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Chris Sawin (602 KP) rated Halloween II (2009) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Contains spoilers, click to show
That fateful night in Haddonfield, Laurie Strode shot and killed Michael Myers or so she thought. As the ambulance that pulled what was thought to be the corpse of the world's most notorious serial killer, Michael Myers made sure everyone knew he was still alive the best way he could; by slaughtering whoever got in his way. Now, two years later, Laurie lives with Sheriff Brackett and his daughter Annie. Laurie struggles with hallucinations and panic attacks while believing the therapy she's receiving is only making her worse. As Laurie struggles with her newfound issues, Michael tries to reunite his family. Michael has visions of his mother with a white horse accompanied by his younger self. Michael is returning to Haddonfield to finish the job.
This film has to set the record for dream sequences, which makes you wonder if the entire film is nothing more than a dream. I wasn't exactly a big fan of the remake from 2007 and expectations for this film were incredibly low, nobody can really be prepared for how terrible this film really is. Since there's so much wrong with this film, we'll try and start with what was actually was enjoyable.
Brad Dourif as Sheriff Brackett is really the highlight of the film as far as acting goes. While that probably isn't saying much and his role isn't as big as you may expect, he does a good job with the screen time he gets. His character is intense right from the start, but as things take a turn for the worse for his character his downward spiral is the most enthralling aspect of the film. A few of the deaths were also really satisfying. Mainly Buddy the Secuirty Guard. There's a night scene where an officer is out on Sheriff Brackett's lawn and we're looking at the silhouette of a tree while the officer searches the premises. Before you know it, we see Michael emerge from that tree silhouette and kill the officer.
Everything else in the film was just horrendous. The flaws are almost so overwhelming that it's nearly impossible to know where to begin. The whole white horse thing is ridiculous. So if Deborah Myers tells young Michael that he can think of her whenever he looks at the white horse figurine she gave him, wouldn't that make her a horse by default? The inconsistencies in the film are incredibly glaring, as well. Laurie and Annie's injuries from the previous film seem more severe at the start of this one, Laurie being able to put weight on an injured leg by walking on it but it causing her extreme pain when she's lifted from a stretcher to a bed at the hospital, Michael chopping off a guy's head with a shard of glass, etc. The "Nights in White Satin" thing was literally beaten into your skull by the time the film ended. If you sit through the film, it's like Rob is sitting next to you each time the song comes on nudging you with his elbow going, "Eh? Do you get it? You get it?"
Michael was way too vocal for my liking. Heavy breathing is one thing, but when we're hearing him grunt loudly every time he stabs somebody then it takes a lot of it. When he actually talked at the end of the film, I was done. He also seemed to spend more time stabbing women than men in the film. Guys get their head chopped off or an axe to the back while women get stabbed a dozen times or have their face smashed against a mirror nine times. The choreography didn't seem as good as the remake either. There's a scene where water gets on the camera and it's on there the entire scene. It's interesting at first, but after a few minutes you just want someone to get a towel to wipe it down.
As powerful as Michael seems to be, it at least made a bit more sense in the original film by John Carpenter. Michael was pure evil. That was the explanation, so him not being able to die at least sort of made sense. Now that he's been given this white trash upbringing in the remake, his super strength and inability to die just seems even more farfetched than it originally did. So when Michael is busting through walls and lifting cars with his bare hands all Incredible Hulk style in this film, it's laughable. Not to mention what happened to the Dr. Loomis character. There are just way too many things wrong with this sequel to list here.
Rob Zombie has certainly made Halloween his own with Halloween II. It's just a shame that it's really not worth watching seriously. Let's put it this way, the highlight of the film is Weird Al's cameo. After five films of dealing with white trash families, it's time for Zombie to move on to something different. It's safe to say he's bled that idea bone dry. I wouldn't seriously recommend this film to anyone, but if you're looking for a film to watch with some friends to laugh at and make fun of while it's going then this is the perfect film.
This film has to set the record for dream sequences, which makes you wonder if the entire film is nothing more than a dream. I wasn't exactly a big fan of the remake from 2007 and expectations for this film were incredibly low, nobody can really be prepared for how terrible this film really is. Since there's so much wrong with this film, we'll try and start with what was actually was enjoyable.
Brad Dourif as Sheriff Brackett is really the highlight of the film as far as acting goes. While that probably isn't saying much and his role isn't as big as you may expect, he does a good job with the screen time he gets. His character is intense right from the start, but as things take a turn for the worse for his character his downward spiral is the most enthralling aspect of the film. A few of the deaths were also really satisfying. Mainly Buddy the Secuirty Guard. There's a night scene where an officer is out on Sheriff Brackett's lawn and we're looking at the silhouette of a tree while the officer searches the premises. Before you know it, we see Michael emerge from that tree silhouette and kill the officer.
Everything else in the film was just horrendous. The flaws are almost so overwhelming that it's nearly impossible to know where to begin. The whole white horse thing is ridiculous. So if Deborah Myers tells young Michael that he can think of her whenever he looks at the white horse figurine she gave him, wouldn't that make her a horse by default? The inconsistencies in the film are incredibly glaring, as well. Laurie and Annie's injuries from the previous film seem more severe at the start of this one, Laurie being able to put weight on an injured leg by walking on it but it causing her extreme pain when she's lifted from a stretcher to a bed at the hospital, Michael chopping off a guy's head with a shard of glass, etc. The "Nights in White Satin" thing was literally beaten into your skull by the time the film ended. If you sit through the film, it's like Rob is sitting next to you each time the song comes on nudging you with his elbow going, "Eh? Do you get it? You get it?"
Michael was way too vocal for my liking. Heavy breathing is one thing, but when we're hearing him grunt loudly every time he stabs somebody then it takes a lot of it. When he actually talked at the end of the film, I was done. He also seemed to spend more time stabbing women than men in the film. Guys get their head chopped off or an axe to the back while women get stabbed a dozen times or have their face smashed against a mirror nine times. The choreography didn't seem as good as the remake either. There's a scene where water gets on the camera and it's on there the entire scene. It's interesting at first, but after a few minutes you just want someone to get a towel to wipe it down.
