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Kirk Bage (1775 KP) rated Unsolved Mysteries in TV
Jan 22, 2021 (Updated Jan 22, 2021)
It is a guilty secret of mine that when in the right mood I love to get a small fix of the unexplained or the macabre true crime documentary type thing. They tend to range from truly ridiculous to the mildly convincing, but tend not to have especially high production value. Netflix seem to know there is demand for it however, and every now and again there is a mini-series that can live in the same box as the more serious docs.
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Gareth von Kallenbach (980 KP) rated Live By Night (2017) in Movies
Jul 12, 2019
I’m a sucker for a Prohibition-set yarn. It’s a fascinating period in history and typically yields excellent filmmaking with gritty, no-nonsense performances, gorgeous production design and hard-boiled action. It was De Palma’s The Untouchables that hooked me. Some would call it a guilty pleasure; and sure, Morricone’s score is a little over-the-top, De Niro is more caricature than character actor as Al Capone and I’m not going to argue that Connery’s Oscar was a “sympathy vote”, but it’s got everything I mentioned above in spades and for me it’ll always be the high benchmark of the Prohibition era gangster epic. Ben Affleck’s fourth turn as director has done nothing to change my position on that.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Matthew Krueger (10051 KP) rated Ghost Stories in Tabletop Games
Jul 28, 2020 (Updated Jul 30, 2020)
The Gameplay (4 more)
The Strategy
Replay Value
Thinking Ten Steps Ahead
The Concept
Hard (2 more)
Luck of the dice
The cruse dice
Spooky Scary Ghosts
I learned about this game through Dice Tower reviews, Rahdo runthrough and BoardGameGeek. And it looked really good. A cooperative game in which the players protect the village from incarnations of the lord of hell – Wu-Feng – and his legions of ghosts before they haunt a town and recover the ashes that will allow him to return to life. That sounded really intresting and unquite. So i bought it and its a excellent game. Let me talk more about it..
Gameplay:
Each Player represents a Taoist monk working together with the others to fight off waves of ghosts.
The players, using teamwork, will have to exorcise the ghosts that appear during the course of the game. At the beginning of his turn, a player brings a ghost into play and places it on a free spot, and more than one can come in at the same time. The ghosts all have abilities of their own – some affecting the Taoists and their powers, some causing the active player to roll the curse die for a random effect, and others haunting the villager tiles and blocking that tile's special action. On his turn, a Taoist can move on a tile in order to exorcise adjacent ghosts or to benefit from the villager living on the tile, providing it is not haunted. Each tile of the village allows the players to benefit from a different bonus. With the cemetery, for example, Taoists can bring a dead Taoist back to life, while the herbalist allows to recover spent Tao tokens, etc. It will also be possible to get traps or move ghosts or unhaunt other village tiles.
To exorcise a ghost, the Taoist rolls three Tao dice with different colors: red, blue, green, yellow, black, and white. If the result of the roll matches the color(s) of the ghost or incarnation of Wu-Feng, the exorcism succeeds. The white result is a wild color that can be used as any color. For example, to exorcise a green ghost with 3 resistance, you need to roll three green, three white, or a combination of both. If your die rolls fall short, you can also use Tao tokens that match the color in addition to your roll. You may choose to use these after your roll. Taoists gain these tokens by using certain village tiles or by exorcising certain ghosts. One of the Taoists has a power that allows him to receive such a token once per turn.
To win, the players must defeat the incarnation of Wu-Feng, a boss who arrives at the end of the game. There are also harder difficulty levels that add more incarnations of Wu-Feng, in which to win, you must defeat all of them.
There are many more ways to lose, however. The players lose if three of the village's tiles are haunted, if the draw pile is emptied while the incarnation of Wu-Feng is still in play, or if all the priests are dead.
It is hard game but the strategy to this game is excellent cause you have to think about your moves and what to do next. That and the clock is ticking down to one of the ten Wu-Feng Minions. Also if 3 village spaces get crushed than you lose. Also the luck of the dice and the cards. The strategy is ten fold. Its hard but a excellent game and a must play game. Buy it if you havent already cause its a must. If you want to learn more or see a runthrough of the game go to BoardGameGeek, Rahdo Runthroughs or Dice Tower Reviews.
Gameplay:
Each Player represents a Taoist monk working together with the others to fight off waves of ghosts.
The players, using teamwork, will have to exorcise the ghosts that appear during the course of the game. At the beginning of his turn, a player brings a ghost into play and places it on a free spot, and more than one can come in at the same time. The ghosts all have abilities of their own – some affecting the Taoists and their powers, some causing the active player to roll the curse die for a random effect, and others haunting the villager tiles and blocking that tile's special action. On his turn, a Taoist can move on a tile in order to exorcise adjacent ghosts or to benefit from the villager living on the tile, providing it is not haunted. Each tile of the village allows the players to benefit from a different bonus. With the cemetery, for example, Taoists can bring a dead Taoist back to life, while the herbalist allows to recover spent Tao tokens, etc. It will also be possible to get traps or move ghosts or unhaunt other village tiles.
To exorcise a ghost, the Taoist rolls three Tao dice with different colors: red, blue, green, yellow, black, and white. If the result of the roll matches the color(s) of the ghost or incarnation of Wu-Feng, the exorcism succeeds. The white result is a wild color that can be used as any color. For example, to exorcise a green ghost with 3 resistance, you need to roll three green, three white, or a combination of both. If your die rolls fall short, you can also use Tao tokens that match the color in addition to your roll. You may choose to use these after your roll. Taoists gain these tokens by using certain village tiles or by exorcising certain ghosts. One of the Taoists has a power that allows him to receive such a token once per turn.
