.
This baggage actually comes in the form of seven evil exes whom Scott must battle and defeat if he wishes to continue dating her. Scott accepts the challenge and finds himself in a life and death battle with some true psychos, all of whom have strange powers and appear out of nowhere to pummel Scott. I will not spoil the surprises but suffice it to say that the exes are played by some great names, and each one brings plenty of humor to go with the action.
Action and music blend well with comedy and romance and the video game-inspired fight sequences complete with numerous inside jokes for gamers are truly a delight. The frantic sequences mix music, and over the top action with cartoonish gags and humor in a winning formula. Seeing Scott take flying leaps across a room to battle for Ramona and rebounding from one pummeling after another is great fun. Scott give as good as he gets, learning at times that brains will win out over brawn.
The film has a frantic pacing that Director Edgar Wright never lets get out of control. Like his great work in Shaun of the Dead, Wright keeps the characters and their relationships at the center of the film, making them not only relatable but easy to root for despite the bizarre scenario the characters find themselves in.
The film is based on a graphic novel by Bryan Lee O’Malley and delivers a fun adventure that should delight fans of the novel as well as video gamers everywhere. The film knows who its audience is and plays the zany plot with a wink and smile and does not get caught up with intricate plotlines and overly complex characters. Instead the movie keeps the attention on the action and the great cast of characters. Cera does his best work yet in the title role and Culkin nearly steals every scene he is in as does Wong. Jason Schwartzman shines as the uber villain Gideon and rounds out the effective cast in this pleasant surprise of the summer.
Things change for Scott when he meets a girl named Ramona (Mary Elizabeth Winstead), at a party. Ramona shows no interest in Scott but he’s inexplicably drawn to her and eventually gets the roller blading delivery girl to go out with him, despite the strong protests of his sister Stacey (Anna Kendrick), and his drummer/ex-girlfriend Kim (Allison Pine). The upswing Scott’s life takes at meeting the girl of his dreams and his band’s shot at a recording deal is tempered by the complications of choosing between Knives, who is becoming more clingy, and Ramona, who brings with her a lot of angry baggage.
This baggage actually comes in the form of seven evil exes whom Scott must battle and defeat if he wishes to continue dating her. Scott accepts the challenge and finds himself in a life and death battle with some true psychos, all of whom have strange powers and appear out of nowhere to pummel Scott. I will not spoil the surprises but suffice it to say that the exes are played by some great names, and each one brings plenty of humor to go with the action.
Action and music blend well with comedy and romance and the video game-inspired fight sequences complete with numerous inside jokes for gamers are truly a delight. The frantic sequences mix music, and over the top action with cartoonish gags and humor in a winning formula. Seeing Scott take flying leaps across a room to battle for Ramona and rebounding from one pummeling after another is great fun. Scott give as good as he gets, learning at times that brains will win out over brawn.
The film has a frantic pacing that Director Edgar Wright never lets get out of control. Like his great work in Shaun of the Dead, Wright keeps the characters and their relationships at the center of the film, making them not only relatable but easy to root for despite the bizarre scenario the characters find themselves in.
The film is based on a graphic novel by Bryan Lee O’Malley and delivers a fun adventure that should delight fans of the novel as well as video gamers everywhere. The film knows who its audience is and plays the zany plot with a wink and smile and does not get caught up with intricate plotlines and overly complex characters. Instead the movie keeps the attention on the action and the great cast of characters. Cera does his best work yet in the title role and Culkin nearly steals every scene he is in as does Wong. Jason Schwartzman shines as the uber villain Gideon and rounds out the effective cast in this pleasant surprise of the summer.
Emma @ The Movies (1786 KP) rated The Rhythm Section (2019) in Movies
Mar 5, 2020
The Rhythm Section popped up almost out of nowhere when it hit screens. Seeing the cast line-up I was very interested in seeing what it had to offer.
Stephanie has been a broken woman ever since her family died in a plane crash. The situation would be tough for anyone to deal with but it's made worse by the fact she was supposed to be on the plane too. Life in tatters, addicted to drugs and turning tricks for money she's all but given up on life. That's when Proctor appears.
Proctor is an investigative journalist who is tracking down the people responsible for the tragedy. He takes her in and she paws over his evidence. With a new found rage she goes off on her own, but actions have consequences and it's a steep learning curve.
