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LeftSideCut (3776 KP) rated Spider-Man 3 (2007) in Movies
Sep 24, 2020 (Updated Sep 24, 2020)
The third and final entry in the Sam Raimi trilogy of Spider-Man films is arguably the most well known, unfortunately for all the wrong reasons, and it's a real shame as there are flashes of greatness, but the finished product is a hot mess.
One of the main issues is of course the three big villains all battling for screentime. Sandman (Thomas Haden Church) is a great villain to add to the series, but his story is executed poorly, and includes a dumb retcon in a half arsed attempt to link him to the original film. It's just unnecessary and soils something that could have been good. And then there's Venom - A huge fan favourite villain who Sam Raimi apparently doesn't like, and it's evident. Eddie Brock (Topher Grace) is rushed into the narrative, and his reasons for hating Peter Parker feel forced as a result. Venoms inclusion feels a bit tacked on, and unfortunately reaks of studio meddling.
Other than that, there's also the issue of over confidence - the assumption that an audience wants to watch an edgy version of Tobey Maguire's Peter Parker swanning and dancing down a street is bold to say the least - I could even forgive the infamous scene if it wasn't immediately followed up with a second dance number in a jazz bar. I get that it's designed to portray the symbiote suits hold over Peter and his deteriorating character attributes, buts it's a massive shitty swing and a miss (much like the whole movie in general) that makes me want to scream.
It's not all bad though. All of the cast, new and familiar, are good. I think Bryce Dallas Howard is a great Gwen Stacy. It has some decent set pieces as well - the scene where Sandman is discovering his new powers is brilliant, as is the fight between him and black suit Spider-Man in the underground. I also quite enjoy the final showdown when we (finally) get to see Venom properly.
It's not enough though, and Spider-Man 3 ultimately is a flawed if ambitious comic book sequel.
One of the main issues is of course the three big villains all battling for screentime. Sandman (Thomas Haden Church) is a great villain to add to the series, but his story is executed poorly, and includes a dumb retcon in a half arsed attempt to link him to the original film. It's just unnecessary and soils something that could have been good. And then there's Venom - A huge fan favourite villain who Sam Raimi apparently doesn't like, and it's evident. Eddie Brock (Topher Grace) is rushed into the narrative, and his reasons for hating Peter Parker feel forced as a result. Venoms inclusion feels a bit tacked on, and unfortunately reaks of studio meddling.
Other than that, there's also the issue of over confidence - the assumption that an audience wants to watch an edgy version of Tobey Maguire's Peter Parker swanning and dancing down a street is bold to say the least - I could even forgive the infamous scene if it wasn't immediately followed up with a second dance number in a jazz bar. I get that it's designed to portray the symbiote suits hold over Peter and his deteriorating character attributes, buts it's a massive shitty swing and a miss (much like the whole movie in general) that makes me want to scream.
It's not all bad though. All of the cast, new and familiar, are good. I think Bryce Dallas Howard is a great Gwen Stacy. It has some decent set pieces as well - the scene where Sandman is discovering his new powers is brilliant, as is the fight between him and black suit Spider-Man in the underground. I also quite enjoy the final showdown when we (finally) get to see Venom properly.
It's not enough though, and Spider-Man 3 ultimately is a flawed if ambitious comic book sequel.