To win, the players must defeat the incarnation of Wu-Feng, a boss who arrives at the end of the game. There are also harder difficulty levels that add more incarnations of Wu-Feng, in which to win, you must defeat all of them.
There are many more ways to lose, however. The players lose if three of the village's tiles are haunted, if the draw pile is emptied while the incarnation of Wu-Feng is still in play, or if all the priests are dead.
It is hard game but the strategy to this game is excellent cause you have to think about your moves and what to do next. That and the clock is ticking down to one of the ten Wu-Feng Minions. Also if 3 village spaces get crushed than you lose. Also the luck of the dice and the cards. The strategy is ten fold. Its hard but a excellent game and a must play game. Buy it if you havent already cause its a must. If you want to learn more or see a runthrough of the game go to BoardGameGeek, Rahdo Runthroughs or Dice Tower Reviews.
Bob Mann (459 KP) rated The Equalizer 2 (2018) in Movies
Sep 28, 2021
A “Good Guy” meting out justice in a bad way.
There’s something really satisfying about seeing our ‘hero’ Robert McCall giving bad ‘uns a bloody nose (and far worse) as immediate punishment for a crime committed. My parent’s pre-war generation would wax lyrical about the days when police officers or teachers could give a kid a “good box around the ears” as a lesson for a minor infringement. (“Ah, the good old days…. That’ll learn ‘im”!). But equally there’s also the queasy feeling here that this is a vigilante being judge, jury and executioner. Thank GOODNESS then that it’s Denzel Washington and he’s OBVIOUSLY a good guy that will never get it wrong!
Washington returns here as the righter of wrongs, now working as a Lyft driver in Boston (clearly Uber either lost the bidding war or they were not considered to be as cool a brand anymore). Through his job he crosses paths with various troubled souls and is often able to help: sometimes with just an encouraging word; sometimes with more physical activity! By way of validating his good guy credentials, he also takes under his wing Miles (Ashton Sanders) – a local black kid at risk of being dragged into the Boston gang scene.
But this is all window-dressing for the main plot, involving bad guys (for reasons that escaped me) tidying up a lot of CIA loose ends in Brussels in a very brutal way. In charge of the investigation is Robert’s ex-boss Susan Plummer (Melissa Leo) and to help out further Robert has to ‘reappear’ to his ex-partner Dave York (Pedro Pascal). As in the first film, events lead to an explosive western-style showdown.
Directed again by Antoine Fuqua, the film oozes style from the impressive opening shots of a Turkish train, where the cinematography by Bourne-regular Oliver Wood is exceptional. The action scenes are well-executed, and includes a superb science experiment that will puzzle any viewer who thinks “hang on a minute – flour doesn’t burn”!
Reading again my review of the original film, I went off on a rant about extreme screen violence in sub-18 certificate films. There is certainly – as the British film censors (the BBFC) describe it – “strong violence” in this film, with some pretty brutal murder scenes. If anything though I thought the violence was a little less gratuitous this time around, which I welcome.
Denzel is the greatest asset of this film though. He acts up a hurricane (literally), and without his calm and powerful presence at the heart of the film, this would just be A.N.Other generic thriller. It’s also great that this time around the excellent Melissa Leo gets more screen time, as does her husband played by Bill “Independence Day” Pullman. (Is it just me that gets Mr Pullman confused with the late Mr Paxton? I spent all of this film thinking “Oh how sad” though all his scenes before I realised I was grieving for the wrong guy!). In terms of mistaken identity, this film has another in that a key villain Resnik looks far too much like Mark Wahlberg, but is actually Canadian actor Jonathan Scarfe.
Where the film stumbled for me was in having too many parallel “good deed” sub-plots. One in particular – you’ll know the one – feels completely superfluous, beggars belief and could have been excised completely for the DVD deleted scenes.
Do you need to have seen the first film? No, not really. There is exposition about McCall’s back-story, but if this was covered in the first film then I had completely forgotten it. It certainly didn’t detract from this as a stand-alone film.
A cut-above the norm, Washington’s solid performance makes this an entertaining night out at the flicks.
Washington returns here as the righter of wrongs, now working as a Lyft driver in Boston (clearly Uber either lost the bidding war or they were not considered to be as cool a brand anymore). Through his job he crosses paths with various troubled souls and is often able to help: sometimes with just an encouraging word; sometimes with more physical activity! By way of validating his good guy credentials, he also takes under his wing Miles (Ashton Sanders) – a local black kid at risk of being dragged into the Boston gang scene.
But this is all window-dressing for the main plot, involving bad guys (for reasons that escaped me) tidying up a lot of CIA loose ends in Brussels in a very brutal way. In charge of the investigation is Robert’s ex-boss Susan Plummer (Melissa Leo) and to help out further Robert has to ‘reappear’ to his ex-partner Dave York (Pedro Pascal). As in the first film, events lead to an explosive western-style showdown.
Directed again by Antoine Fuqua, the film oozes style from the impressive opening shots of a Turkish train, where the cinematography by Bourne-regular Oliver Wood is exceptional. The action scenes are well-executed, and includes a superb science experiment that will puzzle any viewer who thinks “hang on a minute – flour doesn’t burn”!
