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Lindsay (1706 KP) rated The Forgiving Jar in Books
Jan 31, 2019
The Forgiving Jar is about Sarah. You learn a bit about Sarah in the first book called The Hope Jar? Wanda does a really well job writing Sarah story along with Michelle's. If you are not a fan of Wanda Brunstetter you will be once you have read on of her books.
The first book is about Michelle Taylor story. This book is about the English granddaughter's story of the Lapps. How would you feel if someone impersonated you? Well this is how it start in the second book with Sarah coming to stay with her grandparents. When you see the woman you pretended to be you and why she is allowed to stay there? Sarah feel really upset about it.
Will Sarah learn to forgive? We know she finds the Prayer Jars or at least one? She doe not know who wrote them or who they belong to? Michelle happens to find Sarah with one of the Jars and tell her she knew about The Prayer Jars and that there is one in the barn as well.
We also get Brad who come back to visit during his Christmas break. He does not know the real Sarah. He thinks the one he meet was Sarah but doe not know it Michelle Taylor. Michelle has to tell him the truth and ask for forgiveness?
Wanda seem continue Michelle's story along with adding Sarah's story. Though this is mostly Sarah story we get to see Michelle live blossom and she how they interact. Will Michelle get to see her brothers Jack and Ernie Taylor? Will Sarah learn to forgive? Will Michelle and Ezekiel get married?
The first book is about Michelle Taylor story. This book is about the English granddaughter's story of the Lapps. How would you feel if someone impersonated you? Well this is how it start in the second book with Sarah coming to stay with her grandparents. When you see the woman you pretended to be you and why she is allowed to stay there? Sarah feel really upset about it.
Will Sarah learn to forgive? We know she finds the Prayer Jars or at least one? She doe not know who wrote them or who they belong to? Michelle happens to find Sarah with one of the Jars and tell her she knew about The Prayer Jars and that there is one in the barn as well.
We also get Brad who come back to visit during his Christmas break. He does not know the real Sarah. He thinks the one he meet was Sarah but doe not know it Michelle Taylor. Michelle has to tell him the truth and ask for forgiveness?
Wanda seem continue Michelle's story along with adding Sarah's story. Though this is mostly Sarah story we get to see Michelle live blossom and she how they interact. Will Michelle get to see her brothers Jack and Ernie Taylor? Will Sarah learn to forgive? Will Michelle and Ezekiel get married?
KyleQ (267 KP) rated Halloween II (2009) in Movies
Jul 20, 2020
Honestly, I thought this was best entry in the series since Carpenter's Original.
Halloween II opens up with a hospital sequence referencing the original Halloween II, and honestly, this hospital scene was not only the most intense and frightening sequence from a Halloween movie, but it was also one of the most frightening and intense sequences I've seen period.
After that Halloween II delves into wholly original territory.
Scout Taylor Compton's Laurie Strode is suffering from PTSD, she lives with her bestie Annie Brackett (Danielle Harris) and Annie's dad, Lee Brackett (Brad Douriff). The sight of Annie causes Laurie to remember that which pains her, straining their relationship. Laurie feels like she is losing her sanity, she's even dreamt of her mother (Sheri Moon Zombie) with a white horse, calling for her.
Meanwhile, Dr. Sam Loomis (Malcolm Mcdowell), truly believing Michael (Tyler Mane) to be dead, is getting rich off of his book which tells the story of the first film. Loomis is now wholly enveloped with this world.
But Michael is returning to Haddonfield once more.
I can see why longtime fans would have trouble getting into this. Michael's look has been changed for the first time, in parts he doesn't wear his mask, he dresses like a hobo, he has long hair and a great big bushy beard.
The movie also obviously takes characters into strange and different directions than previous installments.
But I don't think that's reason enough to hate it and bash it.
Halloween II is one the most brutal, intense, and disturbing horror movies I've seen in a while, and frankly, that's what I want in a horror movie. Horror should try to frighten and disturb its viewers.
It's a very original entry, but well worth it if you have an open mind.
I minus one star because I don't understand the white horse, it feels pointless, otherwise, I thought it was great!
After that Halloween II delves into wholly original territory.
