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Chris Sawin (602 KP) rated 127 Hours (2010) in Movies
Jun 23, 2019
127 Hours is based on the true story of Aron Ralston, a mountain climber who was trapped under a rock for five days only to amputate his own arm to survive. Directed by Danny Boyle (Slumdog Millionaire, 28 Days Later) and starring James Franco (Pineapple Express, Spider-Man), 127 Hours sucker punches you with its ability to be both absorbing and compelling.
The first thing to notice about 127 Hours is that it contains excellent editing. The opening credits illustrate this to a certain extent, but the best example comes at the peak of Aron's struggle once he's trapped and fighting for his life. His delusions begin overlapping with his memories as the screen is divided into three separate vertical segments representing how desperate and how dangerously close Aron has come to the brink of insanity.
127 Hours looks spectacular, as well. The desert is a mostly dry and bleak place that no one would want to visit, but it's shown in a light here that makes it makes it look both appealing and beautiful in a way that almost makes you forget that it lacks civilization. The film does an incredible job of making you feel like you're right there in these crevices with Aron without giving the overbearing sensation of claustrophobia. Captivating cinematography makes even the most simple things like a dripping faucet and air bubbles settling in a water bottle appear like more of a spectacle than they really are.
James Franco is also quite impressive. He is the only one on-screen for the majority of the film and has no one to play off of but himself. Events of his life flashing before his eyes and the decisions he should've but didn't make, Scooby Doo hallucinations, and premonitions of the future on top of his uphill battle to survive aren't only incredibly engaging but arguably some of the best scenes in the film.
127 Hours is enthralling, incredibly powerful, and easily one of the best films of the year. James Franco delivers what is quite possibly his strongest and most intriguing performance to date while Danny Boyle adds another visually brilliant and superbly written film to his repertoire that is a potential award winner.
The first thing to notice about 127 Hours is that it contains excellent editing. The opening credits illustrate this to a certain extent, but the best example comes at the peak of Aron's struggle once he's trapped and fighting for his life. His delusions begin overlapping with his memories as the screen is divided into three separate vertical segments representing how desperate and how dangerously close Aron has come to the brink of insanity.
127 Hours looks spectacular, as well. The desert is a mostly dry and bleak place that no one would want to visit, but it's shown in a light here that makes it makes it look both appealing and beautiful in a way that almost makes you forget that it lacks civilization. The film does an incredible job of making you feel like you're right there in these crevices with Aron without giving the overbearing sensation of claustrophobia. Captivating cinematography makes even the most simple things like a dripping faucet and air bubbles settling in a water bottle appear like more of a spectacle than they really are.
James Franco is also quite impressive. He is the only one on-screen for the majority of the film and has no one to play off of but himself. Events of his life flashing before his eyes and the decisions he should've but didn't make, Scooby Doo hallucinations, and premonitions of the future on top of his uphill battle to survive aren't only incredibly engaging but arguably some of the best scenes in the film.
127 Hours is enthralling, incredibly powerful, and easily one of the best films of the year. James Franco delivers what is quite possibly his strongest and most intriguing performance to date while Danny Boyle adds another visually brilliant and superbly written film to his repertoire that is a potential award winner.
Corey Richard Bennett (10 KP) rated The Lost Symbol: (Robert Langdon Book 3) in Books
Jul 19, 2019
Drags on after action ends (1 more)
Unsatisfactory ending
Contains spoilers, click to show
Okay, so the third book in the Robert Langdon takes Robert through Washington D.C. as he tries to save a friend, who has been taken hostage. With help from the hostage's sister, Robert unravels a secret path by the Freemasons. Long story short, Robert saves his friend gets the girl and learns truths of the Freemasons no else has.
So overall the story is typical Dan Brown. Twists and turns at every turn, switching views from each chapter. Robert does Robert stuff with figuring everything out in due time. (By the way, I can't read these without thinking of Tom Hanks being Langdon anymore).