There is something in The Rhythm Section, the story has a definite spark, but this final product didn't hit the right note for me. It's a classic story of revenge but the film doesn't seem to make much out of it. Littering it with flashbacks to fill in story and attempt to get us in Stephanie's head just adds to the jumpiness throughout. That jumpiness wasn't just reserved for the story, I noted that the camera movements early on were bizarre, I imagine in an effort to emulate her physical and mental state, but it was particularly jarring to watch.
The Rhythm Section seems to have no real way to follow the passage of time, which I feel was a mistake as it would have helped to make things more believable. Somehow B (Law) managed to get Stephanie off drugs, markedly improve her fitness levels and train her to be an (admittedly mediocre) assassin. With some concept of time elapsing I might have been on board with that transformation.
All that training seems to be for nought as she mainly survives off dumb luck during her travels. Her natural luck would also explain how she managed to capture the only bit of information she needed at the beginning of the film to find Proctor's well trained and secret source.
Law and Lively had some good moments in her training montage. There was some humour and friendship, of a sort, but the combative nature of both characters outside of that felt strained and neither appeared comfortable in the role. Sterling K. Brown playing Mark Serra seemed to be the most at home in the role, there was a spark there that gave him a confidence in what he was doing.
With a script written by the author of the source material I'm at a bit of a loss, this scenario should mean that it's a proper representation of the book but I'm left with little desire to experience any of the other three stories in this series having seen Rhythm Section.
As I said, there feels like there's something in this idea that would have made a great film, but it feels rushed and a little confused. The film ends in a way that could see a sequel, and that is possible given the other books in the series, but I can't see it progressing beyond one film off the back of this.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-rhythm-section-movie-review.html
Stephanie has been a broken woman ever since her family died in a plane crash. The situation would be tough for anyone to deal with but it's made worse by the fact she was supposed to be on the plane too. Life in tatters, addicted to drugs and turning tricks for money she's all but given up on life. That's when Proctor appears.
Proctor is an investigative journalist who is tracking down the people responsible for the tragedy. He takes her in and she paws over his evidence. With a new found rage she goes off on her own, but actions have consequences and it's a steep learning curve.
There is something in The Rhythm Section, the story has a definite spark, but this final product didn't hit the right note for me. It's a classic story of revenge but the film doesn't seem to make much out of it. Littering it with flashbacks to fill in story and attempt to get us in Stephanie's head just adds to the jumpiness throughout. That jumpiness wasn't just reserved for the story, I noted that the camera movements early on were bizarre, I imagine in an effort to emulate her physical and mental state, but it was particularly jarring to watch.
The Rhythm Section seems to have no real way to follow the passage of time, which I feel was a mistake as it would have helped to make things more believable. Somehow B (Law) managed to get Stephanie off drugs, markedly improve her fitness levels and train her to be an (admittedly mediocre) assassin. With some concept of time elapsing I might have been on board with that transformation.
All that training seems to be for nought as she mainly survives off dumb luck during her travels. Her natural luck would also explain how she managed to capture the only bit of information she needed at the beginning of the film to find Proctor's well trained and secret source.
Law and Lively had some good moments in her training montage. There was some humour and friendship, of a sort, but the combative nature of both characters outside of that felt strained and neither appeared comfortable in the role. Sterling K. Brown playing Mark Serra seemed to be the most at home in the role, there was a spark there that gave him a confidence in what he was doing.
With a script written by the author of the source material I'm at a bit of a loss, this scenario should mean that it's a proper representation of the book but I'm left with little desire to experience any of the other three stories in this series having seen Rhythm Section.
As I said, there feels like there's something in this idea that would have made a great film, but it feels rushed and a little confused. The film ends in a way that could see a sequel, and that is possible given the other books in the series, but I can't see it progressing beyond one film off the back of this.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-rhythm-section-movie-review.html
Kristy H (1252 KP) rated The Arrangement in Books
Aug 5, 2019
Twenty-one-year-old Natalie gratefully escaped her small-town life in Washington state, including an obsessive ex-boyfriend who broke into her house when she told him she was leaving for art school in New York City. But now the glamorous life she dreamed of is anything but: even with a partial scholarship, she's struggling to pay her tuition and rent. So when her friend tells her of a possible solution--go online and find an older sugar daddy: a wealthy man who pays her for dates--Natalie is intrigued. She figures it is a temporary solution until she gets back on her feet. But then she meets Gabe Turnmill, a handsome lawyer, more than thirty years older her senior. Soon she's madly in love with Gabe, who gives her a monthly allowance and helps her find her own apartment. But Gabe has his own family and life, and when he ends things with Natalie, she's devastated, unable to let things go. She begins stalking Gabe and his family. Gabe is a powerful man, however, and he's not going to let his sugar baby ruin his life.