As powerful as Michael seems to be, it at least made a bit more sense in the original film by John Carpenter. Michael was pure evil. That was the explanation, so him not being able to die at least sort of made sense. Now that he's been given this white trash upbringing in the remake, his super strength and inability to die just seems even more farfetched than it originally did. So when Michael is busting through walls and lifting cars with his bare hands all Incredible Hulk style in this film, it's laughable. Not to mention what happened to the Dr. Loomis character. There are just way too many things wrong with this sequel to list here.
Rob Zombie has certainly made Halloween his own with Halloween II. It's just a shame that it's really not worth watching seriously. Let's put it this way, the highlight of the film is Weird Al's cameo. After five films of dealing with white trash families, it's time for Zombie to move on to something different. It's safe to say he's bled that idea bone dry. I wouldn't seriously recommend this film to anyone, but if you're looking for a film to watch with some friends to laugh at and make fun of while it's going then this is the perfect film.
Bob Mann (459 KP) rated Life (2017) in Movies
Sep 29, 2021
Life after Gravity.
Mankind is on the verge of a major milestone. The “Pilgrim” probe is returning from Mars containing soil samples that might spell the discovery of the first palpable evidence of life beyond earth. Proving that earth scientists are not completely incompetent, the probe is being returned not to earth but to a lab on the International Space Station where strict quarantine can be maintained. This key mission requirement is the responsibility of Miranda North (Rebecca Ferguson, “Mission Impossible: Rogue Nation”). Supporting her is an international crew including fellow doctor David Harris (Jake Gyllenhaal, “Source Code”), professional astronaut Rory Adams (Ryan Reynolds, “Deadpool”) and Hugh Derry (Ariyon Bakare), the lead scientist studying the samples. Needless to say, the soil samples yield more promise than Derry could have ever hoped for (or North could have feared). A crisis of growth and death ensues in a manner that fans of “Alien” will be suitably familiar with. Can the crew survive against all the odds?
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Bong Mines Entertainment (15 KP) rated Eric B for President: Term 2 by Eric Bellinger in Music
Jun 7, 2019
Eric Bellinger is an R&B singer outta Los Angeles. Not too long ago, he released “Eric B for President: Term 2“, his new EP featuring Wale, ELHAE, Tayla Parx, and Victoria Monet. This project is a follow up to Bellinger’s “Eric B for President: Term 1” album.
“Naked in the White House”
The first song off “Term 2” was “Naked in the White House“, which is filled with visionary thoughts of Bellinger and his main squeeze, walking around naked in their home. Due to its potency, we had to replay this song several times before moving on to Make You Mine, a pure tropical fantasy tune.
“Make You Mine”
The Arrad-directed video stars Christina Milian. And it shows Bellinger on an exotic landscape, with an ocean nearby.
“Know/Vibes”
The third track, Know/Vibes featuring ELHAE, is intimate. And Bellinger reminds us that nothing last forever because time is of the essence. So, you gotta get it right, and get right to it. Don’t fake the funk, and make it happen with the one you love.
“Too Cool/Boujee”
Next, we listened to Too Cool/Boujee, a two-part song, which gives off a swaggering braggadocio effect that illuminates inner confident. It’s cool, it’s boujee, and it made us feel good about being who we are.
“Treat Yourself”
Then, Treat Yourself featuring Wale reminded us hard-working people that we gotta treat ourselves by buying the cars that we want to drive, and pulling up to that big house in a neighborhood we wanna live in. And, it won’t hurt to buy that bust-downed Rolex with a gold chain either. We replayed this track several times before moving on to the next one.
“Island”
On Island featuring Tayla Parx, Bellinger returns to the running around naked in the white house theme. But this time, it’s on an exotic island with his main squeeze, with a nearby table for two, probably filled with wine and sh*t like that. But, while the female is cooking, Bellinger is thinking about having her on the menu because she reminds him of wet dishes. Wet dishes? We can say, Bellinger’s imagination is at the peak of the songwriting industry, which is a good thing.
“Coastin”
Coastin pulls the curtains in, and Bellinger dimmers the light. Enough with all the sweet talkin’, wining and dining, now, it’s time for some action. So far, this is the most intimate time on “Eric B for President: Term 2”, and we know it’s going down when Bellinger sings, “Baby, you should come and ride my wave / You so lit, damn, you spark my interest / Let’s go surfing for a couple days / Hop on my board.”
“Malibu Nights”
Malibu Nights featuring Victoria Money is the actual lovemaking scene that we’ve been waiting for. Bellinger sings, “There’s something ’bout those Malibu nights, got me wondering if I could swim in your ocean, girl / Silhouette of your hips got me thinking ’bout stroking, girl.” And then, “Crash into me, I need you tonight / So, bring that lil body over here / Come let daddy whisper in your ear / I’ma tell you what you wanna hear / Rub my fingers through your hair / Put your legs up in the air like / Put them legs up in the air like /Taking off your underwear like…
Whoa-whoa-whoa-whoa, slow it down playboy. No doubt, Bellinger gets it in; and we declare “Eric B for President: Term 2” as an R&B treasure because it’s dope, replay-able, and we could visualize and relate to everything that Bellinger is singing about.
FUN FACT
Bellinger has been successfully leaking ink from his pen. He co-wrote two songs on Chris Brown’s Grammy-winning F.A.M.E., Brandy’s Without You, and Justin Bieber’s Right Here. But, his biggest hits came with Usher’s ‘Lemme See’ and Brown’s ‘Fine China’.
https://www.bongminesentertainment.com/eric-bellinger-term-2-album/
“Naked in the White House”
The first song off “Term 2” was “Naked in the White House“, which is filled with visionary thoughts of Bellinger and his main squeeze, walking around naked in their home. Due to its potency, we had to replay this song several times before moving on to Make You Mine, a pure tropical fantasy tune.
“Make You Mine”
The Arrad-directed video stars Christina Milian. And it shows Bellinger on an exotic landscape, with an ocean nearby.
“Know/Vibes”
The third track, Know/Vibes featuring ELHAE, is intimate. And Bellinger reminds us that nothing last forever because time is of the essence. So, you gotta get it right, and get right to it. Don’t fake the funk, and make it happen with the one you love.