Scout Taylor Compton's Laurie Strode is suffering from PTSD, she lives with her bestie Annie Brackett (Danielle Harris) and Annie's dad, Lee Brackett (Brad Douriff). The sight of Annie causes Laurie to remember that which pains her, straining their relationship. Laurie feels like she is losing her sanity, she's even dreamt of her mother (Sheri Moon Zombie) with a white horse, calling for her.
Meanwhile, Dr. Sam Loomis (Malcolm Mcdowell), truly believing Michael (Tyler Mane) to be dead, is getting rich off of his book which tells the story of the first film. Loomis is now wholly enveloped with this world.
But Michael is returning to Haddonfield once more.
I can see why longtime fans would have trouble getting into this. Michael's look has been changed for the first time, in parts he doesn't wear his mask, he dresses like a hobo, he has long hair and a great big bushy beard.
The movie also obviously takes characters into strange and different directions than previous installments.
But I don't think that's reason enough to hate it and bash it.
Halloween II is one the most brutal, intense, and disturbing horror movies I've seen in a while, and frankly, that's what I want in a horror movie. Horror should try to frighten and disturb its viewers.
It's a very original entry, but well worth it if you have an open mind.
I minus one star because I don't understand the white horse, it feels pointless, otherwise, I thought it was great!
Gareth von Kallenbach (971 KP) rated Bullet Train (2022) in Movies
Aug 6, 2022
I first got an extended look at âBullet Trainâ during Cinemacon when a reel of the film was shown during the Sony showcase to an enthusiastic crowd. The footage mixed action and humor with quirky and dysfunctional characters and became a must-see film for me based on the teased footage.
The film is based on a book by Kotaro Isaka and stars Brad Pitt as an operative named Ladybug. He is called at the last minute as a replacement and given instructions to board a Bullet Train and snatch a case in one of the passenger areas before exiting at the next station.
Having gone through a recent crisis, Ladybug is awash in various philosophical and new age ideas as he attempts to find his inner peace and a new path in life, as such he does not take a gun with him when he boards despite being instructed to do so by his handler.
The train is filled with various killers and dangerous people who are there to accomplish various goals and most of whom fail frequently in violent and hysterical manners which further complicate their agendas as well as that of the others and often puts them into conflict with one another as the story unfolds.
It would be difficult to go into further detail on the various characters without spoiling some of the reveals and twists along the way but suffice it to say that Aaron Taylor-Johnson and Brian Tyree Henry as Tangerine and Lemon are great and their banter, as well as capers, is a frequent highlight.
There are some surprise cameos in the film which add to the fun and Joey King is as great as perhaps one of the more complicated characters in the film. Pitt is clearly the star but the film allows him as well as his supporting cast plenty of moments to shine and the humor flies fast and frequent as does the action which creates a very engaging and stylistic hybrid of western and Asian cinema.
The film does drag slightly late before leading to the finale but thanks to the great cast and action it comes through in the end.
Director David Leitch has worked on films such as âDeadpool 2â, âAtomic Blondeâ, and âJohn Wick: and you can see that he has a knack for directing action and comedy as this is a very fun and engaging film that has some great action and humor and one that you will not want to miss.
4 stars out of 5.
The film is based on a book by Kotaro Isaka and stars Brad Pitt as an operative named Ladybug. He is called at the last minute as a replacement and given instructions to board a Bullet Train and snatch a case in one of the passenger areas before exiting at the next station.
Having gone through a recent crisis, Ladybug is awash in various philosophical and new age ideas as he attempts to find his inner peace and a new path in life, as such he does not take a gun with him when he boards despite being instructed to do so by his handler.
The train is filled with various killers and dangerous people who are there to accomplish various goals and most of whom fail frequently in violent and hysterical manners which further complicate their agendas as well as that of the others and often puts them into conflict with one another as the story unfolds.
It would be difficult to go into further detail on the various characters without spoiling some of the reveals and twists along the way but suffice it to say that Aaron Taylor-Johnson and Brian Tyree Henry as Tangerine and Lemon are great and their banter, as well as capers, is a frequent highlight.
There are some surprise cameos in the film which add to the fun and Joey King is as great as perhaps one of the more complicated characters in the film. Pitt is clearly the star but the film allows him as well as his supporting cast plenty of moments to shine and the humor flies fast and frequent as does the action which creates a very engaging and stylistic hybrid of western and Asian cinema.