Wow, this book was utterly captivating! I totally loved HER PRETTY FACE, and I felt the same about this one! This novel starts out with Natalie calling her long-estranged father, who abandoned her family when she was ten. "I killed someone," she says. From there, we flash back four months, learning more about Natalie's life as an art student and how she winds up as a sugar baby. It's utterly fascinating--learning about this life and how Natalie becomes tied up in it. She's convinced she will only go on a couple of dates, but her life becomes a series of unfortunate incidents. Then she falls for Gabe.
"But this was not a real relationship. Gabe was paying her. Now, Nat was afraid of falling for a man she could never really have."
The characters in this book are spot-on. Talk about creepy, obsessive, and utter trainwrecks. These two are so messed up. And I loved them! I could not put this book down! I picked it up on Sunday afternoon and had to finish it Sunday night before I went to bed. I simply could not look away from Natalie and Gabe and their absolutely bizarre relationship.
"Gabe liked situations he could control, people he could manage."
This book is a crazy mix of thriller, mystery, and romantic suspense. It's really interesting to think that these sugar baby/daddy relationships actually exist (hopefully without some of the other insanity that occurs in this book). Harding does such a wonderful job with her main characters and their utterly twisted minds. The point of view switches between the two, and we hear from some of the supporting cast, too. It helps up the drama and suspense, for sure. New York City is a great backdrop for all that goes down. I sort of had an inkling how it would all play out near the end, but I definitely couldn't put the book down.
Overall, totally loved this one. Definitely one of my favorite thrillers this year--just a really fun, captivating book with a different storyline and awesome, crazy characters. 4.5 stars.
Wow, this book was utterly captivating! I totally loved HER PRETTY FACE, and I felt the same about this one! This novel starts out with Natalie calling her long-estranged father, who abandoned her family when she was ten. "I killed someone," she says. From there, we flash back four months, learning more about Natalie's life as an art student and how she winds up as a sugar baby. It's utterly fascinating--learning about this life and how Natalie becomes tied up in it. She's convinced she will only go on a couple of dates, but her life becomes a series of unfortunate incidents. Then she falls for Gabe.
"But this was not a real relationship. Gabe was paying her. Now, Nat was afraid of falling for a man she could never really have."
The characters in this book are spot-on. Talk about creepy, obsessive, and utter trainwrecks. These two are so messed up. And I loved them! I could not put this book down! I picked it up on Sunday afternoon and had to finish it Sunday night before I went to bed. I simply could not look away from Natalie and Gabe and their absolutely bizarre relationship.
"Gabe liked situations he could control, people he could manage."
This book is a crazy mix of thriller, mystery, and romantic suspense. It's really interesting to think that these sugar baby/daddy relationships actually exist (hopefully without some of the other insanity that occurs in this book). Harding does such a wonderful job with her main characters and their utterly twisted minds. The point of view switches between the two, and we hear from some of the supporting cast, too. It helps up the drama and suspense, for sure. New York City is a great backdrop for all that goes down. I sort of had an inkling how it would all play out near the end, but I definitely couldn't put the book down.
Overall, totally loved this one. Definitely one of my favorite thrillers this year--just a really fun, captivating book with a different storyline and awesome, crazy characters. 4.5 stars.
Sarah (7799 KP) rated The Hunt (2020) in Movies
Nov 14, 2020
Darkly fun
The Hunt follows twelve strangers as they wake up in a clearing with no recollection of how they got there, and soon find themselves hunted for sport by a group of liberal elites.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.
Emma @ The Movies (1786 KP) rated Twist (2021) in Movies
Feb 17, 2021
I'm not sure what grabbed me about this one to make me watch... probably the cast. When will I learn?
Twist has been fending for himself for a long time, but when he crosses paths with Dodge and Batesy, he finds himself a family on the wrong side of the law.
The trend for updating stories is one I've enjoyed in the past, but Twist felt like a weird hybrid of a film that... well, let's get into it.
It may have been based on Oliver Twist, but I genuinely don't think they should have made is such a big splash. Yes, there are similarities, but the majority of the time it just felt like it was the character names being thrown in at random to make the connection. And is it the sort of connection you need to exploit? I don't think that you've naturally got a crossover between what the story of Oliver Twist is and what is represented here.
As an ensemble it's got some pretty big names attached. Caine, Clarke and Headey are generally a good call when it comes to picking something to watch... this is definitely how I got tricked into watching Twist.
