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Bob Mann (459 KP) rated Colossal (2016) in Movies
Sep 29, 2021
A Marvel-ous Indie Movie
Well!! I’ve been really surprised (in a good way) by two films this year, and both have involved monsters (the first being “A Monster Calls” back in January).
It’s really difficult to categorise “Colossal” – imdb classes it as a “Comedy, Action, Drama”. Comedy? Yes, but it’s a very dark comedy indeed. Action? Hmm, not really… if you go to this expecting ‘Godzilla 2’ or some polished Marvel-style film (not that I was!) you will be sorely disappointed. Drama? This is probably the nearest match, since at its heart this is a clever study on the people and relationships at the heart of a bizarre Sci-Fi event.
Anne Hathaway (“Les Miserables”) stars as Gloria, a borderline alcoholic-waster sponging off the good-natured but controlling Tim (Dan Stevens, “Beauty and the Beast”) in his New York apartment. When Tim’s patience finally runs out, Gloria returns to her hometown to an empty house and the attentions of a former school friend, bar owner Oscar (Jason Sudeikis), who clearly holds an unhealthy fascination with her. Borrowing an idea from “A Monster Calls”, at a specific time in the US morning a huge monster appears from thin air in Seoul, South Korea, killing people and smashing buildings in a seemingly uncoordinated and random way. Bizarrely, this only happens when Gloria is standing at a particular spot in a particular kid’s playground. Could the two events possibly be related?
I always like to categorize films in my head as being “like” others, but this one’s really difficult to pin down. It borrows its main premise from a famous scene in “E.T.” (indeed one also involving alcohol) but the film’s fantasy elements and dark undertones have more similarities in style to “Jumanji”. Then again, there are elements of the Kaufman about it in that it is as weird in some places as “Being John Malkovich”.
The film stays on ‘Whimsical Street’ for the first half of the film, but then takes a sharp left turn into ‘Dark Avenue’ (and for “dark” read “extremely black and sinister”). It then becomes a far more uncomfortable watch for the viewer. The metaphor of the monster for Gloria’s growing addiction is clear, but emerging themes of control, jealousy, violent bullying and small-town social entrapment also emerge.
Here the acting talents of Hathaway and Sudeikis really come to the fore: heavyweight Hollywood talent adding some significant ‘oomph’ to what is a fairly modest indie project. Hathaway is in kooky mode here, gurning to great comic effect, and this adds warmth to a not particularly likeable character. And Sudeikis (more commonly seen in lighter and frothier comedies like “We’re the Millers” and “Horrible Bosses”) is a surprise in the role delivering some real acting grit.
The writer and director is Spaniard Nacho Vigalondo. No, me neither. But he seems to have come from nowhere to deliver this high profile cinema release, and it would not be a surprise for me to see this nominated as an original screenplay come the awards season. His quirky style is refreshing. (Hell, delivering ANY novel new summer movie that is not part of a franchise or TV re-boot is refreshing!)
The film’s not perfect, and its disjointed style can be unsettling. While the lead characters are quite well defined, others are less so. Joel in particular, played by Austin Stowell (“Whiplash“, “Bridge of Spies“), is such an irritating doormat of a character that you just want to thump him yelling “Do Something you wimp” to his face!
I am normally the first to pick scientific holes in a story, but here the story is so “out there” that the details become irrelevant, and – like “Guardians of the Galaxy Vol 2” – the film revels in its absurdity. (There is however a jumbo jet sized hole in the plot if you think about it!) But some of the moments of revelation (particularly one set in a wood) are brilliantly done and you are never quite sure where the film is going to go next. I was concerned that the ending would not live up to the promise of the film, but I was not disappointed.
Like “A Monster Calls” the film will probably suffer at the box office by its marketing confusing the audience. People will assume it’s possibly a “monster movie” or maybe a piece of comedy fluff (particularly with Sudeikis in the cast), but in reality it’s neither of these. It won’t be to everyone’s tastes for sure, but in the bland desert of mainstream movie releases, here is an oasis of something interesting and novel and in my book definitely worthy of your movie dollar. Recommended.
It’s really difficult to categorise “Colossal” – imdb classes it as a “Comedy, Action, Drama”. Comedy? Yes, but it’s a very dark comedy indeed. Action? Hmm, not really… if you go to this expecting ‘Godzilla 2’ or some polished Marvel-style film (not that I was!) you will be sorely disappointed. Drama? This is probably the nearest match, since at its heart this is a clever study on the people and relationships at the heart of a bizarre Sci-Fi event.
Anne Hathaway (“Les Miserables”) stars as Gloria, a borderline alcoholic-waster sponging off the good-natured but controlling Tim (Dan Stevens, “Beauty and the Beast”) in his New York apartment. When Tim’s patience finally runs out, Gloria returns to her hometown to an empty house and the attentions of a former school friend, bar owner Oscar (Jason Sudeikis), who clearly holds an unhealthy fascination with her. Borrowing an idea from “A Monster Calls”, at a specific time in the US morning a huge monster appears from thin air in Seoul, South Korea, killing people and smashing buildings in a seemingly uncoordinated and random way. Bizarrely, this only happens when Gloria is standing at a particular spot in a particular kid’s playground. Could the two events possibly be related?
I always like to categorize films in my head as being “like” others, but this one’s really difficult to pin down. It borrows its main premise from a famous scene in “E.T.” (indeed one also involving alcohol) but the film’s fantasy elements and dark undertones have more similarities in style to “Jumanji”. Then again, there are elements of the Kaufman about it in that it is as weird in some places as “Being John Malkovich”.
The film stays on ‘Whimsical Street’ for the first half of the film, but then takes a sharp left turn into ‘Dark Avenue’ (and for “dark” read “extremely black and sinister”). It then becomes a far more uncomfortable watch for the viewer. The metaphor of the monster for Gloria’s growing addiction is clear, but emerging themes of control, jealousy, violent bullying and small-town social entrapment also emerge.
Here the acting talents of Hathaway and Sudeikis really come to the fore: heavyweight Hollywood talent adding some significant ‘oomph’ to what is a fairly modest indie project. Hathaway is in kooky mode here, gurning to great comic effect, and this adds warmth to a not particularly likeable character. And Sudeikis (more commonly seen in lighter and frothier comedies like “We’re the Millers” and “Horrible Bosses”) is a surprise in the role delivering some real acting grit.
The writer and director is Spaniard Nacho Vigalondo. No, me neither. But he seems to have come from nowhere to deliver this high profile cinema release, and it would not be a surprise for me to see this nominated as an original screenplay come the awards season. His quirky style is refreshing. (Hell, delivering ANY novel new summer movie that is not part of a franchise or TV re-boot is refreshing!)
The film’s not perfect, and its disjointed style can be unsettling. While the lead characters are quite well defined, others are less so. Joel in particular, played by Austin Stowell (“Whiplash“, “Bridge of Spies“), is such an irritating doormat of a character that you just want to thump him yelling “Do Something you wimp” to his face!