But the one thing I want to focus on is the villain. He is by far the most compelling part of this whole book. Spoiler is he dies about 3/4ths of the book in and once he is gone, that dragging on feeling sets in. There is no trouble, no sense of urgency and the book dies off after that for me. But back to our villain. He is revealed to be Mr. Hostage's son who was once thought dead, but more like transformed into a whole different person. You learn that he came from money, went to prison, is left there by his father, fakes his death, and then tries to steal a family heirloom he feels will help him unlock the secrets of Freemasonry and being the perfect human. My one gripe is Dan Brown pretty much tells you it's not the son, and then says oh yeah it is the son. There's a difference from being sneaky, and just lying to create suspense. Oh well, but before his death, the son is cunning, stealthy, and barbaric (drowning an assistant for a key card). He is a very interesting character and you do miss him once he is killed.
Overall its an okay book, but Inferno or Da Vinci Code were better stories, but if you like U.S. History, it should kill some time for you and keep you enthralled for most the book.
So overall the story is typical Dan Brown. Twists and turns at every turn, switching views from each chapter. Robert does Robert stuff with figuring everything out in due time. (By the way, I can't read these without thinking of Tom Hanks being Langdon anymore).
But the one thing I want to focus on is the villain. He is by far the most compelling part of this whole book. Spoiler is he dies about 3/4ths of the book in and once he is gone, that dragging on feeling sets in. There is no trouble, no sense of urgency and the book dies off after that for me. But back to our villain. He is revealed to be Mr. Hostage's son who was once thought dead, but more like transformed into a whole different person. You learn that he came from money, went to prison, is left there by his father, fakes his death, and then tries to steal a family heirloom he feels will help him unlock the secrets of Freemasonry and being the perfect human. My one gripe is Dan Brown pretty much tells you it's not the son, and then says oh yeah it is the son. There's a difference from being sneaky, and just lying to create suspense. Oh well, but before his death, the son is cunning, stealthy, and barbaric (drowning an assistant for a key card). He is a very interesting character and you do miss him once he is killed.
Overall its an okay book, but Inferno or Da Vinci Code were better stories, but if you like U.S. History, it should kill some time for you and keep you enthralled for most the book.
Gareth von Kallenbach (980 KP) rated Jonah Hex (2010) in Movies
Aug 8, 2019
DC is at it again spinning comic book heroes, or better yet anti-heroes, into film adaptations. Moreover, the company is maintaining their one-of-a-kind knack for providing lead characters with bad vocals. In this case the raspy voice belongs to the traumatized lead character, a Bounty Hunter named Jonah Hex (Josh Brolin), who has a story to tell, in brutal and confusing detail.
The film mixes the lore of the Old West, vaguely historical aspects of post-Civil War America, and weapons from a very steampunk-the-Industrial-Revolution. The resulting environment is more explosive than the dynamite that is apparently everywhere.
Filled with ideas that trail off into the dust, it quickly becomes clear that this film was finished in a rush. There are too many characters that lack compelling, if any, back-story. The tale that remains is disjointed and drags. All the buzz about the leading lady, Lilah (Megan Fox), was over minimal participation in the film. Sure she looks nice, and wears a steampunky outfit while performing a few quick stunts, but the resulting character (and poor acting) is not worth the media hype.
The few well-played and interesting characters, aside from the brash but tends-to-grow-on-you Jonah, all have bit parts. Among the best performances are Hex’s best friend, Jeb Turnbull (Jeffery Dean Morgan), one of President Grant’s cohorts, Lieutenant Grass (Will Arnett), and the store owner and gun-runner, Smith (Lance Riddick). Most surprising is that the frequent scenes with screen veteran John Malkovich, as lead bad guy Quentin Turnbull, result in a drab uninterested character that completely fails to engage the audience. It is almost a shockingly poor performance for Malkovich.
But hey, the melding of comic book history with actual film shots in the beginning was some of the best work out there for explaining a complex and multi-media adapted back-story. Additionally, the bold uses of color, costume, sets and scenery made the film visually interesting to watch. But with a budget as big as this film had it is hard to accept there wasn’t a better story to tell.
The film mixes the lore of the Old West, vaguely historical aspects of post-Civil War America, and weapons from a very steampunk-the-Industrial-Revolution. The resulting environment is more explosive than the dynamite that is apparently everywhere.