Shelle Perry (66 KP) rated Abide With Me : A Sister Agatha and Father Selwyn Mystery in Books
Dec 16, 2020
A young journalist is visiting Gwenafwy Abby, presumably writing a story on the new directions the church is taking. When she is found dead, Sister Agatha does not believe the theory of an accidental death. She starts a new notebook and dives into the case chasing down clues. Does the young woman’s death have something to do with scathing articles she has written in the past? Or, could it be an ex-boyfriend who just happens to show up in town, and just who was it seen entering the woman’s cottage after her death?Sister Agatha is a bit of a handful. She doesn’t do anything by half measures. One simply has to adore a nun who writes detective romance stories, has a murder club to help her with amateur sleuthing, and looks to famous literary detectives for advice. What would Miss Marple do??? Agatha’s weakness for cake lends itself to wonderful descriptions of mouthwatering traditional Welsh food. In this story, nearly everyone close to the Abby is a suspect. As much as Agatha and the reader want the killer to be found out and caught, it is likely that it will be heartbreaking for the nuns. Agatha keeps her moxie to the thrilling end of the investigation though.These are characters I would love to sit and visit with. From the put upon police department and store clerks to the individual sisters at the Abby. Maybe spend a few days learning to make cheese, especially since Gouda is my family’s fave.I loved the social commentary on modern technology and how it fits into a cloistered setting. Mostly I just giggled over the names of the shops in town, I won’t spoil them all, but, my favorites are The Fatted Calf farm to table market and Lettuce Eat Vegan.So why should you read this book? Because it is quirky, brilliant, softboiled Cozy at its best. The cast of characters and their personal stories will have you scrambling to read the first two books, or waiting impatiently for the next one.
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Bob Mann (459 KP) rated Love And Friendship (2016) in Movies
Sep 29, 2021
Beckinsale excels in a comic tale of Girl Power in the 1790’s.
Set in 1790, Kate Beckinsale plays Lady Susan Vernon, an 18th century cuckoo-like ‘MILF’ (actually, more ‘LILF’, but using the ‘Lady’ term loosely) who with her glamourous demeanor is lusted after by both younger beaus as well as married aristocracy: an example being Lord Manwaring (Lochlann O’Mearáin).
Playing many different ends against the middle, Lady Susan – with the collusion of her American friend Alicia (Chloë Sevigny) – attempts to both find a suitably rich suitor for her daughter Frederica (Morfydd Clark) as well as finding a rich husband for herself to allow her to stay in the manor (sic) to which she has become accustomed. A tale of deception, pregnancy and a marriage of convenience follows: does Lady Susan have to choose between her sexual desires and the rich, stupid and dull Sir James Martin (Tom Bennett, “David Brent: Life on the Road”). Or can she have her cake and eat it?
Based on a Jane Austen short story, “Lady Susan”, this is a delight from beginning to end. However, it does require the attention of the viewer: characters get introduced to you in rapid fire succession, and keeping track of who’s who and how they interrelate is quite a challenge.
But this is a tour de force for Kate “Underworld” Beckinsale who delivers a depth of acting ability that I’ve not seen from her in the past. Her comic timing is just sublime, and while comedies are often overlooked in Awards season, this is a role for which she richly deserves both BAFTA and Oscar recognition.
Stephen Fry joins what is a superb ensemble cast. But outstanding among them is Tom Bennett who is simply hilarious as the nice but dim Sir James. The comic routine about his misunderstanding of “Churchill” (Church – Hill) – a running gag – is sublime and a challenger (with “Was that it t’were so simple”) for the comedy routine of the year.
Directed by Whit Stilman (“The Last Days of Disco”) from his own screenplay, this is one for the more sophisticated viewer: requiring of your full attention, but a treat for the eyes, ears and brain.
Playing many different ends against the middle, Lady Susan – with the collusion of her American friend Alicia (Chloë Sevigny) – attempts to both find a suitably rich suitor for her daughter Frederica (Morfydd Clark) as well as finding a rich husband for herself to allow her to stay in the manor (sic) to which she has become accustomed. A tale of deception, pregnancy and a marriage of convenience follows: does Lady Susan have to choose between her sexual desires and the rich, stupid and dull Sir James Martin (Tom Bennett, “David Brent: Life on the Road”). Or can she have her cake and eat it?
Based on a Jane Austen short story, “Lady Susan”, this is a delight from beginning to end. However, it does require the attention of the viewer: characters get introduced to you in rapid fire succession, and keeping track of who’s who and how they interrelate is quite a challenge.