I am normally the first to pick scientific holes in a story, but here the story is so “out there” that the details become irrelevant, and – like “Guardians of the Galaxy Vol 2” – the film revels in its absurdity. (There is however a jumbo jet sized hole in the plot if you think about it!) But some of the moments of revelation (particularly one set in a wood) are brilliantly done and you are never quite sure where the film is going to go next. I was concerned that the ending would not live up to the promise of the film, but I was not disappointed.
Like “A Monster Calls” the film will probably suffer at the box office by its marketing confusing the audience. People will assume it’s possibly a “monster movie” or maybe a piece of comedy fluff (particularly with Sudeikis in the cast), but in reality it’s neither of these. It won’t be to everyone’s tastes for sure, but in the bland desert of mainstream movie releases, here is an oasis of something interesting and novel and in my book definitely worthy of your movie dollar. Recommended.
Lee (2222 KP) rated Shazam! (2019) in Movies
Apr 8, 2019 (Updated Apr 8, 2019)
Shazam is the latest DC superhero to land himself a standalone movie and continues to highlight the fact that these self contained DC offerings really do seem to be a lot better than their rushed ensemble movie output. It also shows how much better they can be when straying from the traditional dark DC gloom and deciding to inject a bit more humour and fun into it all. Aquaman recently showed just how much of a box office success that formula can be, Wonder Woman before it to a certain extent, and although Shazam does certainly have some dark themes and moments, it’s ultimately a lot more fun than either of those.
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!
Heather Cranmer (2721 KP) rated Ruby's Fire in Books
Jun 7, 2018
(This review will be available on my blog <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a> in August).
You know when you get a book, and it's much better than you thought it was going to be? Well, Ruby's Fire by Catherine Stine was definitely one of those books! I absolutely loved it, and it's definitely one of my favorite books that I've read in 2013!
Ruby is a 17 year old girl who, with her 8 year old brother Thorn, escapes from a cult which pairs young girls with much older men. Ruby and Thorn arrive at a school known as The Greening. Here she meets a whole cast of characters. When an act of bullying goes horribly wrong, Ruby and her brother Thorn are left with extreme changes that alter their DNA. When a contest in announces with a prize of a hefty cash sum, all the students are The Greening are excited! However, this competition reveals that all is not what it seems.
I do like the title, and I find it very interesting! However, I don't really get the meaning of it. Maybe I'm just being thick, but it makes no sense to me.
I think the cover does an amazing job at depicting the plot of the book. In fact, this is one of the best book covers I've ever seen that is actually relevant to the book. Whoever came up with this idea for the cover is a genius!
I enjoyed the setting of this book very much! I like the futuristic/dystopian world that Stine has created. Catherine Stine does an awesome job at making this world come alive. The world in which Ruby lives has become unbearably hot, and people must wear masks and burn suits if they don't want to burn. The author paints a vivid picture of this throughout the book. I can very much see this happening in the future.
The pacing was done really well! Not once in the book did I feel like the pacing was going too slow or too fast for my liking. I couldn't wait to find out what would happen next. If it was possible to eat books by reading them quickly because they are amazing, this would would've been gone in flash!
What an amazing plot! Besides the main plot, there were lots of sub-plots! Will Ruby figure out what is wrong with her and Thorn? Will she choose Armonk or Blane since she cares for both? Can she escape her past? That's just some of the questions answered in the book. Also, there is a fantastic plot twist that I didn't see coming!
All of the characters were written superbly! I loved Ruby and how willing she was to take care of her little brother. Ruby was a very down to Earth character who had went through a lot of hardships. I believe this made her a better person. What I didn't like about her was the fact that she kept going on about how beautiful she was. However, this is probably just a personal thing. I found Thorn to be so cute!! It would've been interesting to see things from his point of view as the book is told from Ruby's point of view. Armonk seems like such a sweet guy, and I loved how he was willing to defend his friends. I feel like Armonk was an all around nice guy. I really loved Blane! I like how he grew as a person going from a mean brute to a gentle warrior. It was nice to see this change in him. Like Armonk, I loved how he was willing to protect his friends at all cost.
The dialogue was fantastic! It is told in a first person point of view with Ruby being the narrator. I usually don't enjoy first person reads as much as third person ones, but this one was done fantastically! Some books that take place in the future have really cheesy dialogue, but Ruby's Fire wasn't one of those books. The dialogue was also easy to understand with no futuristic terms getting in the way. There are a few swear words though.
Overall, Ruby's Fire by Catherine Stine is such an amazing and interesting read! While it is a part of a series, it can be read as a stand alone. I usually don't read books out of series order because I feel like I'll miss so much information, but this book can actually be read as a standalone without missing much. (The first book in the series talks about a minor character in this book).
I'd recommend this book to those aged 14+ who want some adventure in their life!
I'd give Ruby's Fire by Catherine Stine a 5 out of 5.
(I received a free paperback copy of this book from the author in exchange for a fair and honest review).
You know when you get a book, and it's much better than you thought it was going to be? Well, Ruby's Fire by Catherine Stine was definitely one of those books! I absolutely loved it, and it's definitely one of my favorite books that I've read in 2013!
Ruby is a 17 year old girl who, with her 8 year old brother Thorn, escapes from a cult which pairs young girls with much older men. Ruby and Thorn arrive at a school known as The Greening. Here she meets a whole cast of characters. When an act of bullying goes horribly wrong, Ruby and her brother Thorn are left with extreme changes that alter their DNA. When a contest in announces with a prize of a hefty cash sum, all the students are The Greening are excited! However, this competition reveals that all is not what it seems.
I do like the title, and I find it very interesting! However, I don't really get the meaning of it. Maybe I'm just being thick, but it makes no sense to me.
I think the cover does an amazing job at depicting the plot of the book. In fact, this is one of the best book covers I've ever seen that is actually relevant to the book. Whoever came up with this idea for the cover is a genius!
I enjoyed the setting of this book very much! I like the futuristic/dystopian world that Stine has created. Catherine Stine does an awesome job at making this world come alive. The world in which Ruby lives has become unbearably hot, and people must wear masks and burn suits if they don't want to burn. The author paints a vivid picture of this throughout the book. I can very much see this happening in the future.
The pacing was done really well! Not once in the book did I feel like the pacing was going too slow or too fast for my liking. I couldn't wait to find out what would happen next. If it was possible to eat books by reading them quickly because they are amazing, this would would've been gone in flash!
What an amazing plot! Besides the main plot, there were lots of sub-plots! Will Ruby figure out what is wrong with her and Thorn? Will she choose Armonk or Blane since she cares for both? Can she escape her past? That's just some of the questions answered in the book. Also, there is a fantastic plot twist that I didn't see coming!
All of the characters were written superbly! I loved Ruby and how willing she was to take care of her little brother. Ruby was a very down to Earth character who had went through a lot of hardships. I believe this made her a better person. What I didn't like about her was the fact that she kept going on about how beautiful she was. However, this is probably just a personal thing. I found Thorn to be so cute!! It would've been interesting to see things from his point of view as the book is told from Ruby's point of view. Armonk seems like such a sweet guy, and I loved how he was willing to defend his friends. I feel like Armonk was an all around nice guy. I really loved Blane! I like how he grew as a person going from a mean brute to a gentle warrior. It was nice to see this change in him. Like Armonk, I loved how he was willing to protect his friends at all cost.