The film does drag slightly late before leading to the finale but thanks to the great cast and action it comes through in the end.
Director David Leitch has worked on films such as âDeadpool 2â, âAtomic Blondeâ, and âJohn Wick: and you can see that he has a knack for directing action and comedy as this is a very fun and engaging film that has some great action and humor and one that you will not want to miss.
4 stars out of 5.
BankofMarquis (1832 KP) rated Bullet Train (2022) in Movies
Aug 10, 2022
Ultra-Violent...and a TON of Fun!
Early conversations surrounding the new Brad Pitt action flick BULLET TRAIN label this film as âUltra-Violentâ.
They say this as if it is a bad thing.
Directed by David Leitch (DEADPOOL 2) with a screenplay by Zak Olkewicz (FEAR STREET: PART TWO) and based on the book Kotaro Isaka, BULLET TRAIN is (no arguing here) an Ultra-Violent action flick in every sense of the term, set on the famed titular Japanese Bullet Train and follows an operative by the codename Ladybug (played by Pitt who you know from such gentle fair as FIGHT CLUB and INGLORIOUS BASTERDS) whoâs easy âsnatch and grabâ job is nothing easy thanks to the appearance of various other nefarious individuals who also are looking for that case.
Following in the footsteps of such similarily-violent flicks as NO COUNTRY FOR OLD MEN, TRAINING DAY, FARGO and just about anything Directed by Quentin Tarantino, Director Leitch uses the violence, mayhem and bloodshed to ADD to the story (which all of the aforementioned films also did with great affect) and not âjustâ to be violent. And thatâs an important distinction here. If the ultra-violence is fun and important to moving the story and plot along (and not just there to be gratuitous), then the movie can succeed quite well - and this one does.
What also makes these types of movies succeed is the plotting - which is sharp by writer Okewicz - and the twists and turns that you do not see coming - but make sense along the way (and will reward the viewer upon repeated viewing) and Bullet Train does this as well. It is a smartly made film that is crisply directed with some terrific action sequences (though, if Iâm being fair, at times the CGI is not as good as it could/should be), but it is entertaining as all get out.
Leading us through this mayhem is the always charming and charismatic Pitt who parlays the âgoofballâ personae of a person in just a little over his head but comes out on top due to luck (or skill) - you be the judge. Pitt is the perfect performer for the audience to become invested in as he is the one that you need to be rooting for throughout - and you do from just about the beginning.
Leitch, wisely then, surrounded Pitt with some terrific character actors in this venture. From Aaron Taylor-Johnson (KICK-ASS) to Brian Tyree Henry (GET OUT) to Joey King (THE CONJURING) to the always terrific Hiroyuki Sanada (MORTAL COMBAT) and a host of others who do extended cameos - and to name them would be to spoil the fun of them. They all understand what type of film they are in and all seem to be having a good time going along with it all.
And why not? Bullet Train is a delight in the cinema - for those of you who like action and violence that is pretty spectacular and over the top. It is a heckuva lotta fun.
Letter Grade: A-
8 Stars (Out of 10) and you can take that to the Bank(ofMarquis)
They say this as if it is a bad thing.
Directed by David Leitch (DEADPOOL 2) with a screenplay by Zak Olkewicz (FEAR STREET: PART TWO) and based on the book Kotaro Isaka, BULLET TRAIN is (no arguing here) an Ultra-Violent action flick in every sense of the term, set on the famed titular Japanese Bullet Train and follows an operative by the codename Ladybug (played by Pitt who you know from such gentle fair as FIGHT CLUB and INGLORIOUS BASTERDS) whoâs easy âsnatch and grabâ job is nothing easy thanks to the appearance of various other nefarious individuals who also are looking for that case.
Following in the footsteps of such similarily-violent flicks as NO COUNTRY FOR OLD MEN, TRAINING DAY, FARGO and just about anything Directed by Quentin Tarantino, Director Leitch uses the violence, mayhem and bloodshed to ADD to the story (which all of the aforementioned films also did with great affect) and not âjustâ to be violent. And thatâs an important distinction here. If the ultra-violence is fun and important to moving the story and plot along (and not just there to be gratuitous), then the movie can succeed quite well - and this one does.
