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Bong Mines Entertainment (15 KP) rated Favorite Flavor by Virgin Miri in Music
Jun 17, 2019
Virgin Miri is a singer-songwriter from Sweden. Not too long ago, she released a bouncy Scandi-pop tune, entitled, “Favorite Flavor”.
“When I wake, I wanna bake ya and hide your clothes. You can stay with me forever, I wanna overdose. I can’t get enough of you. Can I keep you in my room? Wear you like a new perfume. I can’t get enough, you’re my favorite flavor. Spicy chili, baby, hotter than a fever.” – lyrics
‘Favorite Flavor’ tells a slightly psychotic tale of a young woman who enjoys a perfect sleepover with her significant other.
Apparently, she has no self-control when he’s around, and every day she can’t seem to get enough of him.
Later, she admits that when she’s done with him, she’s going to wrap him up like candy and save him for later.
‘Favorite Flavor’ contains a dreamy storyline, pleasant vocals, and bouncy instrumentation flavored with playful synths and sticky kicks.
Also, the likable tune was partly inspired by a friend who hugged her bunny so hard it suffocated.
“‘Favorite Flavor’ is a love song about the honeymoon phase. When you can’t sleep because the butterflies in your belly keep you up. And you just want to hang out and make out forever.” – Virgin Miri
As a teen, Virgin Miri co-founded the controversial pop-duo, Cupid Kidz, “Sweden’s most dangerous band” according to Channel 4 News.
After a few age-restricted music videos and getting banned in the city of Falun, she moved to New York to chase the American dream.
Two years later, she found herself with an expired visa and a broken heart. She quit her job, boyfriend, and hairstyle. Also, she bought a one-way ticket to Mexico, where she crashed her best friend’s honeymoon.
Under a palm tree by the Caribbean sea, she ate 200 tacos and wrote 200 songs. With a new sound, she returned home to reside and create bedroom pop in her dad’s Stockholm office.
‘Favorite Flavor’ is the first single from Virgin Miri’s upcoming debut EP, which was written and produced with Hessam Esfahani.
https://www.bongminesentertainment.com/virgin-miri-favorite-flavor/
“When I wake, I wanna bake ya and hide your clothes. You can stay with me forever, I wanna overdose. I can’t get enough of you. Can I keep you in my room? Wear you like a new perfume. I can’t get enough, you’re my favorite flavor. Spicy chili, baby, hotter than a fever.” – lyrics
‘Favorite Flavor’ tells a slightly psychotic tale of a young woman who enjoys a perfect sleepover with her significant other.
Apparently, she has no self-control when he’s around, and every day she can’t seem to get enough of him.
Later, she admits that when she’s done with him, she’s going to wrap him up like candy and save him for later.
‘Favorite Flavor’ contains a dreamy storyline, pleasant vocals, and bouncy instrumentation flavored with playful synths and sticky kicks.
Also, the likable tune was partly inspired by a friend who hugged her bunny so hard it suffocated.
“‘Favorite Flavor’ is a love song about the honeymoon phase. When you can’t sleep because the butterflies in your belly keep you up. And you just want to hang out and make out forever.” – Virgin Miri
As a teen, Virgin Miri co-founded the controversial pop-duo, Cupid Kidz, “Sweden’s most dangerous band” according to Channel 4 News.
After a few age-restricted music videos and getting banned in the city of Falun, she moved to New York to chase the American dream.
Two years later, she found herself with an expired visa and a broken heart. She quit her job, boyfriend, and hairstyle. Also, she bought a one-way ticket to Mexico, where she crashed her best friend’s honeymoon.
Under a palm tree by the Caribbean sea, she ate 200 tacos and wrote 200 songs. With a new sound, she returned home to reside and create bedroom pop in her dad’s Stockholm office.
‘Favorite Flavor’ is the first single from Virgin Miri’s upcoming debut EP, which was written and produced with Hessam Esfahani.
https://www.bongminesentertainment.com/virgin-miri-favorite-flavor/
Movie Metropolis (309 KP) rated The First Purge (2018) in Movies
Jun 10, 2019
Yet another wasted opportunity
Yes! Get in! Finally, the producers over at Platinum Dunes and Blumhouse realised that what fans of the Purge series were wanting was a look at how the night of legalised crime came to be. It’s all we’ve been asking for since 2013 after all.
After three films of decent quality in which the second, Purge: Anarchy is the highlight, The First Purge promises to shake up the formula by introducing a prequel into the horror franchise. But does it do enough to stop the series from feeling stale or are we looking at yet another paint-by-numbers horror flick?
No. That’s the short answer anyway. Director Gerard McMurray falls into all the usual horror movie clichés with a film that is definitely Purge-like in its construction, but once again plays it all frustratingly safe.