The dialogue was fantastic! It is told in a first person point of view with Ruby being the narrator. I usually don't enjoy first person reads as much as third person ones, but this one was done fantastically! Some books that take place in the future have really cheesy dialogue, but Ruby's Fire wasn't one of those books. The dialogue was also easy to understand with no futuristic terms getting in the way. There are a few swear words though.
Overall, Ruby's Fire by Catherine Stine is such an amazing and interesting read! While it is a part of a series, it can be read as a stand alone. I usually don't read books out of series order because I feel like I'll miss so much information, but this book can actually be read as a standalone without missing much. (The first book in the series talks about a minor character in this book).
I'd recommend this book to those aged 14+ who want some adventure in their life!
I'd give Ruby's Fire by Catherine Stine a 5 out of 5.
(I received a free paperback copy of this book from the author in exchange for a fair and honest review).
Lottie disney bookworm (1056 KP) rated Thread Needle in Books
Jun 17, 2021
“Magic is the first sin. It must be bound.”
Anna is an orphan, she is a witch with no magic, she is a nobody.
Raised by her aunt in London since her parents’ death when she was just 3 months old, Anna leads a monotonous life of school, homework, chores and learning to control her magic. Not that she has much magic to control, but Anna has been raised in the shadow of the Binders, a coven who believe magic is a sin and who will bind Anna’s magic when she turns 16. Until then, Anna must not draw attention to herself or the world of magic, she must shrink and she must be invisible. Only when her magic is bound will she be safe…or so the Binders would lead her to believe.
Threadneedle begins around Anna’s 15th birthday, when Anna and her Aunt receive a surprise visit from a family friend (and witch) Selene, her daughter Effie and friend Attis. Anna has idolised Selene since her childhood but I imagine even she did not anticipate this birthday visit to change her life so significantly.
Selene, Effie and Attis are the complete opposite of the Binders, using magic freely and unreservedly: they open up a whole new world to the reluctant Anna and even convince her to create a coven with them, discovering new witches right under their noses. However, as Anna practices magic more, a peculiar symbol seems to haunt her; the symbol of the eye – the symbol of a curse.
The majority of Threadneedle takes place within Anna’s home and school. Anna’s life as a nobody at school is turned on its head with Effie’s arrival and she finds that, along with friends, comes the drama of a typical teenage girl. Bullying and body-shaming are key topics here and sort of edged the book into the YA category in my opinion.
Anna as a character is portrayed as an entirely ordinary teenager, if a little meek. Her aunt, in juxtaposition, is controlling and dominating, although she always expresses that this is necessary to protect Anna and comes from a place of love. Aunt is rarely referred to by her name and has an abusive hold over Anna, punishing her with magic if she so much as shows a flicker of emotion. The reader witnesses Anna’s emotional and physical abuse at the hands of her Aunt, with Cari Thomas even beginning each chapter with one of the Binders’ tenets, signifying the brainwashing nature of the coven.
Anna doesn’t remain meek for long though: fuelled by her intrigue of magic and the mystery behind her parent’s death, Anna soon starts pushing the boundaries that she has lived within for so long. Will she succeed and manage to discover the magical world that surrounds her? Or will her magic be knotted before she gets the chance?
Despite being set in present-day London, Thomas really does introduce an entirely new world of magic with different magical languages, different covens and the constant threat of The Hunters. I found the mixture of darkness and realism incredible.
I also loved the fact that the magic and non-magic worlds run side by side in Thomas’ world but I am very conscious that any magical book written post-Harry Potter is obviously going to have comparisons made. However, Anna does not have the safety of Hogwarts or a doting headmaster to fall back on. There are no teachers providing an education in magic, she must find her magic on her own. No this is a far cry from Harry Potter; Threadneedle is more like a bubbling mixture of Charmed, with a ladle full of Mean Girls and a teaspoon of The Craft for good measure.
The sheer amount of world building by Cari Thomas means that the first few chapters of Threadneedle can feel quite slow but the novel soon settles into place. Thomas also has almost a rhythmic quality to her narrative, with fast-paced writing in dramatic spots before slowing right down again to represent Anna’s isolation. The final chapters were so captivating, with several mysteries that had been steadily growing finally coming to a head: I couldn’t read this fast enough.
Threadneedle is the first in the Language of Magic series by Cari Thomas and it is one hell of a debut! From prophecies and poison to bullies and love triangles; magical libraries, witch hunters and more plot twists than you can imagine, this book has it all. Thomas’ writing is so clever that towards the end of the book even the reader doesn’t know who to believe any more!
Thank you to HarperCollins, and NetGalley for the opportunity to discover this new world. The hype around this book is going to be crazy and it is completely deserved.
Anna is an orphan, she is a witch with no magic, she is a nobody.
Raised by her aunt in London since her parents’ death when she was just 3 months old, Anna leads a monotonous life of school, homework, chores and learning to control her magic. Not that she has much magic to control, but Anna has been raised in the shadow of the Binders, a coven who believe magic is a sin and who will bind Anna’s magic when she turns 16. Until then, Anna must not draw attention to herself or the world of magic, she must shrink and she must be invisible. Only when her magic is bound will she be safe…or so the Binders would lead her to believe.
Threadneedle begins around Anna’s 15th birthday, when Anna and her Aunt receive a surprise visit from a family friend (and witch) Selene, her daughter Effie and friend Attis. Anna has idolised Selene since her childhood but I imagine even she did not anticipate this birthday visit to change her life so significantly.
Selene, Effie and Attis are the complete opposite of the Binders, using magic freely and unreservedly: they open up a whole new world to the reluctant Anna and even convince her to create a coven with them, discovering new witches right under their noses. However, as Anna practices magic more, a peculiar symbol seems to haunt her; the symbol of the eye – the symbol of a curse.
The majority of Threadneedle takes place within Anna’s home and school. Anna’s life as a nobody at school is turned on its head with Effie’s arrival and she finds that, along with friends, comes the drama of a typical teenage girl. Bullying and body-shaming are key topics here and sort of edged the book into the YA category in my opinion.
Anna as a character is portrayed as an entirely ordinary teenager, if a little meek. Her aunt, in juxtaposition, is controlling and dominating, although she always expresses that this is necessary to protect Anna and comes from a place of love. Aunt is rarely referred to by her name and has an abusive hold over Anna, punishing her with magic if she so much as shows a flicker of emotion. The reader witnesses Anna’s emotional and physical abuse at the hands of her Aunt, with Cari Thomas even beginning each chapter with one of the Binders’ tenets, signifying the brainwashing nature of the coven.
Anna doesn’t remain meek for long though: fuelled by her intrigue of magic and the mystery behind her parent’s death, Anna soon starts pushing the boundaries that she has lived within for so long. Will she succeed and manage to discover the magical world that surrounds her? Or will her magic be knotted before she gets the chance?