Reading again my review of the original film, I went off on a rant about extreme screen violence in sub-18 certificate films. There is certainly – as the British film censors (the BBFC) describe it – “strong violence” in this film, with some pretty brutal murder scenes. If anything though I thought the violence was a little less gratuitous this time around, which I welcome.
Denzel is the greatest asset of this film though. He acts up a hurricane (literally), and without his calm and powerful presence at the heart of the film, this would just be A.N.Other generic thriller. It’s also great that this time around the excellent Melissa Leo gets more screen time, as does her husband played by Bill “Independence Day” Pullman. (Is it just me that gets Mr Pullman confused with the late Mr Paxton? I spent all of this film thinking “Oh how sad” though all his scenes before I realised I was grieving for the wrong guy!). In terms of mistaken identity, this film has another in that a key villain Resnik looks far too much like Mark Wahlberg, but is actually Canadian actor Jonathan Scarfe.
Where the film stumbled for me was in having too many parallel “good deed” sub-plots. One in particular – you’ll know the one – feels completely superfluous, beggars belief and could have been excised completely for the DVD deleted scenes.
Do you need to have seen the first film? No, not really. There is exposition about McCall’s back-story, but if this was covered in the first film then I had completely forgotten it. It certainly didn’t detract from this as a stand-alone film.
A cut-above the norm, Washington’s solid performance makes this an entertaining night out at the flicks.
Bob Mann (459 KP) rated The Snowman (2017) in Movies
Sep 29, 2021
“We’re trudging through the slush”.
Unlike its animated namesake, “The Snowman” is not a good film. Frustratingly it has all the right ingredients:
A story by bestselling Nordic writer Jo Nesbø;
Gorgeously photogenic snowy scenes of Oslo and Bergen;
A stellar cast (Michael Fassbender (“Alien: Covenant“); Rebecca Ferguson (“Mission Impossible: Rogue Nation“); J.K. Simmons (“Whiplash“); Toby Jones (“Dad’s Army“); Chloe Sevigny (“Love and Friendship“); Charlotte Gainsbourg (“Independence Day: Resurgence“, very sexy as Fassbender’s ex-squeeze) and even Val Kilmer (“Top Gun”, whose mother – interesting fact – is actually Swedish).
snowman2
That sinking feeling when you realise you’ve been drinking all night and its too late for bed before work.
And while these elements congeal in the snow together quite well as vignettes, the whole film jerks from vignette to vignette in a most unsatisfactory way. I haven’t read the book (which might be much better) but the inclusion in the (terrible!) trailers of key scenes that never made the final cut (where was the fire for example?, the fish? the man trap?) implied to me that the director (Tomas Alfredson, “Tinker, Tailor, Soldier, Spy”) and screenwriting team – Peter Straughan (also “Tinker, Tailor”), Hossein Amini (“The Two Faces of January“) and Søren Sveistrup (TV’s “The Killing”) – either didn’t have (or didn’t agree on) the direction they wanted the film to go in.
Film Title: The Snowman
Arve Stop (J.K. Simmons) and Katrine (Rebecca Ferguson) having a “Weinstein moment” at the hotel.
Nesbø (and indeed most crime writers these days) litter their work with damaged cops…. you have to question whether the detective application form has a mandatory check-box with “alcoholic and borderline psycho” on it!. This film is no exception. Fassbender plays Nesbø’s master sleuth Harry Hole: an alcoholic insomniac well off the rails between homicide cases. “If only Oslo had a higher murder rate” bemoans his boss (Ronan Vibert). He joins forces with newby officer Katrine Bratt (Rebecca Ferguson), who has her fair share of mental demons to fight, in investigating a series of missing person/murder cases. The duo unearth a link between the cases – all happen when the snow starts to fall and to particular types of women, with the protagonist leaving a snowman at the scene.
snowman5
One of the cuter snowmen… they get worse… much worse.
The plot is highly formulaic – I guessed who the killer was within about 20 minutes. But what makes this movie stand out, for all the wrong reasons, is that it has one of the most stupid, vacuous, flaccid, inane, ridiculous … (add 50 other thesaurus entries)… endings imaginable. My mouth actually gaped in astonishment!
There are also a surprisingly large number of loose ends you ponder after the film ends: why the “Snowman”‘s fixation with Harry?; what was with the “Vetlesen cleaner” subplot? How is Star Trek transportation possible in Norway? (But wait… “Telemark”… “Teleport”…. coincidence????? 🙂
On the plus side, there is some lovely Norwegian drone cinematography – (by Australian Dion Beebe (“Edge of Tomorrow“) – that immediately made me put “travel by winter train from Oslo to Bergen” on my life-map. The music by Marco Beltrami (“Logan“) is also effective and suitably Hitchcockian.
If you like your films gory, this one is definitely for you, with some pretty graphic content that (for those who like to cover their eyes) is cut to so quickly by editors Thelma Schoonmaker (“The Wolf of Wall Street“) and Claire Simpson (“Far From The Madding Crowd“) that your hands won’t have time to leave your lap! I remember this being a feature of a previous Nesbø adaptation (the much better “Headhunters” from 2011) but here it goes into overdrive.
snowman1
One of my favourite actresses – Rebecca Ferguson, curiously playing much “younger” in this film than she appears in her previous hits.
Overall this was a rather disappointing effort that was heading for a FFf rating. But just because of that ending I’m knocking a whole extra Fad off!