“Too Cool/Boujee”
Next, we listened to Too Cool/Boujee, a two-part song, which gives off a swaggering braggadocio effect that illuminates inner confident. It’s cool, it’s boujee, and it made us feel good about being who we are.
“Treat Yourself”
Then, Treat Yourself featuring Wale reminded us hard-working people that we gotta treat ourselves by buying the cars that we want to drive, and pulling up to that big house in a neighborhood we wanna live in. And, it won’t hurt to buy that bust-downed Rolex with a gold chain either. We replayed this track several times before moving on to the next one.
“Island”
On Island featuring Tayla Parx, Bellinger returns to the running around naked in the white house theme. But this time, it’s on an exotic island with his main squeeze, with a nearby table for two, probably filled with wine and sh*t like that. But, while the female is cooking, Bellinger is thinking about having her on the menu because she reminds him of wet dishes. Wet dishes? We can say, Bellinger’s imagination is at the peak of the songwriting industry, which is a good thing.
“Coastin”
Coastin pulls the curtains in, and Bellinger dimmers the light. Enough with all the sweet talkin’, wining and dining, now, it’s time for some action. So far, this is the most intimate time on “Eric B for President: Term 2”, and we know it’s going down when Bellinger sings, “Baby, you should come and ride my wave / You so lit, damn, you spark my interest / Let’s go surfing for a couple days / Hop on my board.”
“Malibu Nights”
Malibu Nights featuring Victoria Money is the actual lovemaking scene that we’ve been waiting for. Bellinger sings, “There’s something ’bout those Malibu nights, got me wondering if I could swim in your ocean, girl / Silhouette of your hips got me thinking ’bout stroking, girl.” And then, “Crash into me, I need you tonight / So, bring that lil body over here / Come let daddy whisper in your ear / I’ma tell you what you wanna hear / Rub my fingers through your hair / Put your legs up in the air like / Put them legs up in the air like /Taking off your underwear like…
Whoa-whoa-whoa-whoa, slow it down playboy. No doubt, Bellinger gets it in; and we declare “Eric B for President: Term 2” as an R&B treasure because it’s dope, replay-able, and we could visualize and relate to everything that Bellinger is singing about.
FUN FACT
Bellinger has been successfully leaking ink from his pen. He co-wrote two songs on Chris Brown’s Grammy-winning F.A.M.E., Brandy’s Without You, and Justin Bieber’s Right Here. But, his biggest hits came with Usher’s ‘Lemme See’ and Brown’s ‘Fine China’.
https://www.bongminesentertainment.com/eric-bellinger-term-2-album/
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Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
David McK (3547 KP) rated The Shepherd's Crown in Books
Jan 28, 2019
THE FINAL DISCWORLD BOOK
Those four words were always going to make a long-time Discworld reader feel quite emotional, making it hard to objectively review the novel itself: are you reviewing this last peek into Pratchett's mirror reality, or are you reviewing the entire 41-book series? I'm going to try both:
THE SERIES
The first Disworld book I read (I'm pretty sure it was [b: Pyramids|64217|Pyramids (Discworld, #7)|Terry Pratchett|https://images.gr-assets.com/books/1439098306s/64217.jpg|968512]) wasn't actually the first in the series (that would be [b: The Colour of Magic|833512|The Colour of Magic The Illustrated Screenplay|Vadim Jean|https://images.gr-assets.com/books/1347346368s/833512.jpg|17589693]), although I did later go back and read the earlier works. Reading them in order released (as opposed to one of the numerous Discworld Reading Order Guides: I'm quite partial to the 'Unofficial Discworld Reading Order Guide'), you can see how Terry Pratchett's writing style evolved, how he moved from outright satire to a more subtle comedy fantasy that holds a mirror up to real-world issues. Personally, I feel he was at his best at around the mid-way point of the series (say, [b: Maskerade|64305|Maskerade The Play|Terry Pratchett|https://images.gr-assets.com/books/1170622047s/64305.jpg|62427] or [b: Men at Arms|7557548|Men at Arms The Play|Terry Pratchett|https://images.gr-assets.com/books/1353573652s/7557548.jpg|9910828], after he'd found his feet (so-to-speak), but before the 'embuggerance' of his posterior cortical atrophy set in and the novels - perhaps understandably - started becoming almost too serious.
Throughout the series, there was a rich tapestry of characters introduced, from CMOT Dibbler through to the Patrician of Ankh-Morpork, with certain groups of characters (e.g. The City Watch) effectively becoming a sub-series in their own right. One of those groups - Granny Weatherwax (first introduced in [b: Equal Rites|34507|Equal Rites (Discworld, #3; Witches, #1)|Terry Pratchett|https://images.gr-assets.com/books/1407706800s/34507.jpg|583611] and The Witches of Lancre (first introduced in [b: Wyrd Sisters|233664|Wyrd Sisters The Play|Terry Pratchett|https://images.gr-assets.com/books/1388363090s/233664.jpg|17589683] - would later themselves have 'guest spots' in another group of such characters, ostensibly written for Young Adult Readers but still very enjoyable for older; the Nac Mac Feegles (Crivens!) and Tiffany Aching, both of who first appeared in [b: The Wee Free Men|7881001|The Wee Free Men The Beginning (Discworld, #30 & #32)|Terry Pratchett|https://images.gr-assets.com/books/1388181365s/7881001.jpg|22017239]. Which nicely brings me to:
THE NOVEL ITSELF
'The Shepherd's Crown' sees a return of both Tiffany Aching, now a young Witch setting out on her career path, and those Nac Mac Feegles. There's a strong sense of change throughout, kicked off by the surprising early exit of a previous major character in the entire series, leading to old foes - the Elves - to try to make their way back into the world. These Elves, remember, are *not* the dainty do-gooders of Tolkien: these are nasty, malicious, self-serving creatures who last attempted to invade in [b: Lords and Ladies|34529|Lords and Ladies (Discworld, #14; Witches #4)|Terry Pratchett|https://images.gr-assets.com/books/1469186110s/34529.jpg|1185086], before eventually being defeated by Granny Weatherwax, Nanny Ogg and Magrat Garlik. Those three characters make a return in this, as well as bit-parts for the Arch-Chancellor of Unseen University, Ponder Stibbons (and HEX) alongside King Verence and the Patrician. Despite all these, the novel, however, is really Tiffany's story, and of how she finds her feet in the circumstances into which she is rather abruptly thrown. There's also a plot element that recalls [b: Equal Rites|34507|Equal Rites (Discworld, #3; Witches, #1)|Terry Pratchett|https://images.gr-assets.com/books/1407706800s/34507.jpg|583611]: that of a person wanting to do a role that is generally considered to be that for a member of the opposite sex.