Filled with ideas that trail off into the dust, it quickly becomes clear that this film was finished in a rush. There are too many characters that lack compelling, if any, back-story. The tale that remains is disjointed and drags. All the buzz about the leading lady, Lilah (Megan Fox), was over minimal participation in the film. Sure she looks nice, and wears a steampunky outfit while performing a few quick stunts, but the resulting character (and poor acting) is not worth the media hype.
The few well-played and interesting characters, aside from the brash but tends-to-grow-on-you Jonah, all have bit parts. Among the best performances are Hex’s best friend, Jeb Turnbull (Jeffery Dean Morgan), one of President Grant’s cohorts, Lieutenant Grass (Will Arnett), and the store owner and gun-runner, Smith (Lance Riddick). Most surprising is that the frequent scenes with screen veteran John Malkovich, as lead bad guy Quentin Turnbull, result in a drab uninterested character that completely fails to engage the audience. It is almost a shockingly poor performance for Malkovich.
But hey, the melding of comic book history with actual film shots in the beginning was some of the best work out there for explaining a complex and multi-media adapted back-story. Additionally, the bold uses of color, costume, sets and scenery made the film visually interesting to watch. But with a budget as big as this film had it is hard to accept there wasn’t a better story to tell.
MaryAnn (14 KP) rated Less of More: Pursuing Spiritual Abundance in a World of Never Enough in Books
Nov 4, 2019
Synopsis: For most Americans, the pursuit of happiness really means the pursuit of more--more money, more prestige, more stuff. We've made idols out of innovation, growth, power, and wealth. Far from offering us happiness and satisfaction, this has only left us exhausted, isolated, miserable, and wondering if there is a better way.
There is. Less of More exposes our pursuit of more for what it truly is: an attempt to satisfy our souls with the temporary instead of the eternal. Pastor and writer Chris Nye invites us to consider what a full and abundant life looks like apart from money, status, and power. He exposes the lies inherent in our obsession with growth, fame, and wealth and calls us to a countercultural life marked by connection, obscurity, vulnerability, and generosity.
If you have gained the world but lost your soul, Less of More offers a compelling path toward a life of true, deep, lasting satisfaction with Jesus--not us--at the center of it.
My Thoughts: We live in a world that seems to push bigger is better, more makes us happier, but is that really true? Is that what God really wants for us? In this book author, Chris Nye takes a long hard look at how the world and the culture are forming what we think we need to live our lives. The author asks us to think about what a full life looks like without all the extras in our life; the money, status, and power that individuals seek every day. The author shows us the lies that are in these things, the obsession with having it all, the fame, the bigger churches, instead of seeking what God wants for us in our lives.
This book is an eye opener and a must read for everyone.
????
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
There is. Less of More exposes our pursuit of more for what it truly is: an attempt to satisfy our souls with the temporary instead of the eternal. Pastor and writer Chris Nye invites us to consider what a full and abundant life looks like apart from money, status, and power. He exposes the lies inherent in our obsession with growth, fame, and wealth and calls us to a countercultural life marked by connection, obscurity, vulnerability, and generosity.
If you have gained the world but lost your soul, Less of More offers a compelling path toward a life of true, deep, lasting satisfaction with Jesus--not us--at the center of it.
My Thoughts: We live in a world that seems to push bigger is better, more makes us happier, but is that really true? Is that what God really wants for us? In this book author, Chris Nye takes a long hard look at how the world and the culture are forming what we think we need to live our lives. The author asks us to think about what a full life looks like without all the extras in our life; the money, status, and power that individuals seek every day. The author shows us the lies that are in these things, the obsession with having it all, the fame, the bigger churches, instead of seeking what God wants for us in our lives.
This book is an eye opener and a must read for everyone.
????
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
BankofMarquis (1832 KP) rated Judy (2019) in Movies
Feb 6, 2020
Brilliant performance by Zellwegger - and not much else
Renee Zellwegger is absolutely brilliant in her channeling of Judy Garland in the film JUDY. She deserves to - and WILL WIN - the Oscar for Best Actress. Her performance is amazing and I forgot that I was watching an actress playing Judy Garland and fell into a trance thinking I was actually watching the real Judy Garland.