Despite being set in present-day London, Thomas really does introduce an entirely new world of magic with different magical languages, different covens and the constant threat of The Hunters. I found the mixture of darkness and realism incredible.
I also loved the fact that the magic and non-magic worlds run side by side in Thomas’ world but I am very conscious that any magical book written post-Harry Potter is obviously going to have comparisons made. However, Anna does not have the safety of Hogwarts or a doting headmaster to fall back on. There are no teachers providing an education in magic, she must find her magic on her own. No this is a far cry from Harry Potter; Threadneedle is more like a bubbling mixture of Charmed, with a ladle full of Mean Girls and a teaspoon of The Craft for good measure.
The sheer amount of world building by Cari Thomas means that the first few chapters of Threadneedle can feel quite slow but the novel soon settles into place. Thomas also has almost a rhythmic quality to her narrative, with fast-paced writing in dramatic spots before slowing right down again to represent Anna’s isolation. The final chapters were so captivating, with several mysteries that had been steadily growing finally coming to a head: I couldn’t read this fast enough.
Threadneedle is the first in the Language of Magic series by Cari Thomas and it is one hell of a debut! From prophecies and poison to bullies and love triangles; magical libraries, witch hunters and more plot twists than you can imagine, this book has it all. Thomas’ writing is so clever that towards the end of the book even the reader doesn’t know who to believe any more!
Thank you to HarperCollins, and NetGalley for the opportunity to discover this new world. The hype around this book is going to be crazy and it is completely deserved.
Bob Mann (459 KP) rated Slaughterhouse Rulez (2018) in Movies
Sep 28, 2021
Form-Prefect of the Dead.
The Plot
Meredith Houseman (Simon Pegg) is housemaster of Sparta house in Slaughterhouse school: an ancient public school establishment steering England’s future greats to greatness (which probably explains a lot about the current Brexit mess!). Houseman is not in a happy place, given that his girlfriend is now in deepest darkest African doing “good works” with handsome French doctors, and particularly that she is played by Margot Robbie: I would be also be sad… #punching!
New school starter Don Wallace (Finn Cole) is equally unhappy as he is a northern teen dragooned into attending the school by his well-meaning Mum (Jo Hartley). His strange room-mate Willoughby (Asa Butterfield) seems to be a chronic depressive; he is being picked on by the prefect-bully Clegg (Tom Rhys Harries); and his bed was previously occupied by a Viscount, since deceased under unpleasant circumstances that no-one wants to talk about. At least he has the distraction of the upper-sixth school goddess Clemsie Lawrence (Hermione Corfield) to take his mind off his woes.
All this washes over “The Bat” – the school’s headmaster (Michael Sheen) – since he is engrossed in some shady deal with an evil corporation doing fracking in the school grounds. The fracking though seems to be doing more than just causing a few minor earth tremors, as ancient forces are unleashed.
The Review
The movie is positioned as a “comedy/horror”, along the lines of “Shaun of the Dead”. The film also has Frost and Pegg as executive producers and they also have starring roles in the film. But there the similarities really end: this is a “Cornetto film” without a cone of solid chocolate lurking at the bottom to enjoy.
The script (by director Crispian Mills and first-time screenwriter Henry Fitzherbert) is nowhere near as sharp as the Frost/Pegg scripts for their famous collaborations. The story overall makes precious little sense: it’s a hodge-podge of elements from many Harry Potter films (especially “The Chamber of Secrets”), Lindsay Anderson’s “If…”; and Roy Boulting’s “The Guinea Pig”; with also a sprinkling of the anarchic essence of Michael Palin’s classic “Tomkinson’s Schooldays”. The whole thing never manages to gel into a cohesive whole.
After the second reel, the film completely loses sight of the plot: there’s a whole lot of running, screaming and dying going on but there’s little logic behind any of it that I could fathom. What didn’t help my comprehension of what was going on were some ‘Cornetto-esque’ sequences of manic editing. Images were thrown onto the screen so subliminally that any clever nuance was lost. I’m sure at one point there was a droll (if gross) segue at a “Roman orgy” of a girl receiving oral sex before being ‘eaten out’ in an entirely different way. But you would need a Blu-ray and a frame-by-frame pause function to get the joke.
That’s not to say that I didn’t laugh a few times along the way. There are some sight gags – for example, Wooten (Kit Connor) as the lad at the bottom of the bullying pecking order, chained to a U-bend – that made me laugh, and some running jokes – for example, Frost as the head of the anti-fracking camp offering the kids drugs at every encounter – that mildly amuse. But once again here’s a British comedy that, like the atrocious “The Brits are Coming“, thinks that “funny” largely revolves around swearing a lot – how useful that “frack” sounds so similar to another word – with added bodily dismemberment.
The turns
Pegg and Frost ham it up with their usual comedy schtick well enough, and it was quite fun to see Sheen try a comedy role for a change as the conniving and supercilious headmaster. Elsewhere all the young cast put their hearts into it, but it’s again Asa Butterfield that your eyes gravitate to, due to his striking features. I last saw Asa in the excellent if harrowing WW1 drama “Journey’s End“, and he here proves again that he is a One Mann’s Movies ‘name to watch for the future’.
Final thoughts
There’s a lot to irritate in this film. From the “z” in the title to… well… about 80% of the film. There is no nuance or subtlety to either the writing or the direction. I think that’s a great shame. The film has a good premise hidden in there. An adult comedy set around the ridiculous rules and rites of public schools (away from the light nonsense of “St Trinians”) is overdue. And the whole subject of fracking, and the conflicts surrounding the controversial techniques, hasn’t yet – to my knowledge – been explored in a fictional movie. The film does have a few very funny moments. But as a whole I left the cinema with that “wasted two hours” feeling. Not recommended.
Meredith Houseman (Simon Pegg) is housemaster of Sparta house in Slaughterhouse school: an ancient public school establishment steering England’s future greats to greatness (which probably explains a lot about the current Brexit mess!). Houseman is not in a happy place, given that his girlfriend is now in deepest darkest African doing “good works” with handsome French doctors, and particularly that she is played by Margot Robbie: I would be also be sad… #punching!
New school starter Don Wallace (Finn Cole) is equally unhappy as he is a northern teen dragooned into attending the school by his well-meaning Mum (Jo Hartley). His strange room-mate Willoughby (Asa Butterfield) seems to be a chronic depressive; he is being picked on by the prefect-bully Clegg (Tom Rhys Harries); and his bed was previously occupied by a Viscount, since deceased under unpleasant circumstances that no-one wants to talk about. At least he has the distraction of the upper-sixth school goddess Clemsie Lawrence (Hermione Corfield) to take his mind off his woes.
All this washes over “The Bat” – the school’s headmaster (Michael Sheen) – since he is engrossed in some shady deal with an evil corporation doing fracking in the school grounds. The fracking though seems to be doing more than just causing a few minor earth tremors, as ancient forces are unleashed.
The Review
The movie is positioned as a “comedy/horror”, along the lines of “Shaun of the Dead”. The film also has Frost and Pegg as executive producers and they also have starring roles in the film. But there the similarities really end: this is a “Cornetto film” without a cone of solid chocolate lurking at the bottom to enjoy.
