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Gareth von Kallenbach (980 KP) rated Footloose (2011) in Movies
Aug 7, 2019
Public dancing is against the law in the small religious town of Bomont. But Boston-raised teenager, Ren McCormack and the Reverend’s daughter Ariel have other ideas in this remake of the 1984 classic.
The original “Footloose” requires a 1980s mindset and was successful partially due the disjointed storytelling of teen films during that era. Up until now it could be said that there is no “Footloose” without Kevin Bacon. But surprise! The remake is so good that you may need to step back.
The cast is more polished than the original, particularly in lead female role of Ariel Moore brought back to the screen by Julianne Hough. Hough’s performance is more engaging than that of the original portrayal by Lori Singer. Taking the reigns of the role that made Kevin Bacon famous is Kenny Wormald as city boy Ren. Wormald wears the role with charm and the required “Footloose” too-cool-for-school style.
Reverend Shaw Moore, now played by Dennis Quaid, is far more emotional than the original depiction of the character first played by a John Lithgow. However, the same cannot be said for his wife, Vi Moore, with a disappointing performance from Andy McDowell. This is balanced however by the truly enjoyable portrayal of Ren’s best friend Willard by the well-timed comedy of Miles Teller.
Yes, there were cheesy moments. There was even a sunset so over the top that it may remind you Star Wars buffs of a certain lengthy romance scene in Episode Two. And yes, more than one of the reanimated lines from the classic film was forced. But the flubs were few and far between as this “Footloose” remake manages to succeed in many places where the original could have been improved.
The explanation of tragedy that originally befell Bomont has been extended, giving the town’s anti-dance perspective a little more sway. And this time around “Footloose” directly addresses a number of the small town versus big city stereotypes with strong dual sided humor.
The new “Footloose” still has less dancing then you want from a film entirely about dance, but when it does occur the style is much more diverse, ranging from hip hop to that famous “Footloose” country. There were things missed from the original; particularly the precision of Bacon’s solo dance scene, but this remake honors the impact of the original while standing on its own.
Now where do you buy a pair of red cowboy boots?!
The original “Footloose” requires a 1980s mindset and was successful partially due the disjointed storytelling of teen films during that era. Up until now it could be said that there is no “Footloose” without Kevin Bacon. But surprise! The remake is so good that you may need to step back.
The cast is more polished than the original, particularly in lead female role of Ariel Moore brought back to the screen by Julianne Hough. Hough’s performance is more engaging than that of the original portrayal by Lori Singer. Taking the reigns of the role that made Kevin Bacon famous is Kenny Wormald as city boy Ren. Wormald wears the role with charm and the required “Footloose” too-cool-for-school style.
Reverend Shaw Moore, now played by Dennis Quaid, is far more emotional than the original depiction of the character first played by a John Lithgow. However, the same cannot be said for his wife, Vi Moore, with a disappointing performance from Andy McDowell. This is balanced however by the truly enjoyable portrayal of Ren’s best friend Willard by the well-timed comedy of Miles Teller.
Yes, there were cheesy moments. There was even a sunset so over the top that it may remind you Star Wars buffs of a certain lengthy romance scene in Episode Two. And yes, more than one of the reanimated lines from the classic film was forced. But the flubs were few and far between as this “Footloose” remake manages to succeed in many places where the original could have been improved.
The explanation of tragedy that originally befell Bomont has been extended, giving the town’s anti-dance perspective a little more sway. And this time around “Footloose” directly addresses a number of the small town versus big city stereotypes with strong dual sided humor.
The new “Footloose” still has less dancing then you want from a film entirely about dance, but when it does occur the style is much more diverse, ranging from hip hop to that famous “Footloose” country. There were things missed from the original; particularly the precision of Bacon’s solo dance scene, but this remake honors the impact of the original while standing on its own.
Now where do you buy a pair of red cowboy boots?!