Too bad the rest of the film is not this good.
Based on actual events, JUDY tells the story of a late in her career Judy Garland's trek to London for a series of Concerts. She is down on her luck, addicted to pills, filled with self doubt and ghosts from her past. In general...she is a wreck...and needs the $$ from these concerts to keep custody of her 2 young children.
And...Zellwegger plays all of these emotions as Judy very, very well as well as shining in the performance scenes where Judy was able - albeit for a short time - to "come up for air" and perform as the world class performer she is. Zellwegger trained for over a year with a vocal coach to get the singing/performance part of this film down - and it shows. She is brilliant in these moments.
The trouble with this film as written by Tom Edge (based on the stage play "End of the Rainbow" by Peter Quilter) and Director Rupert Goold is that this film doesn't really go anywhere. There is no arc to Judy's story. She starts the film as a trainwreck...and ends the film as a trainwreck. There isn't evem a realization by Judy that she is a trainwreck. She just IS a trainwreck.
And that does not a compelling movie make.
Rufus Sewell, Jessie Buckley, Finn Wittrock and Michael Gambon are all along for a ride on this train and all choose to get off before the end and the inevitable trainwreck that is going to happen.
Is this film worth seeing? Sure...for Zellwegger's Oscar winning performance. Unfortunately, it doesn't have anything else to recommend it.
Letter Grade B (solely on the performance)
7 stars (out of 10) and you can take that to the Bank (OfMarquis)
Too bad the rest of the film is not this good.
Based on actual events, JUDY tells the story of a late in her career Judy Garland's trek to London for a series of Concerts. She is down on her luck, addicted to pills, filled with self doubt and ghosts from her past. In general...she is a wreck...and needs the $$ from these concerts to keep custody of her 2 young children.
And...Zellwegger plays all of these emotions as Judy very, very well as well as shining in the performance scenes where Judy was able - albeit for a short time - to "come up for air" and perform as the world class performer she is. Zellwegger trained for over a year with a vocal coach to get the singing/performance part of this film down - and it shows. She is brilliant in these moments.
The trouble with this film as written by Tom Edge (based on the stage play "End of the Rainbow" by Peter Quilter) and Director Rupert Goold is that this film doesn't really go anywhere. There is no arc to Judy's story. She starts the film as a trainwreck...and ends the film as a trainwreck. There isn't evem a realization by Judy that she is a trainwreck. She just IS a trainwreck.
And that does not a compelling movie make.
Rufus Sewell, Jessie Buckley, Finn Wittrock and Michael Gambon are all along for a ride on this train and all choose to get off before the end and the inevitable trainwreck that is going to happen.
Is this film worth seeing? Sure...for Zellwegger's Oscar winning performance. Unfortunately, it doesn't have anything else to recommend it.
Letter Grade B (solely on the performance)
7 stars (out of 10) and you can take that to the Bank (OfMarquis)
Mark @ Carstairs Considers (2200 KP) rated Murder on Bank Street in Books
Jan 12, 2020
Solving the Murder of Dr. Tom Brandt
In the spring of 1897, New York City Detective Sergeant Frank Malloy has been given permission by NYPD Commissioner Theodore Roosevelt to focus solely on solving Dr. Tom Brandt’s murder. However, since people are expecting Teddy Roosevelt to be called to Washington to serve in the new administration at any moment, Malloy knows he must act quickly to solve the case. He has three good suspects and a description of the murder weapon, but he is facing the fact that Tom died over four years ago. He can’t establish alibis, and the killer might have gotten rid of the weapon over the years. He’ll only have one shot at confronting the suspects as well since his best weapon is the element of surprise. Can he gather enough evidence to get the killer to confess? Will Sarah Brandt, Tom’s widow and Frank’s friend, be happy with what Frank learns along the way?