The script (by director Crispian Mills and first-time screenwriter Henry Fitzherbert) is nowhere near as sharp as the Frost/Pegg scripts for their famous collaborations. The story overall makes precious little sense: it’s a hodge-podge of elements from many Harry Potter films (especially “The Chamber of Secrets”), Lindsay Anderson’s “If…”; and Roy Boulting’s “The Guinea Pig”; with also a sprinkling of the anarchic essence of Michael Palin’s classic “Tomkinson’s Schooldays”. The whole thing never manages to gel into a cohesive whole.
After the second reel, the film completely loses sight of the plot: there’s a whole lot of running, screaming and dying going on but there’s little logic behind any of it that I could fathom. What didn’t help my comprehension of what was going on were some ‘Cornetto-esque’ sequences of manic editing. Images were thrown onto the screen so subliminally that any clever nuance was lost. I’m sure at one point there was a droll (if gross) segue at a “Roman orgy” of a girl receiving oral sex before being ‘eaten out’ in an entirely different way. But you would need a Blu-ray and a frame-by-frame pause function to get the joke.
That’s not to say that I didn’t laugh a few times along the way. There are some sight gags – for example, Wooten (Kit Connor) as the lad at the bottom of the bullying pecking order, chained to a U-bend – that made me laugh, and some running jokes – for example, Frost as the head of the anti-fracking camp offering the kids drugs at every encounter – that mildly amuse. But once again here’s a British comedy that, like the atrocious “The Brits are Coming“, thinks that “funny” largely revolves around swearing a lot – how useful that “frack” sounds so similar to another word – with added bodily dismemberment.
The turns
Pegg and Frost ham it up with their usual comedy schtick well enough, and it was quite fun to see Sheen try a comedy role for a change as the conniving and supercilious headmaster. Elsewhere all the young cast put their hearts into it, but it’s again Asa Butterfield that your eyes gravitate to, due to his striking features. I last saw Asa in the excellent if harrowing WW1 drama “Journey’s End“, and he here proves again that he is a One Mann’s Movies ‘name to watch for the future’.
Final thoughts
There’s a lot to irritate in this film. From the “z” in the title to… well… about 80% of the film. There is no nuance or subtlety to either the writing or the direction. I think that’s a great shame. The film has a good premise hidden in there. An adult comedy set around the ridiculous rules and rites of public schools (away from the light nonsense of “St Trinians”) is overdue. And the whole subject of fracking, and the conflicts surrounding the controversial techniques, hasn’t yet – to my knowledge – been explored in a fictional movie. The film does have a few very funny moments. But as a whole I left the cinema with that “wasted two hours” feeling. Not recommended.
Bob Mann (459 KP) rated The Hitman's Bodyguard (2017) in Movies
Sep 29, 2021
A plethora of clichés.
2017’s summer blockbusters fizzle to a halt with this formulaic action comedy. Ryan Reynolds (“Deadpool“) plays Michael Bryce: a cocksure “Triple A rated” bodyguard, always planning three steps ahead so that he can protect his clients without killing anyone in the process. With such arrogance, a fall is inevitable. On the other side of the legal scales is Darius Kincaid (Samuel L Jackson, “The Hateful Eight“), a contract killer who always gets his man. But the incarcerated Kincaid is offered a deal to release his equally incarcerated wife Sonia (Selma Hayek) in return for testifying against the fearsome Belarus president Vladislav Dukhovich (Gary Oldman, “Dawn of the Planet of the Apes”), on trial for war crimes at The Hague. An Interpol team led by Bryce’s’s ex-squeeze Amelia Roussel (the striking Elodie Yung) now have to get Kincaid to Belgium unscathed with Dukhovich’s well-trained and well-armed thugs stopping at nothing to ensure he won’t be there to testify. Fate transpires that Bryce and Kincaid become an unlikely team in trying to bring Dukhovich to justice.
After losing your no claims bonus, hysterical laughter is the only way forwards. Ryan Reynolds and Samuel L Jackson.
This is a movie whose script seems to have been glued together from a patchwork of other movie scenes:
– the bad guy / bad guy partner relationship of “The Nice Guys“. Check.
– the street ambush of “Clear and Present Danger”. Check.
– the Amsterdam boat chase of “Puppet on a Chain”. Check.
– the comedic bar-room brawl from “Airplane”. Check.
Many of the action scenes are done with panache and some great stunt work. But it’s all stuff we’ve seen countless times before, so what is needed for differentiation is the relationships between Bryce and Kincaid: this needs to be the cornerstone of the film. But it just doesn’t quite work. Jackson’s contribution is never in doubt, even though we’ve seen this motherf-ing shtick countless times before: he’s still magnetic, charismatic and a joy to watch. But unfortunately Reynolds just doesn’t deliver the acting goods to make the banter believable: there is a reason “Deadpool” is his best film – he wears a mask for most of it! His ‘puppy-dog look’ gets rolled out multiple times, but it’s unconvincing in the extreme. Together they are no match for Gosling/Crowe in “The Nice Guys“.
Nun but the brave. Jackson (if not Reynolds) get happy clappy.
On firmer ground is the quirky relationship between Mr and Mrs Kincaid. Although sharing limited screen time together, Hayek and Jackson spark off each other wonderfully. Seeing Selma Hayek in uncharacteristically sweary and belligerent mode was highly entertaining (although it’s worth commenting that my wife took great offence to the ‘comic’ bullying of an overweight cellmate).
“I had to ask the guy next to me to pinch me to make sure I wasn’t dreaming” – the future Mr and Mrs Kincaid meet in a rough place… the seediest dive on the wharf.
Elsewhere in the acting roll call, Elodie Yung delivers just the right measure of cuteness, toughness and passion as Roussel, but Oldman delivers a full-on retread of his Ivan “Get off my plane” Korshunov from “Air Force One”. There is also a change to Oldman’s character’s face at the end of the film in the form of a rampant skin complaint which is ‘explained’ by a clumsily inserted news item about an “attempted poisoning”: it’s such a clunky and bizarre addition to the script that it made me wonder whether the actor has some unexpected ailment (like shingles) during filming…. but I can see nothing related to this online.
The striking Elodie Yung as the Interpol agent Roussel.
The screenplay by relative newcomer Tom O’Connor bumps along from implausible action scene to implausible action scene, with more that its fair share of ‘WTF’ moments. For example, after a random chase through multiple Amsterdam alleys and shops, Jackson pulls up outside the very DIY shop Reynolds ends up in to pick him up! The script is also tonally uneven throughout: given this is supposed to be an “action comedy” the action is often brutal and unpleasant and the comedy – in the main – just not funny enough. (About the funniest thing in the film are the most ineffective sub machine guns known to man, most notably in the mildly ludicrous, if well staged, boat chase scene!)
An entertaining cameo from Richard E Grant as a businessman in danger.
The film also manages to offend, in more ways than the 15-rated violence and language used: I’m not sure WHEN this movie was actually filmed, but the use of an articulated lorry as a terrorist weapon towards the end of the film is certainly in very poor taste after the events of Nice, London and Barcelona. Not appreciated.