To push the crime rate below one percent for the rest of the year, the New Founding Fathers of America test a sociological theory that vents aggression for one night in one isolated New York community. But when the violence of oppressors meets the rage of the others, the contagion will explode from the trial-city borders and spread across the nation.
The cast of characters in this instalment is possibly the most unlikeable of the bunch, apart from a few exceptions. Marisa Tomei is hideously underused as the experiment’s creator, Dr. May Updale, when in fact she should and could be the most interesting part of the movie. The rest of the cast are one-dimensional characters that you could cut and paste into any horror film of the last decade. Y’Ian Noel as Dmitri is probably the only one who leaves any lasting impression.
Subtlety has never been the series’ strong point. One of the leaders of the New Founding Fathers is called Donald T for heaven’s sake, but that was always part of its dark charm. It has never been afraid to show us an America that, for now at least, doesn’t feel that too far into the future but the political side-swiping in this instalment bashes us over the head with what feels like a brick. It’s so on the nose.
The premise has always been the best part, and the Achilles heel, of the series and so it continues with The First Purge. Fans waiting to get a really intricate look at how the night of crime came to be will be disappointed as we’re treated to barely 10 minutes of exposition before we’re slung head-first into the same killing-fest that the last three films descended into after their first acts.
This gets old quickly, even more so in this instalment as the repetitive jump scares come thick and fast with uninspiring camerawork, dreadful dialogue and lethargic kills. The use of contact lenses to create some striking neon visuals aren’t enough to lift anything in the film above average.
Thankfully, the final act in a dimly lit tower block shows the audience the type of film it could have been. Slickly shot and nicely styled, it’s a much-improved finale that is only let down by some truly dreadful CGI blood splatter. However, the use of strobe lighting is an inspired choice in this sequence as we follow two groups of people each trying to dispatch the other.
Unfortunately, this highlight isn’t enough to lift the rest of The First Purge above the mundane. Where the first in the series was a film testing the waters regarding its premise and the second improved on that ten-fold taking the action out onto the streets, this tries to use a hybrid of both but it comes across as stale as a ten day old loaf.
The pacing too is an issue. The first 20 minutes or so are excruciatingly slow as the film tries to set-up as many of its plot-points as possible. Now, 20 minutes might not sound too bad, but this is a 97 minute film – that’s a fifth of the time gone with nothing achieved.
If we must get a fifth film, and from the box-office figures, it bafflingly looks like we will, all we can do is hope they take the cheap jump scares and replace them with a thrilling look at the people who brought the purge to life in the first place. Until then, save your money and wait for the network premiere when it comes to television in a couple of years.
When the best part of your film is the purge announcement that has featured in every instalment, you know you’ve run into some trouble.
https://moviemetropolis.net/2018/07/12/the-first-purge-review-yet-another-wasted-opportunity/
After three films of decent quality in which the second, Purge: Anarchy is the highlight, The First Purge promises to shake up the formula by introducing a prequel into the horror franchise. But does it do enough to stop the series from feeling stale or are we looking at yet another paint-by-numbers horror flick?
No. That’s the short answer anyway. Director Gerard McMurray falls into all the usual horror movie clichés with a film that is definitely Purge-like in its construction, but once again plays it all frustratingly safe.
To push the crime rate below one percent for the rest of the year, the New Founding Fathers of America test a sociological theory that vents aggression for one night in one isolated New York community. But when the violence of oppressors meets the rage of the others, the contagion will explode from the trial-city borders and spread across the nation.
The cast of characters in this instalment is possibly the most unlikeable of the bunch, apart from a few exceptions. Marisa Tomei is hideously underused as the experiment’s creator, Dr. May Updale, when in fact she should and could be the most interesting part of the movie. The rest of the cast are one-dimensional characters that you could cut and paste into any horror film of the last decade. Y’Ian Noel as Dmitri is probably the only one who leaves any lasting impression.
Subtlety has never been the series’ strong point. One of the leaders of the New Founding Fathers is called Donald T for heaven’s sake, but that was always part of its dark charm. It has never been afraid to show us an America that, for now at least, doesn’t feel that too far into the future but the political side-swiping in this instalment bashes us over the head with what feels like a brick. It’s so on the nose.
The premise has always been the best part, and the Achilles heel, of the series and so it continues with The First Purge. Fans waiting to get a really intricate look at how the night of crime came to be will be disappointed as we’re treated to barely 10 minutes of exposition before we’re slung head-first into the same killing-fest that the last three films descended into after their first acts.
This gets old quickly, even more so in this instalment as the repetitive jump scares come thick and fast with uninspiring camerawork, dreadful dialogue and lethargic kills. The use of contact lenses to create some striking neon visuals aren’t enough to lift anything in the film above average.