A story by bestselling Nordic writer Jo Nesbø;
Gorgeously photogenic snowy scenes of Oslo and Bergen;
A stellar cast (Michael Fassbender (“Alien: Covenant“); Rebecca Ferguson (“Mission Impossible: Rogue Nation“); J.K. Simmons (“Whiplash“); Toby Jones (“Dad’s Army“); Chloe Sevigny (“Love and Friendship“); Charlotte Gainsbourg (“Independence Day: Resurgence“, very sexy as Fassbender’s ex-squeeze) and even Val Kilmer (“Top Gun”, whose mother – interesting fact – is actually Swedish).
snowman2
That sinking feeling when you realise you’ve been drinking all night and its too late for bed before work.
And while these elements congeal in the snow together quite well as vignettes, the whole film jerks from vignette to vignette in a most unsatisfactory way. I haven’t read the book (which might be much better) but the inclusion in the (terrible!) trailers of key scenes that never made the final cut (where was the fire for example?, the fish? the man trap?) implied to me that the director (Tomas Alfredson, “Tinker, Tailor, Soldier, Spy”) and screenwriting team – Peter Straughan (also “Tinker, Tailor”), Hossein Amini (“The Two Faces of January“) and Søren Sveistrup (TV’s “The Killing”) – either didn’t have (or didn’t agree on) the direction they wanted the film to go in.
Film Title: The Snowman
Arve Stop (J.K. Simmons) and Katrine (Rebecca Ferguson) having a “Weinstein moment” at the hotel.
Nesbø (and indeed most crime writers these days) litter their work with damaged cops…. you have to question whether the detective application form has a mandatory check-box with “alcoholic and borderline psycho” on it!. This film is no exception. Fassbender plays Nesbø’s master sleuth Harry Hole: an alcoholic insomniac well off the rails between homicide cases. “If only Oslo had a higher murder rate” bemoans his boss (Ronan Vibert). He joins forces with newby officer Katrine Bratt (Rebecca Ferguson), who has her fair share of mental demons to fight, in investigating a series of missing person/murder cases. The duo unearth a link between the cases – all happen when the snow starts to fall and to particular types of women, with the protagonist leaving a snowman at the scene.
snowman5
One of the cuter snowmen… they get worse… much worse.
The plot is highly formulaic – I guessed who the killer was within about 20 minutes. But what makes this movie stand out, for all the wrong reasons, is that it has one of the most stupid, vacuous, flaccid, inane, ridiculous … (add 50 other thesaurus entries)… endings imaginable. My mouth actually gaped in astonishment!
There are also a surprisingly large number of loose ends you ponder after the film ends: why the “Snowman”‘s fixation with Harry?; what was with the “Vetlesen cleaner” subplot? How is Star Trek transportation possible in Norway? (But wait… “Telemark”… “Teleport”…. coincidence????? 🙂
On the plus side, there is some lovely Norwegian drone cinematography – (by Australian Dion Beebe (“Edge of Tomorrow“) – that immediately made me put “travel by winter train from Oslo to Bergen” on my life-map. The music by Marco Beltrami (“Logan“) is also effective and suitably Hitchcockian.
If you like your films gory, this one is definitely for you, with some pretty graphic content that (for those who like to cover their eyes) is cut to so quickly by editors Thelma Schoonmaker (“The Wolf of Wall Street“) and Claire Simpson (“Far From The Madding Crowd“) that your hands won’t have time to leave your lap! I remember this being a feature of a previous Nesbø adaptation (the much better “Headhunters” from 2011) but here it goes into overdrive.
snowman1
One of my favourite actresses – Rebecca Ferguson, curiously playing much “younger” in this film than she appears in her previous hits.
Overall this was a rather disappointing effort that was heading for a FFf rating. But just because of that ending I’m knocking a whole extra Fad off!
Bob Mann (459 KP) rated Christine (2016) in Movies
Sep 29, 2021
If it bleeds, it leads.
Life is precious. Bad times always get good again eventually. Winter turns to spring and you feel the warmth of the sun on your face again. So what drives someone – anyone – to the point of despair sufficient for them to ignore all of the potential upturns and to take their own life?
Christine tells the tragic tale of Florida TV news reporter Christine Chubbuck who committed suicide live on air in 1974. Yes, this is a spoiler, but since most people have some sense of what a film is about before they go to see it, it’s not really a big one. And I think in this case, knowing the outcome is pretty essential since otherwise you will likely spend 2 hours getting increasingly irritated by the erratic behaviour of the lead character and may possibly turn it off. With this movie, the telling is in the journey – not the destination.
London-born Rebecca Hall (“The Town”) plays the 30 year old virgin Christine; a damaged article with past mental issues, she has been moved by her mother Peg (J Smith-Cameron) from Boston to Florida to make a fresh start. But the station is struggling and Christine’s insistence on pursuing dull but worthy stories, such as zoning disputes, isn’t helping: she is driving her boss (Tracy Letts) to distraction. Despite her spiky demeanour and unapproachable nature, her colleagues including Jean (Maria Dizzia), the show’s anchor (and potential deflowerer) George (Michael C Hall) and weatherman Steve (Timothy Simons from “Veep”) all do their best to support her. It is part of the true tragedy of the piece that her downward spiral continues despite their best efforts.