Directed by Patrick Hughes (“The Expendables 3″…. say no more) this hodge-podge of a flick is sporadically entertaining, but is one I will struggle to remember in a couple of months time.
After losing your no claims bonus, hysterical laughter is the only way forwards. Ryan Reynolds and Samuel L Jackson.
This is a movie whose script seems to have been glued together from a patchwork of other movie scenes:
– the bad guy / bad guy partner relationship of “The Nice Guys“. Check.
– the street ambush of “Clear and Present Danger”. Check.
– the Amsterdam boat chase of “Puppet on a Chain”. Check.
– the comedic bar-room brawl from “Airplane”. Check.
Many of the action scenes are done with panache and some great stunt work. But it’s all stuff we’ve seen countless times before, so what is needed for differentiation is the relationships between Bryce and Kincaid: this needs to be the cornerstone of the film. But it just doesn’t quite work. Jackson’s contribution is never in doubt, even though we’ve seen this motherf-ing shtick countless times before: he’s still magnetic, charismatic and a joy to watch. But unfortunately Reynolds just doesn’t deliver the acting goods to make the banter believable: there is a reason “Deadpool” is his best film – he wears a mask for most of it! His ‘puppy-dog look’ gets rolled out multiple times, but it’s unconvincing in the extreme. Together they are no match for Gosling/Crowe in “The Nice Guys“.
Nun but the brave. Jackson (if not Reynolds) get happy clappy.
On firmer ground is the quirky relationship between Mr and Mrs Kincaid. Although sharing limited screen time together, Hayek and Jackson spark off each other wonderfully. Seeing Selma Hayek in uncharacteristically sweary and belligerent mode was highly entertaining (although it’s worth commenting that my wife took great offence to the ‘comic’ bullying of an overweight cellmate).
“I had to ask the guy next to me to pinch me to make sure I wasn’t dreaming” – the future Mr and Mrs Kincaid meet in a rough place… the seediest dive on the wharf.
Elsewhere in the acting roll call, Elodie Yung delivers just the right measure of cuteness, toughness and passion as Roussel, but Oldman delivers a full-on retread of his Ivan “Get off my plane” Korshunov from “Air Force One”. There is also a change to Oldman’s character’s face at the end of the film in the form of a rampant skin complaint which is ‘explained’ by a clumsily inserted news item about an “attempted poisoning”: it’s such a clunky and bizarre addition to the script that it made me wonder whether the actor has some unexpected ailment (like shingles) during filming…. but I can see nothing related to this online.
The striking Elodie Yung as the Interpol agent Roussel.
The screenplay by relative newcomer Tom O’Connor bumps along from implausible action scene to implausible action scene, with more that its fair share of ‘WTF’ moments. For example, after a random chase through multiple Amsterdam alleys and shops, Jackson pulls up outside the very DIY shop Reynolds ends up in to pick him up! The script is also tonally uneven throughout: given this is supposed to be an “action comedy” the action is often brutal and unpleasant and the comedy – in the main – just not funny enough. (About the funniest thing in the film are the most ineffective sub machine guns known to man, most notably in the mildly ludicrous, if well staged, boat chase scene!)
An entertaining cameo from Richard E Grant as a businessman in danger.
The film also manages to offend, in more ways than the 15-rated violence and language used: I’m not sure WHEN this movie was actually filmed, but the use of an articulated lorry as a terrorist weapon towards the end of the film is certainly in very poor taste after the events of Nice, London and Barcelona. Not appreciated.
Directed by Patrick Hughes (“The Expendables 3″…. say no more) this hodge-podge of a flick is sporadically entertaining, but is one I will struggle to remember in a couple of months time.
Bob Mann (459 KP) rated A Monster Calls (2016) in Movies
Sep 29, 2021
“I’ll. Be. Right. Here.”
The worst thing about this movie is its title. The second worst thing about this movie is its trailer. Both will either a) put people off seeing it (it succeeded in that with my wife for example) or b) make people conclude it is a ‘nice holiday film to take the kids to’, which is also an horrendous mistake!
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
Debbiereadsbook (1202 KP) rated From A Jack To A King in Books
Jul 3, 2018 (Updated Jan 31, 2019)
bloody LOVED this book! and the narration!
Independent reviewer for Divine Magazine, I was gifted both the ebook AND audio version of this book.
First half of this review is from when I READ it, the second half is the audio bit.
Oh it's been a while since I had my Scotty Cade fix, and this proper hit THAT spot!
Bay is, by his own words, pretty much a recluse. Save for promoting his latest book and getting his gambling hit, he doesn't get out much. And when he DOES, he uses his character Jack as his alter ego. Winning escort King in a card game, and coming face to face with the spitting image of Jack knocks Bay off his axis. Just as meeting Bay knocks King off of his. King doesn't see Jack, he sees BAY. He also sees that Bay might be the one to halt his recovery.
I will be honest here, cos ya'll know I'm all about sharing, and tell you, I walked into this one a little wary. I've read a couple of other porn star books and had pretty much decided that I didn't like that particular troupe, and I wouldn't read any more. But this came up, and, I mean, its' Scotty Cade for heaven's sake! So I signed up and I was so very NOT disappointed!
What this one did, what made it stand out, was there was very little "work" time for King, once he and Bay had met. There is a scene before, and one after. But the one after is a huge part of the story; a necessary and integral part.
I loved that it's nearly to the end of the book before Bay and King come together properly. Loved that Bay put his research skills to good use; both for helping King with his recovery and watching all those videos to further his relationship with King.
Loved that while previously only ever having been with women, Bay didn't seem overly perturbed by his attraction to King. OH, he questioned his sexuality, many many times, but he wasn't particularly bothered by it!
There are some difficult topics dealt with here. Bullying and how that effects Bay as an adult. Sex addiction and how that makes King so very wary of what he feels for Bay so very VERY early on. Both topics are dealt with well and with sensitivity, but some readers may struggle with them.
I have just one teeny tiny niggle, but it doesn't affect my rating or my overall enjoyment of this book. It's just ME, being a little bit picky!
I would have liked, just once, while Bay and King are up close and personal, for Bay to have used King's given name, and not his "stage" name. That's all! Told you it was me being picky!
Mr Cade has a particular knack of writing with emotion; of being able to make you cry in really random places along with his characters; of being able to grab at your heart strings, tug them, snap them and put them back together again! And I bloody loved this book for that!!
I read this in one sitting, stayed up way past my bedtime to finish this! Loved it!!
5 full and shiny stars!
AUDIO REVIEW
Kenneth Obi narrates. And Mr Obi is growing on me for several reasons. As I see more and more books narrated by him, I can see his skill set growing. A quick search shows far more books that I expected, but the oldest is only November 2017, so he is still fairly new at this, and in the time since I listened to the other one he narrated that is in my library, I can hear a difference.
Obi's voice for Bay was. . . unexpected. I've no idea WHY, but that was my first thought. He sounds almost too young, but as I listened, I realised it fit Bay, PERFECTLY, it really did. I LOVED Bay's voice, I really did.