Thankfully, the final act in a dimly lit tower block shows the audience the type of film it could have been. Slickly shot and nicely styled, it’s a much-improved finale that is only let down by some truly dreadful CGI blood splatter. However, the use of strobe lighting is an inspired choice in this sequence as we follow two groups of people each trying to dispatch the other.
Unfortunately, this highlight isn’t enough to lift the rest of The First Purge above the mundane. Where the first in the series was a film testing the waters regarding its premise and the second improved on that ten-fold taking the action out onto the streets, this tries to use a hybrid of both but it comes across as stale as a ten day old loaf.
The pacing too is an issue. The first 20 minutes or so are excruciatingly slow as the film tries to set-up as many of its plot-points as possible. Now, 20 minutes might not sound too bad, but this is a 97 minute film – that’s a fifth of the time gone with nothing achieved.
If we must get a fifth film, and from the box-office figures, it bafflingly looks like we will, all we can do is hope they take the cheap jump scares and replace them with a thrilling look at the people who brought the purge to life in the first place. Until then, save your money and wait for the network premiere when it comes to television in a couple of years.
When the best part of your film is the purge announcement that has featured in every instalment, you know you’ve run into some trouble.
https://moviemetropolis.net/2018/07/12/the-first-purge-review-yet-another-wasted-opportunity/
The Silent Age
Games and Entertainment
App
Episode Two now available, the final chapter in this award winning adventure. The Silent Age takes...
Gareth von Kallenbach (980 KP) rated The Day the Earth Stood Still (2008) in Movies
Aug 14, 2019
In 1951 Director Robert Wise helped create one of the most insightful films of the dawning Science Fiction genre. At that time, the growing theme was the good folks of Earth having to defend ourselves against all manner of evil creatures from beyond.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
Toca Life: School
Education and Entertainment
App
Grab your backpack— it’s time for Toca Life: School! Teach a class, pick a locker and have a...
Death By Rock and Roll by The Pretty Reckless
Album
Rock 'n' roll is a religion. It's a commitment to an ideal, a belief system. The lifestyle and...
Whatchareadin (174 KP) rated Lock Every Door in Books
Aug 5, 2019
Jules has just lost her job, her boyfriend and her home all in the same day. She is currently living with her best friend, Chloe. When the opportunity presents itself for her to live in one of the most exclusive apartment buildings in New York City, The Bartholomew, she can't pass up on the chance. Not only does she get to live there, she's getting paid to do so as an apartment sitter. This is an opportunity Jules can not pass up despite the protestations of Chloe, she has to get back on her feet. So she takes the job even though the rules are a little strict. Shortly after moving in, Jules meets another apartment sitter, Ingrid, who is unsure about continuing to live at The Bartholomew. When Jules is ready to ask her about it, Ingrid disappears without a trace. What happened to Ingrid and other apartment sitters that have gone missing? What dark secrets lie within The Bartholomew?
Thank you to NetGalley & Dutton books for the opportunity to read and review this book.
I was so excited to get this book from NetGalley. Last year I read both of Riley Sager's books and I was looking forward to this one. It did not disappoint. I was on the edge of my seat the entire time and I definitely didn't see the ending coming.
If I was a single young woman and was given the opportunity to live in an exclusive apartment and get paid for it, I would jump on that in a heartbeat. I don't think I would care about rules or anything, just tell me where to sign and let me sit back and collect the cash.
Another reason Jules is so quick to accept this opportunity is because her favorite book is set in the building. I think many readers would love to live in the place where their favorite book is set if they don't already. And Jules needs a little fantasy in her life since she has lost both parents and her sister. At first The Bartholomew seems like a dream place to live. With a courteous doorman, friendly neighbors and a doctor as one of the residents, it's idyllic. But when Ingrid goes missing, Jules starts to question everything. The explanation she receives for the sudden departure doesn't sound right and the police aren't willing to help because she doesn't know enough about Ingrid to form a case.
What is she going to do? Will she discover the secrets of the building before it's too late?
Thank you to NetGalley & Dutton books for the opportunity to read and review this book.
I was so excited to get this book from NetGalley. Last year I read both of Riley Sager's books and I was looking forward to this one. It did not disappoint. I was on the edge of my seat the entire time and I definitely didn't see the ending coming.
If I was a single young woman and was given the opportunity to live in an exclusive apartment and get paid for it, I would jump on that in a heartbeat. I don't think I would care about rules or anything, just tell me where to sign and let me sit back and collect the cash.
Another reason Jules is so quick to accept this opportunity is because her favorite book is set in the building. I think many readers would love to live in the place where their favorite book is set if they don't already. And Jules needs a little fantasy in her life since she has lost both parents and her sister. At first The Bartholomew seems like a dream place to live. With a courteous doorman, friendly neighbors and a doctor as one of the residents, it's idyllic. But when Ingrid goes missing, Jules starts to question everything. The explanation she receives for the sudden departure doesn't sound right and the police aren't willing to help because she doesn't know enough about Ingrid to form a case.