Hall is outstanding in the role. She portrays the crazily compulsive behaviour of Chubbuck extremely well: perfectionism gone wild as she attempts to edit out 3 seconds off a clip while the film is already in the machine. At times the other-worldliness and creepiness of her character become extremely unsettling; an excruciating scene with a married couple in a bar being a case in point. Overall it’s an extremely thoughtful portrayal that is as quiet and unassuming as Ruth Negga’s in “Loving” (but without the smiles or the charm). I would like to think that after the Oscars team picked the ‘obvious contenders’ of Portman, Stone and Huppert, and with a place ‘reserved’ for Streep, they were left with Negga and Hall and had a “dammit, we can only pick 1 out of 2 here” moment.
Letts as the crotchety station chief also delivers a fine performance, and it’s a shame that the script never gave us the chance to see his post-shooting reactions, since the ‘if only’ ramifications for him in particular must have been huge.
In retrospect, Chubbuck’s actions were bizarre: taking her life in such a public way (and insisting the show be recorded for her “reels”) strikes of narcissism and a bitter revenge. While the film is no doubt based on the true recollections of the real-life participants, the screenplay by Craig Shilowich, in an impressive writing debut, for me never quite closed that loop: why this way rather that a car and a hosepipe?
Directed by Antonio Campos, this is never an easy watch. It’s a bit like watching a car crash in ultra-slow motion, and pretty much mandates that you watch an episode of “Father Ted” afterwards to cheer yourself up! But it’s a fascinating study in mental decline, and it’s a useful reminder that it behoves all of us to pay more attention to others around us and reach out with real help if needed before the worst can happen.
Christine tells the tragic tale of Florida TV news reporter Christine Chubbuck who committed suicide live on air in 1974. Yes, this is a spoiler, but since most people have some sense of what a film is about before they go to see it, it’s not really a big one. And I think in this case, knowing the outcome is pretty essential since otherwise you will likely spend 2 hours getting increasingly irritated by the erratic behaviour of the lead character and may possibly turn it off. With this movie, the telling is in the journey – not the destination.
London-born Rebecca Hall (“The Town”) plays the 30 year old virgin Christine; a damaged article with past mental issues, she has been moved by her mother Peg (J Smith-Cameron) from Boston to Florida to make a fresh start. But the station is struggling and Christine’s insistence on pursuing dull but worthy stories, such as zoning disputes, isn’t helping: she is driving her boss (Tracy Letts) to distraction. Despite her spiky demeanour and unapproachable nature, her colleagues including Jean (Maria Dizzia), the show’s anchor (and potential deflowerer) George (Michael C Hall) and weatherman Steve (Timothy Simons from “Veep”) all do their best to support her. It is part of the true tragedy of the piece that her downward spiral continues despite their best efforts.
Hall is outstanding in the role. She portrays the crazily compulsive behaviour of Chubbuck extremely well: perfectionism gone wild as she attempts to edit out 3 seconds off a clip while the film is already in the machine. At times the other-worldliness and creepiness of her character become extremely unsettling; an excruciating scene with a married couple in a bar being a case in point. Overall it’s an extremely thoughtful portrayal that is as quiet and unassuming as Ruth Negga’s in “Loving” (but without the smiles or the charm). I would like to think that after the Oscars team picked the ‘obvious contenders’ of Portman, Stone and Huppert, and with a place ‘reserved’ for Streep, they were left with Negga and Hall and had a “dammit, we can only pick 1 out of 2 here” moment.
Letts as the crotchety station chief also delivers a fine performance, and it’s a shame that the script never gave us the chance to see his post-shooting reactions, since the ‘if only’ ramifications for him in particular must have been huge.
In retrospect, Chubbuck’s actions were bizarre: taking her life in such a public way (and insisting the show be recorded for her “reels”) strikes of narcissism and a bitter revenge. While the film is no doubt based on the true recollections of the real-life participants, the screenplay by Craig Shilowich, in an impressive writing debut, for me never quite closed that loop: why this way rather that a car and a hosepipe?
Directed by Antonio Campos, this is never an easy watch. It’s a bit like watching a car crash in ultra-slow motion, and pretty much mandates that you watch an episode of “Father Ted” afterwards to cheer yourself up! But it’s a fascinating study in mental decline, and it’s a useful reminder that it behoves all of us to pay more attention to others around us and reach out with real help if needed before the worst can happen.
Bob Mann (459 KP) rated The Last Duel (2021) in Movies
Oct 28, 2021
Three nuanced perspectives on a winter’s tale.
In Ridley Scott’s new movie “The Last Duel” we are in the late 14th century in France. And – apart from in one scene – it appears to be perpetual winter!
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Haley Mathiot (9 KP) rated Once Dead, Twice Shy (Madison Avery, #1) in Books
Apr 27, 2018
Madison Avery doesn't believe in fate—until a combination of fate and free will brings her to live with her dad (which her mom thinks is a good thing for her since she can't stay out of trouble at home), gets her a pity-date ("you got your boss to get his son to ask me out? what?"), and kills her (at her junior prom. On her seventeenth birthday. of all the luck.). Now, after having claimed the amulet of the timekeeper who killed her (which is the only thing that keeps her looking like she's alive), she has to learn how to live with death. If that's even possible.
But the dark timekeeper who killed her isn't happy, because she's got his amulet, and she's not all the way dead (just sort of dead). Teaming up with Barnabas—who may or may not be a fallen angel—and the light time keeper, Chronos (or Ron for short), a guardian angel (who she forces to guard someone else) and enlisting the human help of her ex-prom date Josh (who she didn't realize she had a crush on), she has to attempt to save her soul.