As always, footnotes are present and correct, with the novel even raising a few laugh-out-loud moments. While the story does finish with the words 'THE END', the world itself will continue on: all that has come to an end is our ability to peek into it.
In the words of the Nac Mac Feegle: "Waily waily waily ..."
Rating for the series: 5*
Rating for the novel: 4*
Those four words were always going to make a long-time Discworld reader feel quite emotional, making it hard to objectively review the novel itself: are you reviewing this last peek into Pratchett's mirror reality, or are you reviewing the entire 41-book series? I'm going to try both:
THE SERIES
The first Disworld book I read (I'm pretty sure it was [b: Pyramids|64217|Pyramids (Discworld, #7)|Terry Pratchett|https://images.gr-assets.com/books/1439098306s/64217.jpg|968512]) wasn't actually the first in the series (that would be [b: The Colour of Magic|833512|The Colour of Magic The Illustrated Screenplay|Vadim Jean|https://images.gr-assets.com/books/1347346368s/833512.jpg|17589693]), although I did later go back and read the earlier works. Reading them in order released (as opposed to one of the numerous Discworld Reading Order Guides: I'm quite partial to the 'Unofficial Discworld Reading Order Guide'), you can see how Terry Pratchett's writing style evolved, how he moved from outright satire to a more subtle comedy fantasy that holds a mirror up to real-world issues. Personally, I feel he was at his best at around the mid-way point of the series (say, [b: Maskerade|64305|Maskerade The Play|Terry Pratchett|https://images.gr-assets.com/books/1170622047s/64305.jpg|62427] or [b: Men at Arms|7557548|Men at Arms The Play|Terry Pratchett|https://images.gr-assets.com/books/1353573652s/7557548.jpg|9910828], after he'd found his feet (so-to-speak), but before the 'embuggerance' of his posterior cortical atrophy set in and the novels - perhaps understandably - started becoming almost too serious.
Throughout the series, there was a rich tapestry of characters introduced, from CMOT Dibbler through to the Patrician of Ankh-Morpork, with certain groups of characters (e.g. The City Watch) effectively becoming a sub-series in their own right. One of those groups - Granny Weatherwax (first introduced in [b: Equal Rites|34507|Equal Rites (Discworld, #3; Witches, #1)|Terry Pratchett|https://images.gr-assets.com/books/1407706800s/34507.jpg|583611] and The Witches of Lancre (first introduced in [b: Wyrd Sisters|233664|Wyrd Sisters The Play|Terry Pratchett|https://images.gr-assets.com/books/1388363090s/233664.jpg|17589683] - would later themselves have 'guest spots' in another group of such characters, ostensibly written for Young Adult Readers but still very enjoyable for older; the Nac Mac Feegles (Crivens!) and Tiffany Aching, both of who first appeared in [b: The Wee Free Men|7881001|The Wee Free Men The Beginning (Discworld, #30 & #32)|Terry Pratchett|https://images.gr-assets.com/books/1388181365s/7881001.jpg|22017239]. Which nicely brings me to:
THE NOVEL ITSELF
'The Shepherd's Crown' sees a return of both Tiffany Aching, now a young Witch setting out on her career path, and those Nac Mac Feegles. There's a strong sense of change throughout, kicked off by the surprising early exit of a previous major character in the entire series, leading to old foes - the Elves - to try to make their way back into the world. These Elves, remember, are *not* the dainty do-gooders of Tolkien: these are nasty, malicious, self-serving creatures who last attempted to invade in [b: Lords and Ladies|34529|Lords and Ladies (Discworld, #14; Witches #4)|Terry Pratchett|https://images.gr-assets.com/books/1469186110s/34529.jpg|1185086], before eventually being defeated by Granny Weatherwax, Nanny Ogg and Magrat Garlik. Those three characters make a return in this, as well as bit-parts for the Arch-Chancellor of Unseen University, Ponder Stibbons (and HEX) alongside King Verence and the Patrician. Despite all these, the novel, however, is really Tiffany's story, and of how she finds her feet in the circumstances into which she is rather abruptly thrown. There's also a plot element that recalls [b: Equal Rites|34507|Equal Rites (Discworld, #3; Witches, #1)|Terry Pratchett|https://images.gr-assets.com/books/1407706800s/34507.jpg|583611]: that of a person wanting to do a role that is generally considered to be that for a member of the opposite sex.
As always, footnotes are present and correct, with the novel even raising a few laugh-out-loud moments. While the story does finish with the words 'THE END', the world itself will continue on: all that has come to an end is our ability to peek into it.
In the words of the Nac Mac Feegle: "Waily waily waily ..."
Rating for the series: 5*
Rating for the novel: 4*
Gareth von Kallenbach (980 KP) rated Super 8 (2011) in Movies
Aug 7, 2019
Writer/Director/Producer JJ Abramas is one of film and televisions hottest talents. With credits that include Lost, Fringe, Alias, “Mission Impossible 3“, “Cloverfield“, and “Star Trek” on his resume and several projects in the works, Abrams is one of the shining young talents in Hollywood.
For his new film “Super 8” Abrams uses a small Ohio town in the summer of 1979 to set the stage for his tale about a group of friends who while shooting a zombie film project make a discovery that will shake the foundation of their rural community.
Following the tragic death of his mother in a mill accident, Joe Lamb (Joel Courtney), is deep in dispair over his loss. His father deputy Lamb (Kyle Chandler), is focused on his work and with this own grieving that he has no time to bond with his son.
When summer break arrives deputy Lamb thinks that Joe would be better off spedning a few weeks at a baseball camp instead of associating with his friends and making what he believes is a stupid zombie film.