Caine was... Caine, if you know, you know. Headey was a psycho that came across so excessively over the top, maybe to give the film wider appeal in other markets? I'm not entirely sure to be honest. And Clarke at least made for some enjoyable watching.
Our other, younger cast members, were such a random group. Rafferty Law as Twist didn't give a lot, and I know that by the nature of his character origin and backstory his nature was supposed to be on a different level to the others, but I didn't find it very believable. Dodge and Batesy played by Rita Ora and Franz Drameh fit well together initially, but I quickly found Drameh to be much more skilled as Ora's acting became a little lacklustre.
Overall there's weren't many moments in Twist that worked for me because of this odd mix of cast. The biggest anomaly being Leigh Francis as the traffic warden. Had the tone of the film been different then I absolutely could have seen a place for him in it, but as it was his role stuck out like a sore thumb.
We witness a lot of freerunning (or parkour, I'm not sure which term is more appropriate here) through the film and they used this as an opportunity to fling the camera around too and put in some fancy moves. Generally I'm not a fan, and while they fit in the moment, they seemed out of place given that the rest of the camerawork felt a little more generic. I noted down that it seemed to almost be missing at some points, but I'm not sure if that's because I just sighed and ignored it or if it was only used on certain types of shots... I will not be watching it again to find out.
Twist feels like it's what you would get if you took the TV series Hustle and mixed it with a London gangster movie... but without the same level of finesse. There is definitely something in this film but I think I was severely distracted by the attempt to capitalise on a bizarre reworking of a classic tale.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/02/twist-movie-review.html
Twist has been fending for himself for a long time, but when he crosses paths with Dodge and Batesy, he finds himself a family on the wrong side of the law.
The trend for updating stories is one I've enjoyed in the past, but Twist felt like a weird hybrid of a film that... well, let's get into it.
It may have been based on Oliver Twist, but I genuinely don't think they should have made is such a big splash. Yes, there are similarities, but the majority of the time it just felt like it was the character names being thrown in at random to make the connection. And is it the sort of connection you need to exploit? I don't think that you've naturally got a crossover between what the story of Oliver Twist is and what is represented here.
As an ensemble it's got some pretty big names attached. Caine, Clarke and Headey are generally a good call when it comes to picking something to watch... this is definitely how I got tricked into watching Twist.
Caine was... Caine, if you know, you know. Headey was a psycho that came across so excessively over the top, maybe to give the film wider appeal in other markets? I'm not entirely sure to be honest. And Clarke at least made for some enjoyable watching.
Our other, younger cast members, were such a random group. Rafferty Law as Twist didn't give a lot, and I know that by the nature of his character origin and backstory his nature was supposed to be on a different level to the others, but I didn't find it very believable. Dodge and Batesy played by Rita Ora and Franz Drameh fit well together initially, but I quickly found Drameh to be much more skilled as Ora's acting became a little lacklustre.
Overall there's weren't many moments in Twist that worked for me because of this odd mix of cast. The biggest anomaly being Leigh Francis as the traffic warden. Had the tone of the film been different then I absolutely could have seen a place for him in it, but as it was his role stuck out like a sore thumb.
We witness a lot of freerunning (or parkour, I'm not sure which term is more appropriate here) through the film and they used this as an opportunity to fling the camera around too and put in some fancy moves. Generally I'm not a fan, and while they fit in the moment, they seemed out of place given that the rest of the camerawork felt a little more generic. I noted down that it seemed to almost be missing at some points, but I'm not sure if that's because I just sighed and ignored it or if it was only used on certain types of shots... I will not be watching it again to find out.
Twist feels like it's what you would get if you took the TV series Hustle and mixed it with a London gangster movie... but without the same level of finesse. There is definitely something in this film but I think I was severely distracted by the attempt to capitalise on a bizarre reworking of a classic tale.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/02/twist-movie-review.html
Ivana A. | Diary of Difference (1171 KP) rated Strange Weather in Tokyo in Books
Oct 5, 2020
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Being born in Macedonia, I grew up reading books that were mostly translated. Because of that, I always appreciate the amazing job that translators do and have always cherished translated copies of my books. Strange Weather in Tokyo is no different, and Allison Markin Powell did an amazing job translating this book.
I read this book in August as part of the Tandem and Granta Books Instagram readalong - to celebrate #Kawakamimonth as well as Women in Translation month - and I am so glad I was able to join.