All in a day's work for a dead high-schooler… right?
This was the second time I've read Once Dead, Twice Shy. I still can't figure out what the title means. Whatever it means, it was a pretty exciting book. There wasn't a second of "down-time." Madison was always up to something, learning something, running to—or from—something, or saving someone. Every chapter had little pieces of the puzzle, and the way it all fit together at the end, was priceless, hilarious, and promising.
I will say that I don't like where the story picks up. I think Harrison should have actually included the beginning of the story, where she gets killed. I read it before I read this book and I would have been rather lost without it. It was a short story included in Prom Nights from Hell. I don't care if this is technically a "book 1" in the series. It should have been book 2, or at least had the beginning of the story included in it.
I really liked Madison. I liked her character (though not some of her choices—but hey, if I was a dead seventeen year old trying to keep her dad from knowing that she could bend time, I probably would have made those same choices) and I liked her interior monologue. She was serious enough to be nerve-wracking and exciting, but sarcastic enough to give everything a touch of comic relief. I really didn't like Josh in the short prequel to this book, but as his character began to be more clear, I really started to like him. I hope things turn out well between him and Madison. I would have liked a little more romantic tension between them, but what was there was clean and innocent—a little too innocent for Madison Avery.
I don't particularly like Kim Harrison's writing style. It's very casual, it has those dreaded fragments, and it's nothing out of the ordinary. However, her way of describing both physical images and emotional feelings was very good, and I could see everything, hear everything, and feel everything her characters were experiencing. As I mentioned above, I liked the comic relief. I also liked her lack of language through the story. Madison had her own set of "words" and phrases that she used that weren't offensive in any way, and it made the story much more enjoyable. However, the only word I can think of to describe her writing is mediocre, and that and the lack of tension between Madison and Josh are the only reasons I don't give this book five stars.
Content: clean of language, violence, and sexuality of any kind. Thank you Harrison, for writing clean YA fiction!
Recommendation: Ages 12+ to lovers of sci-fi, fantasy, and general YA fiction.
This review is copyright Haley Mathiot and Night Owl Reviews.
But the dark timekeeper who killed her isn't happy, because she's got his amulet, and she's not all the way dead (just sort of dead). Teaming up with Barnabas—who may or may not be a fallen angel—and the light time keeper, Chronos (or Ron for short), a guardian angel (who she forces to guard someone else) and enlisting the human help of her ex-prom date Josh (who she didn't realize she had a crush on), she has to attempt to save her soul.
All in a day's work for a dead high-schooler… right?
This was the second time I've read Once Dead, Twice Shy. I still can't figure out what the title means. Whatever it means, it was a pretty exciting book. There wasn't a second of "down-time." Madison was always up to something, learning something, running to—or from—something, or saving someone. Every chapter had little pieces of the puzzle, and the way it all fit together at the end, was priceless, hilarious, and promising.
I will say that I don't like where the story picks up. I think Harrison should have actually included the beginning of the story, where she gets killed. I read it before I read this book and I would have been rather lost without it. It was a short story included in Prom Nights from Hell. I don't care if this is technically a "book 1" in the series. It should have been book 2, or at least had the beginning of the story included in it.
I really liked Madison. I liked her character (though not some of her choices—but hey, if I was a dead seventeen year old trying to keep her dad from knowing that she could bend time, I probably would have made those same choices) and I liked her interior monologue. She was serious enough to be nerve-wracking and exciting, but sarcastic enough to give everything a touch of comic relief. I really didn't like Josh in the short prequel to this book, but as his character began to be more clear, I really started to like him. I hope things turn out well between him and Madison. I would have liked a little more romantic tension between them, but what was there was clean and innocent—a little too innocent for Madison Avery.
I don't particularly like Kim Harrison's writing style. It's very casual, it has those dreaded fragments, and it's nothing out of the ordinary. However, her way of describing both physical images and emotional feelings was very good, and I could see everything, hear everything, and feel everything her characters were experiencing. As I mentioned above, I liked the comic relief. I also liked her lack of language through the story. Madison had her own set of "words" and phrases that she used that weren't offensive in any way, and it made the story much more enjoyable. However, the only word I can think of to describe her writing is mediocre, and that and the lack of tension between Madison and Josh are the only reasons I don't give this book five stars.
Content: clean of language, violence, and sexuality of any kind. Thank you Harrison, for writing clean YA fiction!
Recommendation: Ages 12+ to lovers of sci-fi, fantasy, and general YA fiction.
This review is copyright Haley Mathiot and Night Owl Reviews.
Lee (2222 KP) rated Long Shot (2019) in Movies
May 9, 2019
I'm always wary heading into comedies, and the majority of my reviews for the genre usually open with some intro along those lines. On the whole I'm usually disappointed with what I see, particularly as the trailers tend to show literally every single laugh out loud moment from the film, leaving very little else to enjoy. Mrs B joined me for this particular cinema trip, and we have a bit of a track record recently for picking movies to go and see together which then turn out to be a disappointment, so I was doubly worried. Coincidentally, as we pulled into the cinema car park, an ad for Long Shot played on the radio. It's outrageously funny! Absolutely hilarious! The funniest movie in years! Etc etc... All the usual claims, and mighty big words to live up to.