Wishing to stay with his friends, Joe works to help his friend Charles (Riley Griffiths), finish his Super 8 film for a contest by providing the makeup for the film. When the group of friends sneak out one evening to film scenes at a train platform they are thrilled to have a local girl named Alice (Elle Fanning), on board the production. Joe has long had interest in Alice and the fact that she has borrowed her fathers car to drive them despite having her license is a big plus.
The filming is going well when they notice a truck driving into the path of an oncoming train and setting off a spectacular derailment and series of explosions.
When the smoke clears the friends learn that the truck was driven by their high school biology teacher who warns them not to say a word as their lives as well as their families lives will be in danger .
The friends return to town and keep quiet about what they have seen even when the military shows up and is clearly hiding something from the local population. When a series of bizzare events start to unfold it becomes clear that something has escaped from the train wreckage, and it is something that the military will go to any lengths to recover and are not about to let anyone stand in their way.
Caught between the military and a creature on the loose, Joe and his friends must find a way to get to the truth and save their town and friends before its to late.
The film moves at a very steady pace that does not lend itself to an action film. The movie is a character driven film about the youngsters and their coming of age relationships with one another as they are faced with a situation beyond their comprehension.
There is a good amount of humor in the film and the youngcast does very well with one another. I especially liked the character of Cary (Ryan Lee), who is obsesses with explosives and blowing things up. He provided plenety of light moments in the film as did other cast members who brought humanity to their parts with their foibles like having a weak stomach in times of stress.
My biggest issue with the film was that as good as the cast was the pacing was to slow as there was not enough action and suspense to sustain the films premise. The reveal of the creature was fairly matter of fact and lacked any real tension or surprise.
The film also suffered from having the adults in the film for the most part come across as incompetant individuals which forced the children to take action.
While this can be overlooked, I think the film could have used some more action and suspense as well as a tighter transition and pacing to the films final act as it came across as all to familiar with very little in the way of suspense or thrills.
“Super 8” played out as JJ Abrams nostalgic homage to the Steven Spielberg (who produced the film) movies of his childhood which so clearly influenced him. I saw many elements of Spielberg directed or produced classic such as the shadowy authority figures, child heroes, and the sense of wonder and growing up that made such fims as “E.T”, “Close Encounters of the Third Kind”, “Gremlins” and “The Goonies” such beloved films.
That being said, “Super 8” is a fun and entertaining summer film that is enjoyable if not original. The nostalgic soundtrack and look of the era is captured well and provides for a pleasant summer distraction.
For his new film “Super 8” Abrams uses a small Ohio town in the summer of 1979 to set the stage for his tale about a group of friends who while shooting a zombie film project make a discovery that will shake the foundation of their rural community.
Following the tragic death of his mother in a mill accident, Joe Lamb (Joel Courtney), is deep in dispair over his loss. His father deputy Lamb (Kyle Chandler), is focused on his work and with this own grieving that he has no time to bond with his son.
When summer break arrives deputy Lamb thinks that Joe would be better off spedning a few weeks at a baseball camp instead of associating with his friends and making what he believes is a stupid zombie film.
Wishing to stay with his friends, Joe works to help his friend Charles (Riley Griffiths), finish his Super 8 film for a contest by providing the makeup for the film. When the group of friends sneak out one evening to film scenes at a train platform they are thrilled to have a local girl named Alice (Elle Fanning), on board the production. Joe has long had interest in Alice and the fact that she has borrowed her fathers car to drive them despite having her license is a big plus.
The filming is going well when they notice a truck driving into the path of an oncoming train and setting off a spectacular derailment and series of explosions.
When the smoke clears the friends learn that the truck was driven by their high school biology teacher who warns them not to say a word as their lives as well as their families lives will be in danger .
The friends return to town and keep quiet about what they have seen even when the military shows up and is clearly hiding something from the local population. When a series of bizzare events start to unfold it becomes clear that something has escaped from the train wreckage, and it is something that the military will go to any lengths to recover and are not about to let anyone stand in their way.
Caught between the military and a creature on the loose, Joe and his friends must find a way to get to the truth and save their town and friends before its to late.
The film moves at a very steady pace that does not lend itself to an action film. The movie is a character driven film about the youngsters and their coming of age relationships with one another as they are faced with a situation beyond their comprehension.
There is a good amount of humor in the film and the youngcast does very well with one another. I especially liked the character of Cary (Ryan Lee), who is obsesses with explosives and blowing things up. He provided plenety of light moments in the film as did other cast members who brought humanity to their parts with their foibles like having a weak stomach in times of stress.
My biggest issue with the film was that as good as the cast was the pacing was to slow as there was not enough action and suspense to sustain the films premise. The reveal of the creature was fairly matter of fact and lacked any real tension or surprise.
The film also suffered from having the adults in the film for the most part come across as incompetant individuals which forced the children to take action.
While this can be overlooked, I think the film could have used some more action and suspense as well as a tighter transition and pacing to the films final act as it came across as all to familiar with very little in the way of suspense or thrills.
“Super 8” played out as JJ Abrams nostalgic homage to the Steven Spielberg (who produced the film) movies of his childhood which so clearly influenced him. I saw many elements of Spielberg directed or produced classic such as the shadowy authority figures, child heroes, and the sense of wonder and growing up that made such fims as “E.T”, “Close Encounters of the Third Kind”, “Gremlins” and “The Goonies” such beloved films.
That being said, “Super 8” is a fun and entertaining summer film that is enjoyable if not original. The nostalgic soundtrack and look of the era is captured well and provides for a pleasant summer distraction.
Movie Metropolis (309 KP) rated Avengers: Endgame (2019) in Movies
Jun 10, 2019
The MCU will never be the same again
I’m not going to sit here and tell you that Avengers: Endgame is the best movie of the MCU, because frankly; it isn’t. It’s not even in my top three. However, as a culmination of everything Marvel has been working up to since 2008, it has to be applauded.
From a technical standpoint, Endgame is like nothing else we’ve ever seen come to the big screen, with a cast that pushes the film to breaking point, characters we remember from movies past and some we had perhaps forgotten about hit the screen in epic fashion. But how good is the finished product?
Adrift in space with no food or water, Tony Stark sends a message to Pepper Potts as his oxygen supply starts to dwindle. Meanwhile, the remaining Avengers – Thor, Black Widow, Captain America and Bruce Banner – must figure out a way to bring back their vanquished allies for an epic showdown with Thanos – the evil demigod who decimated the planet and the universe.