What also makes these types of movies succeed is the plotting - which is sharp by writer Okewicz - and the twists and turns that you do not see coming - but make sense along the way (and will reward the viewer upon repeated viewing) and Bullet Train does this as well. It is a smartly made film that is crisply directed with some terrific action sequences (though, if Iâm being fair, at times the CGI is not as good as it could/should be), but it is entertaining as all get out.
Leading us through this mayhem is the always charming and charismatic Pitt who parlays the âgoofballâ personae of a person in just a little over his head but comes out on top due to luck (or skill) - you be the judge. Pitt is the perfect performer for the audience to become invested in as he is the one that you need to be rooting for throughout - and you do from just about the beginning.
Leitch, wisely then, surrounded Pitt with some terrific character actors in this venture. From Aaron Taylor-Johnson (KICK-ASS) to Brian Tyree Henry (GET OUT) to Joey King (THE CONJURING) to the always terrific Hiroyuki Sanada (MORTAL COMBAT) and a host of others who do extended cameos - and to name them would be to spoil the fun of them. They all understand what type of film they are in and all seem to be having a good time going along with it all.
And why not? Bullet Train is a delight in the cinema - for those of you who like action and violence that is pretty spectacular and over the top. It is a heckuva lotta fun.
Letter Grade: A-
8 Stars (Out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated The Shape of Water (2017) in Movies
Sep 29, 2021
A mystical tale of fish and fingers.
With perfect timing after scooping 13 Oscar nominations, âThe Shape of Waterâ arrives for preview screenings in the UK. Is it worth all the hype?
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewishamâs own Sally Hawkins (âPaddingtonâ, âGodzillaâ) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, âHidden Figuresâ) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, âMidnight Specialâ, âNocturnal Animalsâ) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (âMiss Sloaneâ, âSteve Jobsâ) in a performance that wasnât recognised by the Academy, but for me really held the filmâs story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kidâs film, containing full frontal nudity, sex and some considerable violence, some of it âhands-over-the-eyesâ worthy. Most of this violence comes courtesy of Shannonâs character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after âNocturnal Animalsâ, it is a bit of a surprise to see that he is still alive and well!)
Itâs worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisaâs plans. Giles is a richly fashioned character â also the filmâs narrator â who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. âSometimes I think I was born too early or too late for my lifeâ he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and itâs a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a âno brainerâ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. Itâs a little tricky since I havenât seen âI Tonyaâ or âLadybirdâ yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for â3 Billboards Outside Ebbing, Missouriâ, but the Oscar voters are bound to love âThe Shape of Waterâ. For like âLa La Landâ last year, the film is (rather surprisingly for me) another love letter to Hollywoodâs golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here âvoiceâ through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldnât want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket sheâs standing on, but itâs Stricklandâs butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (âPacific Rimâ, âCrimson Peakâ) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, âDivergentâ) and is nominated for both. I actually found the story to be rather predictable, as regards Elisaâs story arc, but that in no way reduced my enjoyment of the film. For the âoriginal screenplayâ is nothing if not âoriginalââŚ. itâs witty, intelligent and shocking at different turns.
The violence and sex wonât be for everyone⌠but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate⌠hopefully in a dry cinema!
Well, in a word, yes.
Not since Spielberg entranced the world in 1982 with a love story between an isolated and lonely child and an alien, stranded a million light-years from home, have we seen a magical fairy-tale so well told.
Cleaning up at the (box) office. Sally Hawkins and Doug Jones as the creature.
Here Lewishamâs own Sally Hawkins (âPaddingtonâ, âGodzillaâ) plays Elisa Esposito, an attractive but mousy mute living above a cinema and next door to her best friend: a struggling artist called Giles (Richard Jenkins). Sexually-frustrated, Elisa works out those tensions in the bath every morning before heading off to work as a cleaner at a government research institute. Together with partner Zelda Fuller (Octavia Spencer, âHidden Figuresâ) she is asked to clean a highly secured room where a mysterious aquatic creature is being studied by the cruel and militaristic Strickland (Michael Shannon, âMidnight Specialâ, âNocturnal Animalsâ) and the more compassionate scientist Hoffstetler. (The latter is played by Michael Stuhlbarg (âMiss Sloaneâ, âSteve Jobsâ) in a performance that wasnât recognised by the Academy, but for me really held the filmâs story together). Elisa forms a relationship with the creature, and as the scientific investigations turn darker, she becomes determined to help him.