Obi's reading voice is clear and even, his voices for ALL the characters are clear and distinct enough for my crappy hearing to make them out. It was my only real criticism in the last book I listened to of his work, the voices were too similar for my crappy hearing to keep up. NOT so here.
The scenes for King and Bay getting up close and personal came over way more. . .what's the word. . . whats. . . .the. . .word. . . intense? maybe? I dunno, can't find that right word, and I hate not being able to do that, but they came across all kinds of different to when I read it. An AMAZING different though, cos Obi got out all the emotions that you don't always pick up when reading. The hitches and dips in the voices, the little noises, they don't always come across well on paper but HEARING them?? Oh yes Sir, intense is the right word!
I stand by what I said in my read review though! I would have liked, just once, while Bay and King are up close and personal, for Bay to have used King's given name, and not his "stage" name. That's all!
Watch out for Mr Obi, he's now firmly on my list!!
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
First half of this review is from when I READ it, the second half is the audio bit.
Oh it's been a while since I had my Scotty Cade fix, and this proper hit THAT spot!
Bay is, by his own words, pretty much a recluse. Save for promoting his latest book and getting his gambling hit, he doesn't get out much. And when he DOES, he uses his character Jack as his alter ego. Winning escort King in a card game, and coming face to face with the spitting image of Jack knocks Bay off his axis. Just as meeting Bay knocks King off of his. King doesn't see Jack, he sees BAY. He also sees that Bay might be the one to halt his recovery.
I will be honest here, cos ya'll know I'm all about sharing, and tell you, I walked into this one a little wary. I've read a couple of other porn star books and had pretty much decided that I didn't like that particular troupe, and I wouldn't read any more. But this came up, and, I mean, its' Scotty Cade for heaven's sake! So I signed up and I was so very NOT disappointed!
What this one did, what made it stand out, was there was very little "work" time for King, once he and Bay had met. There is a scene before, and one after. But the one after is a huge part of the story; a necessary and integral part.
I loved that it's nearly to the end of the book before Bay and King come together properly. Loved that Bay put his research skills to good use; both for helping King with his recovery and watching all those videos to further his relationship with King.
Loved that while previously only ever having been with women, Bay didn't seem overly perturbed by his attraction to King. OH, he questioned his sexuality, many many times, but he wasn't particularly bothered by it!
There are some difficult topics dealt with here. Bullying and how that effects Bay as an adult. Sex addiction and how that makes King so very wary of what he feels for Bay so very VERY early on. Both topics are dealt with well and with sensitivity, but some readers may struggle with them.
I have just one teeny tiny niggle, but it doesn't affect my rating or my overall enjoyment of this book. It's just ME, being a little bit picky!
I would have liked, just once, while Bay and King are up close and personal, for Bay to have used King's given name, and not his "stage" name. That's all! Told you it was me being picky!
Mr Cade has a particular knack of writing with emotion; of being able to make you cry in really random places along with his characters; of being able to grab at your heart strings, tug them, snap them and put them back together again! And I bloody loved this book for that!!
I read this in one sitting, stayed up way past my bedtime to finish this! Loved it!!
5 full and shiny stars!
AUDIO REVIEW
Kenneth Obi narrates. And Mr Obi is growing on me for several reasons. As I see more and more books narrated by him, I can see his skill set growing. A quick search shows far more books that I expected, but the oldest is only November 2017, so he is still fairly new at this, and in the time since I listened to the other one he narrated that is in my library, I can hear a difference.
Obi's voice for Bay was. . . unexpected. I've no idea WHY, but that was my first thought. He sounds almost too young, but as I listened, I realised it fit Bay, PERFECTLY, it really did. I LOVED Bay's voice, I really did.
Obi's reading voice is clear and even, his voices for ALL the characters are clear and distinct enough for my crappy hearing to make them out. It was my only real criticism in the last book I listened to of his work, the voices were too similar for my crappy hearing to keep up. NOT so here.
The scenes for King and Bay getting up close and personal came over way more. . .what's the word. . . whats. . . .the. . .word. . . intense? maybe? I dunno, can't find that right word, and I hate not being able to do that, but they came across all kinds of different to when I read it. An AMAZING different though, cos Obi got out all the emotions that you don't always pick up when reading. The hitches and dips in the voices, the little noises, they don't always come across well on paper but HEARING them?? Oh yes Sir, intense is the right word!
I stand by what I said in my read review though! I would have liked, just once, while Bay and King are up close and personal, for Bay to have used King's given name, and not his "stage" name. That's all!
Watch out for Mr Obi, he's now firmly on my list!!
5 stars for the book
5 stars for the narration
5 stars overall.
**same worded review will appear elsewhere**
Chris Sawin (602 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Aug 11, 2019 (Updated Aug 11, 2019)
The monsters. (1 more)
Special effects - blend of CG and practical.
The Pale Lady. (2 more)
Basic rinse and repeat horror formula.
No emotional attachment to characters.
Fishing for Turds
Scary Stories to Tell in the Dark is probably considered the introduction to horror fiction for anyone who was in middle school in the mid to late 1990s. I distinctly remember checking out at least one of the books before I was a teenager, but the story that has stuck with me multiple decades later has and always will be, “The Red Spot.” The thing about the Scary Stories books is that they were just these random collections of creepy tales meant to make the reader anxious, uneasy, or even frightened, so the fact that somebody attempted to make a coherent film out of a jumbled mix of stories from all three books is kind of incredible.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
Gareth von Kallenbach (980 KP) rated Groupers (2019) in Movies
Sep 26, 2019
Greetings & Salutations Fellow Movie Fanatics!
It’s not often I see a film that is so good in my opinion, I actually look forward to writing about it and letting you folks know what’s what. In all honesty though, I wouldn’t be surprised if I’m the last person to see it. Quite frankly, I’m surprised that I have not heard or read anything about this movie already. How they managed to put everything together and create a film like this where the runtime is just a 1 hour and 49 minutes is beyond my comprehension. Yes, I said JUST and 1 and 49 minutes. Now that might seem a tad long on the tooth as far as movies go but once you watch it, I think you’ll understand my perception of it. I don’t think my review will do the movie justice but I want to tell you folks about in the hopes that you’ll immediately seek out a means of watching it.
‘Groupers’ is a dramatic comedy film written/directed by Anderson Cowan and stars Nicole Dambro, Jesse Pudles, Cameron Duckett, Peter Mayer-Klepchick, Max Reed III, Brian Loakimedes, Terrance Wentz, Travis Stanberry, Marqus Bobesich, Edward Jackson, Kaleb Rich-Harris, Mike Carano, Robin S. Roth, Laurence Scott Murphy, and Travis Lee Elder.