Directors Joe and Anthony Russo, who have by this point, helmed four MCU movies including the brilliant Captain America: Civil War are a safe pair of hands for this incredible feat of film-making, even if the movie feels overstuffed from time to time.
The film starts off exceptionally, with beautiful cinematography lending itself to some intriguing character development. Let’s not forget that we’ve been growing with some of these characters for 10 years and yet Endgame still manages to surprise and delight with new facets of their personalities.
This is helped of course by the tightly written script, but is mainly down to the actors who portray these icons of cinema. Robert Downey Jr is the best he’s been since the solo Iron Man movies and both Chris Evans and Hemsworth are immensely likeable as Captain America and Thor respectively. Unfortunately, Thor’s character arc here is a little disappointing as the Russo’s turn him into the butt of too many jokes – he is the god of thunder after all.
Where the film does suffer is with some of the newer characters. Brie Larson’s irritating Carol Danvers gets far too much screen time for someone so new to the franchise, and this sometimes feels at the expense of better, more established fan favourites. There’s nothing particularly wrong with her Captain Marvel, but she’s wooden and remains unlikeable, as she did in her solo outing earlier this year.
One individual that does standout however is Karen Gillan’s, Nebula. Always a secondary character up to this point, it’s fantastic to see her blossom and fully embody the personality of the troubled cyborg. In fact, she’s probably the best character across the entire running time.
Moments that should have more poignancy don’t get the respect they deserve
Josh Brolin’s Thanos is as intimidating as ever, though perhaps not as much as he was in last year’s Infinity War. And while the script-writing and humour are as spot on as you can imagine for a movie baring the MCU badge of honour, the Russo brothers are forced to re-write some of the franchise’s own rules – for plot reasons of course.
For fans of the entire universe, this proves unnerving but as with any series that’s lasted this long, some artistic license needs to be taken to keep it feeling fresh.
One thing that can’t be criticised however is the pacing. For a film a little over three hours long, Endgame never feels dull. Sure, there are moments that could have been trimmed down, but from thrilling set piece to thrilling set piece, the film steamrolls itself into a final hour that will have your jaw hitting the floor numerous times.
From a special effects standpoint, Endgame deserves praise. It would be easy to criticise the film for overflowing with CGI rather than the practical effects that the Star Wars and Jurassic franchises rely on, but this would be doing a disservice to the wonderful work the effects teams have done on this film. At no point are you under the illusion that this is all real, but it’s the best the MCU has been, especially towards the finale.
Nevertheless, the sheer scope of the film proves to be its undoing at times. Moments that should have more poignancy don’t get the respect they deserve and the number of characters vying for screen time naturally means some sacrifices needed to be made here and there.
Overall, Avengers: Endgame is a fitting tribute to the 21 films that came before it and acts as a cathartic exercise, putting to rest over a decade of thrilling, emotional and exciting movies. It’s action packed to the point of being exhausting and is, if you’ll pardon the pun, a technical marvel, but it just doesn’t quite hit the same heights as Infinity War and dare I say it, Thor: Ragnarok. As I stated at the beginning of this review, it would be easy for me to say Endgame is the best film in the franchise, but that would be doing a disservice to you the readers and the incredible films that truly deserve that title.
https://moviemetropolis.net/2019/04/27/avengers-endgame-review-the-mcu-will-never-be-the-same-again/
From a technical standpoint, Endgame is like nothing else we’ve ever seen come to the big screen, with a cast that pushes the film to breaking point, characters we remember from movies past and some we had perhaps forgotten about hit the screen in epic fashion. But how good is the finished product?
Adrift in space with no food or water, Tony Stark sends a message to Pepper Potts as his oxygen supply starts to dwindle. Meanwhile, the remaining Avengers – Thor, Black Widow, Captain America and Bruce Banner – must figure out a way to bring back their vanquished allies for an epic showdown with Thanos – the evil demigod who decimated the planet and the universe.
Directors Joe and Anthony Russo, who have by this point, helmed four MCU movies including the brilliant Captain America: Civil War are a safe pair of hands for this incredible feat of film-making, even if the movie feels overstuffed from time to time.
The film starts off exceptionally, with beautiful cinematography lending itself to some intriguing character development. Let’s not forget that we’ve been growing with some of these characters for 10 years and yet Endgame still manages to surprise and delight with new facets of their personalities.
This is helped of course by the tightly written script, but is mainly down to the actors who portray these icons of cinema. Robert Downey Jr is the best he’s been since the solo Iron Man movies and both Chris Evans and Hemsworth are immensely likeable as Captain America and Thor respectively. Unfortunately, Thor’s character arc here is a little disappointing as the Russo’s turn him into the butt of too many jokes – he is the god of thunder after all.
Where the film does suffer is with some of the newer characters. Brie Larson’s irritating Carol Danvers gets far too much screen time for someone so new to the franchise, and this sometimes feels at the expense of better, more established fan favourites. There’s nothing particularly wrong with her Captain Marvel, but she’s wooden and remains unlikeable, as she did in her solo outing earlier this year.
One individual that does standout however is Karen Gillan’s, Nebula. Always a secondary character up to this point, it’s fantastic to see her blossom and fully embody the personality of the troubled cyborg. In fact, she’s probably the best character across the entire running time.
Moments that should have more poignancy don’t get the respect they deserve
Josh Brolin’s Thanos is as intimidating as ever, though perhaps not as much as he was in last year’s Infinity War. And while the script-writing and humour are as spot on as you can imagine for a movie baring the MCU badge of honour, the Russo brothers are forced to re-write some of the franchise’s own rules – for plot reasons of course.
For fans of the entire universe, this proves unnerving but as with any series that’s lasted this long, some artistic license needs to be taken to keep it feeling fresh.
One thing that can’t be criticised however is the pacing. For a film a little over three hours long, Endgame never feels dull. Sure, there are moments that could have been trimmed down, but from thrilling set piece to thrilling set piece, the film steamrolls itself into a final hour that will have your jaw hitting the floor numerous times.