Seth Rogen is Fred Vlarsky, a scruffy investigative journalist who we first meet while working undercover at a white supremacist meeting. The meeting naturally doesn't go well, especially as Fred is a jew, and things only go from bad to worse when Fred finds himself out of work the next day. Meanwhile, we're introduced to Charlotte Field (Charlize Theron), Secretary of State with plans to run for president in the next election. She leads a very hectic life, barely getting chance for any downtime in-between working on improving her popularity score, constant phone call interviews and trying to deal with her bumbling, clueless boss, the president (played by Bob Odenkirk).
Fred's best friend Lance attempts to cheer him up by taking him to a swanky party where Boyz II Men are performing, and it's during this party that Fred and Charlotte both notice each other from across the room. Fred recounts to Lance an embarrassing story from when he was 13 and a 16 year old Charlotte babysat for him one evening. When the two meet up again at the party soon after, they immediately hit it off.
Charlotte is on the lookout for a writer to help write her speeches and hopefully boost her popularity score, so she decides to hire Fred on the basis that he's likely to know her a lot better than anyone else and therefore likely to write better material for her. Fred immediately joins the team, travelling the world at Charlotte's side and getting to know more about her in order to come up with great speeches.
Being a rom-com, it's not really a spoiler to say that our two main characters eventually get together romantically. That being said, I felt the trailer for Long Shot pretty much gave away the majority of key plot points, as seems to be the norm these days, and I was left with very little that actually felt like a surprise when I saw it. Luckily, the final twenty minutes or so contain plenty of unseen material and themes, which despite becoming slightly absurd, actually contain some of the funniest and most charming moments of the movie.
How much hilarity you find in Long Shot is really going to depend on how much you like Seth Rogen and his particular style of comedy. If an overdose of f-bombs, dick jokes and drug related humour are your thing, you'll be fine. To be honest, I'm not usually a big fan of his, although I do like a few of his movies. But thankfully, in this he wasn't too overbearing, allowing Charlize Theron to shine through with her own fair share of funny lines and moments. Their characters, and most importantly their chemistry together, is totally believable, and makes the movie that much more enjoyable. Supporting cast consist of Andy Serkis as a creepy Rupert Murdoch/Donald Trump hybrid, but this is primarily all about the unlikely relationship between Fred and Charlotte, and for the most part it works extremely well.
I'm a big fan of the TV show Madam Secretary, which also features a strong lead performance from Téa Leoni as Secretary of State. Her character is also currently considering running for president, in a show with some tight, well written and at times witty, political story-lines. I couldn't really help but compare Long Shot to that, and as a movie I felt it struggled at times to balance the tone and keep the pace, feeling way too long as well.
Seth Rogen is Fred Vlarsky, a scruffy investigative journalist who we first meet while working undercover at a white supremacist meeting. The meeting naturally doesn't go well, especially as Fred is a jew, and things only go from bad to worse when Fred finds himself out of work the next day. Meanwhile, we're introduced to Charlotte Field (Charlize Theron), Secretary of State with plans to run for president in the next election. She leads a very hectic life, barely getting chance for any downtime in-between working on improving her popularity score, constant phone call interviews and trying to deal with her bumbling, clueless boss, the president (played by Bob Odenkirk).
Fred's best friend Lance attempts to cheer him up by taking him to a swanky party where Boyz II Men are performing, and it's during this party that Fred and Charlotte both notice each other from across the room. Fred recounts to Lance an embarrassing story from when he was 13 and a 16 year old Charlotte babysat for him one evening. When the two meet up again at the party soon after, they immediately hit it off.
Charlotte is on the lookout for a writer to help write her speeches and hopefully boost her popularity score, so she decides to hire Fred on the basis that he's likely to know her a lot better than anyone else and therefore likely to write better material for her. Fred immediately joins the team, travelling the world at Charlotte's side and getting to know more about her in order to come up with great speeches.
Being a rom-com, it's not really a spoiler to say that our two main characters eventually get together romantically. That being said, I felt the trailer for Long Shot pretty much gave away the majority of key plot points, as seems to be the norm these days, and I was left with very little that actually felt like a surprise when I saw it. Luckily, the final twenty minutes or so contain plenty of unseen material and themes, which despite becoming slightly absurd, actually contain some of the funniest and most charming moments of the movie.
How much hilarity you find in Long Shot is really going to depend on how much you like Seth Rogen and his particular style of comedy. If an overdose of f-bombs, dick jokes and drug related humour are your thing, you'll be fine. To be honest, I'm not usually a big fan of his, although I do like a few of his movies. But thankfully, in this he wasn't too overbearing, allowing Charlize Theron to shine through with her own fair share of funny lines and moments. Their characters, and most importantly their chemistry together, is totally believable, and makes the movie that much more enjoyable. Supporting cast consist of Andy Serkis as a creepy Rupert Murdoch/Donald Trump hybrid, but this is primarily all about the unlikely relationship between Fred and Charlotte, and for the most part it works extremely well.
I'm a big fan of the TV show Madam Secretary, which also features a strong lead performance from Téa Leoni as Secretary of State. Her character is also currently considering running for president, in a show with some tight, well written and at times witty, political story-lines. I couldn't really help but compare Long Shot to that, and as a movie I felt it struggled at times to balance the tone and keep the pace, feeling way too long as well.
Beckie Shelton (40 KP) rated Beast: The Beginning (Hate Story, #1) in Books
Feb 8, 2018
Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
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🌟🌟🌟🌟Stars
I loved Beast: The Beginning (Hate Story, #1). From the minute I started reading This I was lost in another world, one of blood, hate and organised crime.