Orin (Pudles) is a high school student who is dealing with what has become unfortunately an all too common occurrence in schools and colleges today. He is a young person who faces ridicule and bullying because he is gay. The source of the majority of this harassment are two of his fellow students, best friends Brad (Mayer-Klepchick) and Dylan (Duckett). Fast forward to a night when Brad and Dylan decide roll with their over-inflated egos make the rounds at a bar or two and engage in some underage drinking and attempt to impress a fellow female patron or two. Just as the two jocks are beginning to get plastered they’re approached by Meg (Dambro). It doesn’t take much convincing at this point, Meg invites them to come with her and somehow they manage to follow her out of the back of the bar where they are more or less thrown into the back of a van (they pretty much threw themselves in the van). Already this is turning into something that sound like a ‘scary urban legend kind of movie’ right? Not even fully grasping the situation they’re in, Brad and Dylan get psyched up at the supposed prospect of engaging in unnatural activities when fumes engulf the inside of the van and the two jocks are knocked out cold. Several hours later, Brad and Dylan regain consciousness to find themselves restrained at the bottom of an empty pool. Meg, the girl from the bar, is actually a grad student and explains that the two of them are now part of a social experiment and implies that their lives depend on participating in the experiment regardless of the results. What follows is a downward spiral of lies, revenge, more than one close call with death, and an unforeseen series unforeseen guests that turn the tables on the participants in the experiment but each other as well.
The as the film progresses, it becomes vendetta driven. The seriously comedic aspects don’t start until at least a third of the way in unless you count the idiotic behavior of Brad and Dylan. At that point, the humor is driven by the unforeseen circumstances that Meg could not possibly have anticipated nor would anyone who appeared to prepare for this so thoroughly. The fact is the experiment should have progressed as she planned regardless of the outcome. All in all, this is one of the best films I’ve seen all year. I’d actually go so far as to say it’s in the top 5 and will remain there I can guarantee that. The film is similar to that of movies like ‘Pulp Fiction’ in the sense that it progresses backwards in relation to certain events and then jumps back into the present. It is NOT difficult to follow though. The premise of the film is one of the most original I’ve seen in a while. Note how the cast managed to make such an awesome film considering most of it takes place in a derelict house with an empty pool. Nothing is overshadowed in the film either. You have a movie that manages to encompass serious subject matter one minute and the next minute you can’t help but laugh and again neither overshadows the other. The cast? Absolutely awesome! They should be absolutely proud of this film and what they’ve accomplished with it. They should certainly consider ‘getting the band back together’ for other projects too. I’d go so far as to say the film deserves a theater release for sure. Nicole Dambro ‘Meg’ is most certainly a talent movie viewers should look out for. Her character’s presence commands such attention from the other characters while she herself commands the attention of the audience. The film has drugs and alcohol plus questionable dialogue and language plus some nudity so definitely NOT one for young folks. As I mention earlier, it’s a bit long on the tooth timewise at 1 hour and 49 minutes but it’s SO worth it. Just make sure you get drinks and snacks prior to the movie. I’m going to go ahead and rate this one 5 out of 5 stars. Give some real thought to seeing ‘Groupers’ . Trust me on this one
It’s not often I see a film that is so good in my opinion, I actually look forward to writing about it and letting you folks know what’s what. In all honesty though, I wouldn’t be surprised if I’m the last person to see it. Quite frankly, I’m surprised that I have not heard or read anything about this movie already. How they managed to put everything together and create a film like this where the runtime is just a 1 hour and 49 minutes is beyond my comprehension. Yes, I said JUST and 1 and 49 minutes. Now that might seem a tad long on the tooth as far as movies go but once you watch it, I think you’ll understand my perception of it. I don’t think my review will do the movie justice but I want to tell you folks about in the hopes that you’ll immediately seek out a means of watching it.
‘Groupers’ is a dramatic comedy film written/directed by Anderson Cowan and stars Nicole Dambro, Jesse Pudles, Cameron Duckett, Peter Mayer-Klepchick, Max Reed III, Brian Loakimedes, Terrance Wentz, Travis Stanberry, Marqus Bobesich, Edward Jackson, Kaleb Rich-Harris, Mike Carano, Robin S. Roth, Laurence Scott Murphy, and Travis Lee Elder.
Orin (Pudles) is a high school student who is dealing with what has become unfortunately an all too common occurrence in schools and colleges today. He is a young person who faces ridicule and bullying because he is gay. The source of the majority of this harassment are two of his fellow students, best friends Brad (Mayer-Klepchick) and Dylan (Duckett). Fast forward to a night when Brad and Dylan decide roll with their over-inflated egos make the rounds at a bar or two and engage in some underage drinking and attempt to impress a fellow female patron or two. Just as the two jocks are beginning to get plastered they’re approached by Meg (Dambro). It doesn’t take much convincing at this point, Meg invites them to come with her and somehow they manage to follow her out of the back of the bar where they are more or less thrown into the back of a van (they pretty much threw themselves in the van). Already this is turning into something that sound like a ‘scary urban legend kind of movie’ right? Not even fully grasping the situation they’re in, Brad and Dylan get psyched up at the supposed prospect of engaging in unnatural activities when fumes engulf the inside of the van and the two jocks are knocked out cold. Several hours later, Brad and Dylan regain consciousness to find themselves restrained at the bottom of an empty pool. Meg, the girl from the bar, is actually a grad student and explains that the two of them are now part of a social experiment and implies that their lives depend on participating in the experiment regardless of the results. What follows is a downward spiral of lies, revenge, more than one close call with death, and an unforeseen series unforeseen guests that turn the tables on the participants in the experiment but each other as well.
The as the film progresses, it becomes vendetta driven. The seriously comedic aspects don’t start until at least a third of the way in unless you count the idiotic behavior of Brad and Dylan. At that point, the humor is driven by the unforeseen circumstances that Meg could not possibly have anticipated nor would anyone who appeared to prepare for this so thoroughly. The fact is the experiment should have progressed as she planned regardless of the outcome. All in all, this is one of the best films I’ve seen all year. I’d actually go so far as to say it’s in the top 5 and will remain there I can guarantee that. The film is similar to that of movies like ‘Pulp Fiction’ in the sense that it progresses backwards in relation to certain events and then jumps back into the present. It is NOT difficult to follow though. The premise of the film is one of the most original I’ve seen in a while. Note how the cast managed to make such an awesome film considering most of it takes place in a derelict house with an empty pool. Nothing is overshadowed in the film either. You have a movie that manages to encompass serious subject matter one minute and the next minute you can’t help but laugh and again neither overshadows the other. The cast? Absolutely awesome! They should be absolutely proud of this film and what they’ve accomplished with it. They should certainly consider ‘getting the band back together’ for other projects too. I’d go so far as to say the film deserves a theater release for sure. Nicole Dambro ‘Meg’ is most certainly a talent movie viewers should look out for. Her character’s presence commands such attention from the other characters while she herself commands the attention of the audience. The film has drugs and alcohol plus questionable dialogue and language plus some nudity so definitely NOT one for young folks. As I mention earlier, it’s a bit long on the tooth timewise at 1 hour and 49 minutes but it’s SO worth it. Just make sure you get drinks and snacks prior to the movie. I’m going to go ahead and rate this one 5 out of 5 stars. Give some real thought to seeing ‘Groupers’ . Trust me on this one