When you think about it, the similarities in the screenplay with E.T. are quite striking. But this is most definitely not a kidâs film, containing full frontal nudity, sex and some considerable violence, some of it âhands-over-the-eyesâ worthy. Most of this violence comes courtesy of Shannonâs character, who is truly monstrous. He is uncontrollably vicious, single-minded and amoral: a hand over the mouth to silence his wife during vigourous sex cleverly belies where his true lust currently lies. (Shannon is just so convincing in all of his roles that, after âNocturnal Animalsâ, it is a bit of a surprise to see that he is still alive and well!)
Itâs worth pointing out for balance at this point that my wife thought this portrayal was over-egged for its villany, and she rated the film less highly than I did because of it.
Michael Shannon as evil incarnate.
So its no Oscar nomination this time for Shannon as a supporting actor. But that honour goes to Richard Jenkins, who is spectacularly good as the movie-musical-loving and pie-munching neighbour who is drawn unwillingly into Elisaâs plans. Giles is a richly fashioned character â also the filmâs narrator â who struggles to fit in with the cruel and rascist 1962 world that he finds himself in. âSometimes I think I was born too early or too late for my lifeâ he bemoans to the creature whose loneliness he relates to. A scene in a cafe where he fastidiously wipes all traces of pie-filling from his tongue is masterfully done.
Richard Hawkins and Sally Hawkins, hatching a plan.
Octavia Spencer is also Oscar nominated for Best Supporting Actress, and itâs a magical partnership she shares with Hawkins, with each bouncing off each other wonderfully.
This leads to a âno brainerâ Oscar nomination for Sally Hawkins who delivers a star turn. She has to go through such a huge range of emotions in this film, and she genuinely makes you really care about the outcome like few films this year. Itâs a little tricky since I havenât seen âI Tonyaâ or âLadybirdâ yet, but I would have thought that Ms Hawkins is going to possibly give Frances McDormand the closest run for her money on March 4th. My money would still be on McDormand for â3 Billboards Outside Ebbing, Missouriâ, but the Oscar voters are bound to love âThe Shape of Waterâ. For like âLa La Landâ last year, the film is (rather surprisingly for me) another love letter to Hollywoodâs golden years, with Elisa and Giles living out their lives with classic movie music and dance numbers: a medium that Elisa only ever truly finds here âvoiceâ through.
Eliza and Zelda about to give two fingers to the establishment.
In the technical categories the Oscar nominations were for Cinematography (Dan Laustsen); Film Editing (Sidney Wolinsky); Sound Editing (Nathan Robitaille and Nelson Ferreira); Sound Mixing (Glen Gauthier, Christian Cooke and Brad Zoern); Production Design (Paul D. Austerberry, Jeffrey A. Melvin and Shane Vieau); Original Score (Alexandre Desplat) and Costume Design (Luis Sequeira). And you really wouldnât want to bet against any of these not to win, for the film is a technical delight. Right from the dreamlike opening titles (arguably, they missed a deserved nomination here for Visual Effects), the film is gorgeous to look at, with such brilliant detail in the production design that there is interesting stuff to look at in every frame. And the film editing is extraordinary: Elisa wobbles on the bucket sheâs standing on, but itâs Stricklandâs butt, perched on a table, that slips off. This is a film that deserves multiple repeat viewings.
The monster feeding the monster. Nick Searcy as General Hoyt with Strickland (Michael Shannon).
An the helm is the multi-talented Guillermo del Toro (âPacific Rimâ, âCrimson Peakâ) who both directed and co-wrote the exceptionally smart screenplay (with Vanessa Taylor, âDivergentâ) and is nominated for both. I actually found the story to be rather predictable, as regards Elisaâs story arc, but that in no way reduced my enjoyment of the film. For the âoriginal screenplayâ is nothing if not âoriginalââŚ. itâs witty, intelligent and shocking at different turns.
The violence and sex wonât be for everyone⌠but this is a deep and rich movie experience that everyone who loves the movies should at least appreciate⌠hopefully in a dry cinema!