But this is a tour de force for Kate “Underworld” Beckinsale who delivers a depth of acting ability that I’ve not seen from her in the past. Her comic timing is just sublime, and while comedies are often overlooked in Awards season, this is a role for which she richly deserves both BAFTA and Oscar recognition.
Stephen Fry joins what is a superb ensemble cast. But outstanding among them is Tom Bennett who is simply hilarious as the nice but dim Sir James. The comic routine about his misunderstanding of “Churchill” (Church – Hill) – a running gag – is sublime and a challenger (with “Was that it t’were so simple”) for the comedy routine of the year.
Directed by Whit Stilman (“The Last Days of Disco”) from his own screenplay, this is one for the more sophisticated viewer: requiring of your full attention, but a treat for the eyes, ears and brain.
This book held me in its spell from start to finish. Is that a bit too corny, considering it’s about witches? Actually, I don’t care, because it’s true!
It’s spellbinding, in fact.
Three generations of witches tell the stories of how they came into their power despite the interference of society and men (mainly men though 🤷🏼♀️).
In 1619, Altha Weyward is on trial for witchcraft, and whilst she’s in the towns prison she reminisces over her mother, her life before, everything she has learnt and the circumstances that led up to her incarceration. Altha had the knowledge needed to help people, but that same knowledge put her in danger from the church and general ignorance (and we can’t have women knowing more than men, can we!)
In 1942, Violet Ayres lives a very restricted life, tucked away from the rest of the world in her family home. She has only two clues about her heritage: her dead mothers locket with a “W” inscribed and the word “Weyward” scratched into the skirting board under her bed.
2019, Kate Ayres escapes a violent relationship in London and flees to Weyward cottage - the house her Aunt Violet had left her in her will. It’s a wild, unkempt, rundown house and garden, but it’s what Kate needs. She finds Altha’s diaries, some writings from Violet, and begins to learn about her true inheritance.
I just loved this book so much. Women taking control of their lives away from the men who would control them. Nature and magic is woven throughout, and nothing feels far-fetched or unbelievable.
I loved the alternating chapters between the three women, and this was probably the main reason why I couldn’t put it down. I needed to know what was going to happen to each of them next.
What more can I say? This WILL be high up in my favourite books this year. And to have read it in February!! How lucky am I!
I can’t wait to see what Emilia Hart writes next.
Many thanks to NetGalley and Harper Collins UK for my ebook copy of this book to read and review. Of course these are my own opinions!
It’s spellbinding, in fact.
Three generations of witches tell the stories of how they came into their power despite the interference of society and men (mainly men though 🤷🏼♀️).
In 1619, Altha Weyward is on trial for witchcraft, and whilst she’s in the towns prison she reminisces over her mother, her life before, everything she has learnt and the circumstances that led up to her incarceration. Altha had the knowledge needed to help people, but that same knowledge put her in danger from the church and general ignorance (and we can’t have women knowing more than men, can we!)
In 1942, Violet Ayres lives a very restricted life, tucked away from the rest of the world in her family home. She has only two clues about her heritage: her dead mothers locket with a “W” inscribed and the word “Weyward” scratched into the skirting board under her bed.
2019, Kate Ayres escapes a violent relationship in London and flees to Weyward cottage - the house her Aunt Violet had left her in her will. It’s a wild, unkempt, rundown house and garden, but it’s what Kate needs. She finds Altha’s diaries, some writings from Violet, and begins to learn about her true inheritance.
I just loved this book so much. Women taking control of their lives away from the men who would control them. Nature and magic is woven throughout, and nothing feels far-fetched or unbelievable.
I loved the alternating chapters between the three women, and this was probably the main reason why I couldn’t put it down. I needed to know what was going to happen to each of them next.
What more can I say? This WILL be high up in my favourite books this year. And to have read it in February!! How lucky am I!
I can’t wait to see what Emilia Hart writes next.
Many thanks to NetGalley and Harper Collins UK for my ebook copy of this book to read and review. Of course these are my own opinions!