Where being bad was good and innocence is soon corrupted and lost forever.
So beast is about Frankie Notte and Anteros Drago a boss in the Pavoni family.
Frankie trades herself for her Papas life accompanying the beast to a fate unknown.
The Beast himself has every intention of selling Frankie to the Institute to be sold to the highest bidder.
But sometimes the best-laid plans can go awry, as is what happens here, leaving the beast with a slave that he's not quite sure what to do with.
Now, this was described as a dark read, and there is plenty of evidence of that darkness scattered throughout Beast, but behind closed doors, the Beast becomes increasingly fascinated with his new toy and there is at times a surprising gentleness to some of his interactions with Frankie.
He continues to try and keep up a front in front of his wolves as they start to lose confidence in their leader, questioning his actions towards an inconsequential Slave.
There is also a lot of secrets and intrigue running beneath the surface and rumours running amok concerning the Pavoni Princess, even Beast himself starts to listen and doubt what is real.
So dissecting our two main honchos here.
Anteros Drago/ Beast first, he's Ruthless, cruel, seemingly without mercy, he wants to break Frankie reducing her to nothing, he even initially tells her she is nothing.
His Black-heart is dark to the core, he lives for the job having spent years planning, with his wolves there rise to the top of the family from mere foot soldiers.
He appears to have no weaknesses. that is until Frankie slowly starts to thaw his ice-cold heart, not that you would major notice this as he's still a complete bastard to Frankie subjecting her to awful situations to teach her her place and generally playing mind games, belittling her at every turn while fighting his growing affections and deceiving himself regarding his feelings towards her.
Now Frankie herself, she is multi-faceted in regards to what she portrays outwardly.
Shes, not a worldly girl having been ill much of her teenage years, but From day one despite her apprehension, Frankie refuses to back down, sometimes even stupidly goading Beast, She grows so much in character throughout this story, seeming to get stronger with each new trial experienced, she also tries daily to fight her strange attraction towards the Beast that she swears she hates.
When we get the final satisfying reveal, setting us up for book two all players have been moved around into their new places almost like a chess match.
Or maybe even a new blood war.
You can see straight off that the next instalment is going to be very different in regards to changing tides.
So Really well done to the author I can't wait to get stuck into Beauty: The End (Hate Story, #2).
This may have been my first Mary Catherine Gebhard book, but definitely won't be my last.
It's been quite a while since I indulged myself in a good Dark romance and though this was not as dark as some I have read I found this a great addition to its genre.
So Give this a go if you like a good anti-hero romance, happy reading.
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Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/ (less)
https://www.beckiebookworm.com/
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🌟🌟🌟🌟Stars
I loved Beast: The Beginning (Hate Story, #1). From the minute I started reading This I was lost in another world, one of blood, hate and organised crime.
Where being bad was good and innocence is soon corrupted and lost forever.
So beast is about Frankie Notte and Anteros Drago a boss in the Pavoni family.
Frankie trades herself for her Papas life accompanying the beast to a fate unknown.
The Beast himself has every intention of selling Frankie to the Institute to be sold to the highest bidder.
But sometimes the best-laid plans can go awry, as is what happens here, leaving the beast with a slave that he's not quite sure what to do with.
Now, this was described as a dark read, and there is plenty of evidence of that darkness scattered throughout Beast, but behind closed doors, the Beast becomes increasingly fascinated with his new toy and there is at times a surprising gentleness to some of his interactions with Frankie.
He continues to try and keep up a front in front of his wolves as they start to lose confidence in their leader, questioning his actions towards an inconsequential Slave.
There is also a lot of secrets and intrigue running beneath the surface and rumours running amok concerning the Pavoni Princess, even Beast himself starts to listen and doubt what is real.
So dissecting our two main honchos here.
Anteros Drago/ Beast first, he's Ruthless, cruel, seemingly without mercy, he wants to break Frankie reducing her to nothing, he even initially tells her she is nothing.
His Black-heart is dark to the core, he lives for the job having spent years planning, with his wolves there rise to the top of the family from mere foot soldiers.
He appears to have no weaknesses. that is until Frankie slowly starts to thaw his ice-cold heart, not that you would major notice this as he's still a complete bastard to Frankie subjecting her to awful situations to teach her her place and generally playing mind games, belittling her at every turn while fighting his growing affections and deceiving himself regarding his feelings towards her.
Now Frankie herself, she is multi-faceted in regards to what she portrays outwardly.
Shes, not a worldly girl having been ill much of her teenage years, but From day one despite her apprehension, Frankie refuses to back down, sometimes even stupidly goading Beast, She grows so much in character throughout this story, seeming to get stronger with each new trial experienced, she also tries daily to fight her strange attraction towards the Beast that she swears she hates.
When we get the final satisfying reveal, setting us up for book two all players have been moved around into their new places almost like a chess match.
Or maybe even a new blood war.
You can see straight off that the next instalment is going to be very different in regards to changing tides.
So Really well done to the author I can't wait to get stuck into Beauty: The End (Hate Story, #2).
This may have been my first Mary Catherine Gebhard book, but definitely won't be my last.
It's been quite a while since I indulged myself in a good Dark romance and though this was not as dark as some I have read I found this a great addition to its genre.
So Give this a go if you like a good anti-hero romance, happy reading.
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Reviewed By Beckie Bookworm
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