What is she going to do? Will she discover the secrets of the building before it's too late?
Bob Mann (459 KP) rated The Assistant (2020) in Movies
May 24, 2020
Julia Garner's performance (1 more)
The tension that manages to be created through a portrayal of the mundane
The movie seems to have a lot of haters on IMDB (a rating at the time of writing of 5.9)... but I refuse to follow "the pack" on this one... I thought it was great. It manages to make the mundane incredibly tense. This is this first (semi-)fictional feature from documentary-maker Kitty Green.... and in my book she does a knock-out job.
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
Quran Memorization Program: Learning, Memorizing and Mastering the Holy Qura'an in arabic handwritten script
Education
App
برنامج حفظ القرآن الكريم Quran Memorization Program (QMP) بين يديكم...
TacoDave (4098 KP) rated Amazon Echo Auto in Tech
Jul 19, 2019
A digital assistant on the go (4 more)
Hands-free calling
Unlimited music
Podcasts
Audiobooks
A cool Alexa device - for your car!
I was chosen to purchase a pre-release version of the Amazon Echo Auto through Amazon's website. It works just like a normal Echo, except it is designed for use in the car.
The mount for the Echo Auto is a strip of thick rubber that sticks to the dashboard and includes a magnet that keeps the Echo firmly in place.
The Echo uses bluetooth to connect to your cell phone, and can connect to your car's speakers via bluetooth or an included aux cable. It is powered by a cigarette lighter plug or USB port.
If you already have Siri or a newer car, you might have some of the Echo's features already. I drive a 2008 minivan, so the Echo actually added tons of abilities that I didn't have access to already.
For example, I can now use the Echo as a hands-free phone device. I've tried it multiple times and the sound quality is great and the person on the other end hears me fine. I can also ask Alexa to navigate to an address and, using Google Maps, hear step-by-step instructions to get where I'm going. And if I'm listening to music or a podcast, it will pause them so I can hear the voice say "In 600 feet, turn left" or whatever. And since I pay $8 a month for Amazon Music Unlimited, I can ask Alexa to play almost any song and it will instantly play in my car.
Not only that, but the "regular" features of Alexa are included. I asked "How many feet are in a mile?" and it answered (correctly). My kids have asked it what certain words mean and have asked it to tell jokes. They can play 20 Questions or Jeopardy while I'm driving. The possibilities are almost endless.
I only have one problem with the Echo Auto: it relies on a cell signal. So when I drove my daughter to camp on Sunday - way out in the middle of nowhere in the woods - I lost cell service and my music cut off suddenly. (I had asked Alexa to shuffle music from Weird Al Yankovic to keep my kids entertained, and we were enjoying it! Plus, I could ask Alexa to play the original version of a song after we heard the parody version so my kids would have context.) I understand that this is a known limitation, and since I live in a major city it won't often be a problem. But I thought I'd mention it for people who might live in places with less cell coverage.
The mount for the Echo Auto is a strip of thick rubber that sticks to the dashboard and includes a magnet that keeps the Echo firmly in place.
The Echo uses bluetooth to connect to your cell phone, and can connect to your car's speakers via bluetooth or an included aux cable. It is powered by a cigarette lighter plug or USB port.
If you already have Siri or a newer car, you might have some of the Echo's features already. I drive a 2008 minivan, so the Echo actually added tons of abilities that I didn't have access to already.
For example, I can now use the Echo as a hands-free phone device. I've tried it multiple times and the sound quality is great and the person on the other end hears me fine. I can also ask Alexa to navigate to an address and, using Google Maps, hear step-by-step instructions to get where I'm going. And if I'm listening to music or a podcast, it will pause them so I can hear the voice say "In 600 feet, turn left" or whatever. And since I pay $8 a month for Amazon Music Unlimited, I can ask Alexa to play almost any song and it will instantly play in my car.
Not only that, but the "regular" features of Alexa are included. I asked "How many feet are in a mile?" and it answered (correctly). My kids have asked it what certain words mean and have asked it to tell jokes. They can play 20 Questions or Jeopardy while I'm driving. The possibilities are almost endless.
I only have one problem with the Echo Auto: it relies on a cell signal. So when I drove my daughter to camp on Sunday - way out in the middle of nowhere in the woods - I lost cell service and my music cut off suddenly. (I had asked Alexa to shuffle music from Weird Al Yankovic to keep my kids entertained, and we were enjoying it! Plus, I could ask Alexa to play the original version of a song after we heard the parody version so my kids would have context.) I understand that this is a known limitation, and since I live in a major city it won't often be a problem. But I thought I'd mention it for people who might live in places with less cell coverage.