<b><i>Synopsis:</i></b>
One night when she is drinking alone in a local bar, Tsukiko finds herself sitting next to her former high school teacher. Over the coming months they share food and drink sake, and as seasons pass - from spring cherry blossom to autumnal mushrooms - Tsukiko and her teacher develop a hesitant intimacy that tilts awkwardly and poignantly towards love.
<b><i>My Thoughts:</i></b>
From the very first chapter, we travel to Japan and the whole mood changes. I could grasp the culture, taste the food and feel the weather changing through the seasons. The writing is brief and concise, yet full of emotion and wisdom. Both the characters and the scene had something very special about their description - they appeared so close, so real, as if you could just reach out your hand and touch them, feel them, taste them. This feeling stayed with me and I will cling on to it, because it happens so rarely these days.
Even though I am not a fan of student-teacher relationships, this relationship in particular kept me intrigued, simply because it was so much different than anything I have encountered before.
Tsukiko is young and tries to live in the modern world, while Sensei is much older and very traditional. They meet in the bar and talk. There are no dates, nor arranged meetings. They may see each other, and they may not. Sometimes it could be months before they bump into each other again. And that’s the beauty of their relationship. They live their own lives independently, and having each other as company is an added bonus.
A few plot twists lingered in the way of their love. Tsukiko’s potential boyfriend, who is the same age as her, Sensei’s old age and what that might mean, and the numerous arguments that seem bizarre, but test their relationship on deeper levels. It was very refreshing to see the brutally honest issue that is age between couples. Sensei knows he doesn’t have too long to live, and he is honest with Tsukiko, as he wants her to truly understand what this means, and once she understands it, he wants to ensure she is okay to proceed the relationship, given those circumstances.
<b><i>I have mixed feelings about the ending of Strange Weather in Tokyo.</i></b>
I was surprised at how it ended, but then I understood why. Perhaps I wanted a complete closure, but I learned that life doesn’t do closures. There is no perfect or right time to do something. We only have the “now” and we should enjoy every moment while we can.
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<img src="https://diaryofdifference.com/wp-content/uploads/2020/08/Book-Review-Banner-33.png"/>;
Being born in Macedonia, I grew up reading books that were mostly translated. Because of that, I always appreciate the amazing job that translators do and have always cherished translated copies of my books. Strange Weather in Tokyo is no different, and Allison Markin Powell did an amazing job translating this book.
I read this book in August as part of the Tandem and Granta Books Instagram readalong - to celebrate #Kawakamimonth as well as Women in Translation month - and I am so glad I was able to join.
<b><i>Synopsis:</i></b>
One night when she is drinking alone in a local bar, Tsukiko finds herself sitting next to her former high school teacher. Over the coming months they share food and drink sake, and as seasons pass - from spring cherry blossom to autumnal mushrooms - Tsukiko and her teacher develop a hesitant intimacy that tilts awkwardly and poignantly towards love.
<b><i>My Thoughts:</i></b>
From the very first chapter, we travel to Japan and the whole mood changes. I could grasp the culture, taste the food and feel the weather changing through the seasons. The writing is brief and concise, yet full of emotion and wisdom. Both the characters and the scene had something very special about their description - they appeared so close, so real, as if you could just reach out your hand and touch them, feel them, taste them. This feeling stayed with me and I will cling on to it, because it happens so rarely these days.
Even though I am not a fan of student-teacher relationships, this relationship in particular kept me intrigued, simply because it was so much different than anything I have encountered before.
Tsukiko is young and tries to live in the modern world, while Sensei is much older and very traditional. They meet in the bar and talk. There are no dates, nor arranged meetings. They may see each other, and they may not. Sometimes it could be months before they bump into each other again. And that’s the beauty of their relationship. They live their own lives independently, and having each other as company is an added bonus.
A few plot twists lingered in the way of their love. Tsukiko’s potential boyfriend, who is the same age as her, Sensei’s old age and what that might mean, and the numerous arguments that seem bizarre, but test their relationship on deeper levels. It was very refreshing to see the brutally honest issue that is age between couples. Sensei knows he doesn’t have too long to live, and he is honest with Tsukiko, as he wants her to truly understand what this means, and once she understands it, he wants to ensure she is okay to proceed the relationship, given those circumstances.
<b><i>I have mixed feelings about the ending of Strange Weather in Tokyo.</i></b>
I was surprised at how it ended, but then I understood why. Perhaps I wanted a complete closure, but I learned that life doesn’t do closures. There is no perfect or right time to do something. We only have the “now” and we should enjoy every moment while we can.