From a special effects standpoint, Endgame deserves praise. It would be easy to criticise the film for overflowing with CGI rather than the practical effects that the Star Wars and Jurassic franchises rely on, but this would be doing a disservice to the wonderful work the effects teams have done on this film. At no point are you under the illusion that this is all real, but it’s the best the MCU has been, especially towards the finale.
Nevertheless, the sheer scope of the film proves to be its undoing at times. Moments that should have more poignancy don’t get the respect they deserve and the number of characters vying for screen time naturally means some sacrifices needed to be made here and there.
Overall, Avengers: Endgame is a fitting tribute to the 21 films that came before it and acts as a cathartic exercise, putting to rest over a decade of thrilling, emotional and exciting movies. It’s action packed to the point of being exhausting and is, if you’ll pardon the pun, a technical marvel, but it just doesn’t quite hit the same heights as Infinity War and dare I say it, Thor: Ragnarok. As I stated at the beginning of this review, it would be easy for me to say Endgame is the best film in the franchise, but that would be doing a disservice to you the readers and the incredible films that truly deserve that title.
https://moviemetropolis.net/2019/04/27/avengers-endgame-review-the-mcu-will-never-be-the-same-again/
Chris Sawin (602 KP) rated Transformers (2007) in Movies
Jun 19, 2019 (Updated Jun 22, 2019)
Transformers being made into a live action film sounds like every fan's dream come true on paper, but throw Michael Bay into the equation and you lose a good portion of that audience. Bay is a director who tends to rely solely on action sequences. He's known for creating superb and intense scenes in his films, but they always rely on heavy explosions or pure destruction. That's not to say that's a bad thing, but it's hard to name a memorable scene in a Michael Bay film that doesn't include those elements. Everything else in his films (the story, the dialogue, the initial scenes that bridge the gap between each action sequence, etc) all seem to be lacking that extra spark his action sequences have. So those doubts carried over to Transformers and Bay's version seems to be more enjoyable for people who aren't rabid fans of the franchise.
The film revolves around the Autobots fighting off the Decepticons from gaining possession of the Allspark, which has the power to save them from extinction or grant them ultimate power. Optimus Prime, the leader of the Autobots, is trying to save Cybertron (their home planet) while Megatron, the leader of the Decepticons, wants to conquer the universe and will do whatever it takes to accomplish that goal. In 1935, Megatron had found the Allspark on Earth in the Arctic Ocean, but was eventually frozen in his quest to capture it. Megatron used the last of his energy to embed the location of the Allspark in the glasses of a captain who accidentally found Megatron buried deep beneath the ice. That captain was the great, great grandfather of Sam Witwicky who is now in possession of said glasses. In the present day, Sam's father buys Sam his first car; a yellow Camaro which turns out to be Autobot, Bumblebee. As the Transformers arrive on Earth, their first objectives are to find Sam Witwicky, acquire possession of the glasses, and hopefully attain an advantage over their enemy.
The movie relies solely on giant robots fighting each other to be the selling point of the film, so if you're expecting much else story-wise then you'll probably walk away from the film disappointed. The special effects are top notch as the Transformers themselves look incredibly realistic. Scenes in other films that rely heavily on characters that are purely computer generated have a sense of being unrealistic since it's usually noticeable that the actors on screen are reacting to something that isn't really there. CGI characters don't usually look this good though. Most of the time, when the actors interact with the computer generated characters, those actors also become computer generated. Like when Doctor Octopus carries Mary Jane up a skyscraper after kidnapping her from the coffee shop in Spider-Man 2 is a great example. They're both noticeably computer generated. While in Transformers, the actors either weren't CGI or the effect was achieved to a greater degree because it looked phenomenal and believable the entire time. As believable as transforming robots can be anyway. The fight scenes between the Autobots and the Decepticons are where the movie hooks its audience though. There is so much going on that the movie requires multiple viewings just to see everything that's going on.
While Transformers is an incredibly fun ride, it does have its down side. The humor of the film is often on the cheesy side and not really funny at all ("I NEED A CREDIT CARD," the entire Glen Whitmann character, Jazz's dialogue, "This is easily 100 times cooler than Armageddon," etc). A trait that seems to carry over into Revenge of the Fallen as the same sense of humor is in the trailer footage. Another issue is the action scenes. While they are intriguing, they're also incredibly confusing most of the time. The camera is almost always too close during those sequences and telling the difference between an Autobot and a Decepticon while they're rolling around in the air is near impossible. The camera looks like it's pulled out a bit in Revenge of the Fallen, so hopefully that problem has been addressed and taken care of. Looks like we'll find out June 24th.
Despite hardcore Transformers fans being displeased (to say the least) with the film, it can't be denied that the 2007 film was one of the biggest blockbuster films at the box office that year. Transformers is exciting and action packed from beginning to end. It is basically a two and a half hour adrenaline rush. So, bottom line, see Transformers if you're looking for an action packed adventure that'll make your heart race and put you on the edge of your seat.
The film revolves around the Autobots fighting off the Decepticons from gaining possession of the Allspark, which has the power to save them from extinction or grant them ultimate power. Optimus Prime, the leader of the Autobots, is trying to save Cybertron (their home planet) while Megatron, the leader of the Decepticons, wants to conquer the universe and will do whatever it takes to accomplish that goal. In 1935, Megatron had found the Allspark on Earth in the Arctic Ocean, but was eventually frozen in his quest to capture it. Megatron used the last of his energy to embed the location of the Allspark in the glasses of a captain who accidentally found Megatron buried deep beneath the ice. That captain was the great, great grandfather of Sam Witwicky who is now in possession of said glasses. In the present day, Sam's father buys Sam his first car; a yellow Camaro which turns out to be Autobot, Bumblebee. As the Transformers arrive on Earth, their first objectives are to find Sam Witwicky, acquire possession of the glasses, and hopefully attain an advantage over their enemy.