Dr. Brandt’s murder has been an ongoing storyline since the first book, so I was happy to finally see it solved. Ironically, Sarah doesn’t play an active part in solving it, but she is still an active part of the book as she reacts to what Frank is learning and her scenes are just as compelling. We get to see a different side of several characters, including Frank’s new sleuthing partner, but Sarah gets the most development, which only makes sense. We have three viewpoint characters over the course of the book, but the changes are always easy to follow. The plot is strong and kept me confused until we reached the satisfying ending. It did seem a bit repetitive early on, but that was a minor issue overall. If you are new to the series, you could jump in here without missing too much since everything you need to know is explained. As always, I felt like I was in 1897 with the little details and character’s attitudes acting like a time machine. I’m curious to see how the series will progress without this storyline an active part of things, but I am satisfied with how this storyline was wrapped up.
Dr. Brandt’s murder has been an ongoing storyline since the first book, so I was happy to finally see it solved. Ironically, Sarah doesn’t play an active part in solving it, but she is still an active part of the book as she reacts to what Frank is learning and her scenes are just as compelling. We get to see a different side of several characters, including Frank’s new sleuthing partner, but Sarah gets the most development, which only makes sense. We have three viewpoint characters over the course of the book, but the changes are always easy to follow. The plot is strong and kept me confused until we reached the satisfying ending. It did seem a bit repetitive early on, but that was a minor issue overall. If you are new to the series, you could jump in here without missing too much since everything you need to know is explained. As always, I felt like I was in 1897 with the little details and character’s attitudes acting like a time machine. I’m curious to see how the series will progress without this storyline an active part of things, but I am satisfied with how this storyline was wrapped up.
Kristy H (1252 KP) rated Big Lies in a Small Town in Books
Mar 19, 2020
Morgan Christopher is shocked when she's plucked from prison and told she will be released early, as long as she perform a certain task: restore an old mural from the 1940s. Morgan, an art school dropout, has no restoration skills, but she is desperate to leave prison, where she is imprisoned for a crime she didn't commit. Once released, she finds herself captivated by the mural and what she finds underneath the layers of grime. Meanwhile, in 1940, young Anna Dale, an artist from New Jersey wins a contest to paint a mural for the post office in Edenton, North Carolina. She travels there to learn more about the town that she needs to capture. But once there, Anna is confronted both by kindness and deep-set prejudice.
I've never read a book by Diane Chamberlain before, and I really enjoyed this one. It's oddly captivating for centering on a painting from the 1940s. The point-of-view switches between Morgan and Anna and each are compelling narrators in their own right. This was one of those books where I found myself desperately wishing I could read faster, as I wanted to find out what happened to Anna (we're told early on she "went crazy").
I applaud Chamberlain for her original plot. It's odd, but not in a bad way, as it had me interested the entire time. She does a wonderful job of creating two completely different worlds: Anna's in the 40s and Morgan's in near present-day. She deftly weaves in art aspects; Morgan's drunk driving conviction and her past in prison; Anna's possible mental illness; and Morgan's benefactor, so to speak, Lisa, who springs her out of prison to fulfill the wishes of her late father, Jesse, a famous artist.
While this novel is mainly fiction, there are some great twists and turns, especially as we learn what happened to Anna. Chamberlain delves into race relations, as Anna confronts the prejudices of the south in the 1940s. Her writing style is easy, making you want to keep reading, and overall, I quite enjoyed this one. 4 stars.
I've never read a book by Diane Chamberlain before, and I really enjoyed this one. It's oddly captivating for centering on a painting from the 1940s. The point-of-view switches between Morgan and Anna and each are compelling narrators in their own right. This was one of those books where I found myself desperately wishing I could read faster, as I wanted to find out what happened to Anna (we're told early on she "went crazy").
I applaud Chamberlain for her original plot. It's odd, but not in a bad way, as it had me interested the entire time. She does a wonderful job of creating two completely different worlds: Anna's in the 40s and Morgan's in near present-day. She deftly weaves in art aspects; Morgan's drunk driving conviction and her past in prison; Anna's possible mental illness; and Morgan's benefactor, so to speak, Lisa, who springs her out of prison to fulfill the wishes of her late father, Jesse, a famous artist.
While this novel is mainly fiction, there are some great twists and turns, especially as we learn what happened to Anna. Chamberlain delves into race relations, as Anna confronts the prejudices of the south in the 1940s. Her writing style is easy, making you want to keep reading, and overall, I quite enjoyed this one. 4 stars.
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