The movie relies solely on giant robots fighting each other to be the selling point of the film, so if you're expecting much else story-wise then you'll probably walk away from the film disappointed. The special effects are top notch as the Transformers themselves look incredibly realistic. Scenes in other films that rely heavily on characters that are purely computer generated have a sense of being unrealistic since it's usually noticeable that the actors on screen are reacting to something that isn't really there. CGI characters don't usually look this good though. Most of the time, when the actors interact with the computer generated characters, those actors also become computer generated. Like when Doctor Octopus carries Mary Jane up a skyscraper after kidnapping her from the coffee shop in Spider-Man 2 is a great example. They're both noticeably computer generated. While in Transformers, the actors either weren't CGI or the effect was achieved to a greater degree because it looked phenomenal and believable the entire time. As believable as transforming robots can be anyway. The fight scenes between the Autobots and the Decepticons are where the movie hooks its audience though. There is so much going on that the movie requires multiple viewings just to see everything that's going on.
While Transformers is an incredibly fun ride, it does have its down side. The humor of the film is often on the cheesy side and not really funny at all ("I NEED A CREDIT CARD," the entire Glen Whitmann character, Jazz's dialogue, "This is easily 100 times cooler than Armageddon," etc). A trait that seems to carry over into Revenge of the Fallen as the same sense of humor is in the trailer footage. Another issue is the action scenes. While they are intriguing, they're also incredibly confusing most of the time. The camera is almost always too close during those sequences and telling the difference between an Autobot and a Decepticon while they're rolling around in the air is near impossible. The camera looks like it's pulled out a bit in Revenge of the Fallen, so hopefully that problem has been addressed and taken care of. Looks like we'll find out June 24th.
Despite hardcore Transformers fans being displeased (to say the least) with the film, it can't be denied that the 2007 film was one of the biggest blockbuster films at the box office that year. Transformers is exciting and action packed from beginning to end. It is basically a two and a half hour adrenaline rush. So, bottom line, see Transformers if you're looking for an action packed adventure that'll make your heart race and put you on the edge of your seat.
Suswatibasu (1703 KP) rated Killers of the Flower Moon: The Osage Murder and the Birth of the FBI in Books
Nov 24, 2017 (Updated Nov 24, 2017)
Mind-blowing and a disconcerting read
I can say without a doubt, this is one of the best novels I've read this year. It is a disturbing and excellent real-life account of the plight of Native Americans who found themselves the unwitting beneficiaries of a financial boom in the 1920's after oil was discovered under the previously barren and worthless reservation they were moved to.
This fantastic book relates to a story covered in blood, racism and greed. Oil, black gold, made the Plains Osage tribe incredibly wealthy. By the 1890's, the remnants of this great people were in the scrub lands of Northern Oklahoma.
Their life was continually harsh, the soil poor. In the late 1890's, by chance, oil was struck in Osage County, flowing in abundance and in great demand. From 1918 to 1928, $202 million was paid to the tribe which by then numbered around 3000, transforming their lives. 680 barrels were obtained in a day in 1920 from a strike at Burbank, angering the whites and thus began the "Reign of Terror" in which hundreds of the Osage tribe members were subsequently killed in the most horrendous display of corruption.
The book itself begins in 1921 with an Osage woman who had a share of the mineral riches to be found under the Osage land. Mollie like others was subject to a law that treated her tribe as juveniles whose estates had to be administered by white guardians, that is local lawyers and businessmen, appointed by local courts.
Guardianship was unpoliced and few records were kept. Fraud was therefore prevalent and many of the local white community participated in corruption - murder was widespread as a result. Mollie's sister, Anna, was the first noticeable murder in which she was shot and killed, launching a major probe into similar killings in the area. Many other murders were committed over the following years, with poisoning as the most common method of killing. Essentially it was a covert form of genocide.
The locals refused to act, partly due to fear or involvement in this heinous plot, so J. Edgar Hoover, who was the first president of the FBI, became involved in the investigation. He sent a tall Texas Ranger called Tom White to scrutinise an epic series of murders in which even investigators were targets.
What follows is not only history but a riveting detective story and the book demonstrates yet again the enormous cost of American nationhood. It provides some fascinating insight into the early workings of the FBI (not least Hoover's nascent megalomania) for whom this was a celebrated case and a valuable reminder for folk who thought the persecution of American Indians ended in the late 19th century. Author and journalist David Grann does a superb job in collating all of the information with dozens of pages solely highlighting attributions and references - it is thorough and well-researched. Therefore it is hardly surprising that Hollywood has snapped up this book to turn it into a major motion picture - let's hope they don't whitewash history once again.
This fantastic book relates to a story covered in blood, racism and greed. Oil, black gold, made the Plains Osage tribe incredibly wealthy. By the 1890's, the remnants of this great people were in the scrub lands of Northern Oklahoma.
Their life was continually harsh, the soil poor. In the late 1890's, by chance, oil was struck in Osage County, flowing in abundance and in great demand. From 1918 to 1928, $202 million was paid to the tribe which by then numbered around 3000, transforming their lives. 680 barrels were obtained in a day in 1920 from a strike at Burbank, angering the whites and thus began the "Reign of Terror" in which hundreds of the Osage tribe members were subsequently killed in the most horrendous display of corruption.
The book itself begins in 1921 with an Osage woman who had a share of the mineral riches to be found under the Osage land. Mollie like others was subject to a law that treated her tribe as juveniles whose estates had to be administered by white guardians, that is local lawyers and businessmen, appointed by local courts.
Guardianship was unpoliced and few records were kept. Fraud was therefore prevalent and many of the local white community participated in corruption - murder was widespread as a result. Mollie's sister, Anna, was the first noticeable murder in which she was shot and killed, launching a major probe into similar killings in the area. Many other murders were committed over the following years, with poisoning as the most common method of killing. Essentially it was a covert form of genocide.
The locals refused to act, partly due to fear or involvement in this heinous plot, so J. Edgar Hoover, who was the first president of the FBI, became involved in the investigation. He sent a tall Texas Ranger called Tom White to scrutinise an epic series of murders in which even investigators were targets.
What follows is not only history but a riveting detective story and the book demonstrates yet again the enormous cost of American nationhood. It provides some fascinating insight into the early workings of the FBI (not least Hoover's nascent megalomania) for whom this was a celebrated case and a valuable reminder for folk who thought the persecution of American Indians ended in the late 19th century. Author and journalist David Grann does a superb job in collating all of the information with dozens of pages solely highlighting attributions and references - it is thorough and well-researched. Therefore it is hardly surprising that Hollywood has snapped up this book to turn it into a major motion picture - let's hope they don't whitewash history once again.