Matthew Krueger (10051 KP) rated House of Frankenstein (1944) in Movies
Jun 18, 2020 (Updated Jun 18, 2020)
Get The Gang All Together: The Crossover
House of Frankenstein- is the ultimate monster crossover. It has Frankenstein, Dracula played by John Carradine, the Hunchback and the Wolf-Man played by Lon Chaney Jr. and a mad scientist played by Boris Karloff.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
This "monster rally" approach would continue in the following film, House of Dracula, as well as the 1948 comedy Abbott and Costello Meet Frankenstein.
The plot: After escaping from prison, the evil Dr. Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carrol Naish), plot their revenge against those who imprisoned them. For this, they recruit the powerful Wolf Man (Lon Chaney), Frankenstein's monster (Glenn Strange) and even Dracula himself (John Carradine). Niemann pursues those who wrong him, sending each monster out to do his dirty work. But his control on the monsters is weak at best and may prove to be his downfall.
Frankenstein Meets the Wolf Man (1943) had been the first on-screen pairing of two Universal Studios monsters, but The House of Frankenstein was the first multi-monster movie. Early drafts of the story reportedly involved more characters from the Universal stable, including the Mummy, the Ape Woman, the Mad Ghoul, and possibly the Invisible Man. Working titles—which included Chamber of Horrors (a reference to Lampini's travelling horror show) and The Devil's Brood—emphasized the multi-monster nature of the story.
The multi-monster approach, which emphasized box office appeal over continuity, was used in House of Dracula the following year and later in Abbott and Costello Meet Frankenstein. The House of Frankenstein marked Glenn Strange's debut as the monster. Strange, a former cowboy, had been a minor supporting player in dozens of low-budget Westerns over the preceding 15 years. He reprised the role in House of Dracula and Abbott and Costello Meet Frankenstein, and cemented the popular image of the monster as shambling, clumsy, and inarticulate. Boris Karloff, who had moved on from playing the monster to playing the mad scientist, reportedly coached Strange on how to play the role.
Some continuity errors are evident in the finished film. After Dracula is thrown from the carriage, he looks over to where his coffin has landed; in a close-up, part of his mustache is gone. Also, when Talbot transforms into the Wolf Man for the final time, his hands lack fur.
Karloff's performance in this film is his last in Universal's classic horror cycle.
Its a fun entertaining movie starring the uninversal monsters.
The Rise of Theodore Roosevelt
Book
This classic biography is the story of seven men--a naturalist, a writer, a lover, a hunter, a...
BankofMarquis (1832 KP) rated Alita: Battle Angel (2019) in Movies
Feb 20, 2019
Good visuals, not much else to recommend it
A few of my loyal readers recommended that I check out ALITA: BATTLE ANGEL in the biggest screen I could find, and in 3D. And...I'm glad I did for this film is a visual feast for the eyes, filled with eye-popping CGI and an interesting futuristic world on which the events of the film take place.
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Ivana A. | Diary of Difference (1171 KP) rated Quarry's Climax (Quarry #14) in Books
Aug 21, 2018
My full review can be found on this link as well: https://www.diaryofdifference.com/2018/05/15/quarrys-climax-max-allan-collins-book-review/
Quarry’s Climax is the 14th book of the Quarry series, and even though I only had the chance to read this one, the rest of the books are certainly something that I have put on my TBR list!
<img src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1498930963i/34014841._UY630_SR1200,630_.jpg"/>;
The plot is simple – until, of course, it gets complicated:
Quarry is a Hitman – he kills people for pleasure, I mean, money! He works for this guy ‘’the Broker’’ and his new mission is to protect a chairman of an underrated Porn magazine and strip club – The Climax. When this task might seem easy, suddenly everyone hides something and everyone has secrets. And then our man Quarry – who usually goes on the spot and just kills whoever he needs to, now has to play the role of a detective, find out what the hell is going on in this rat hole, and eliminate any danger.
Now - first things first - I am not usually a person that reads these types of books - Pulp fiction, hardboiled fiction, entangled harsh noir stories, but this book pleasantly surprised me with its light reading experience and admirable description of the characters.
Quarry – now that’s one interesting character! Quarry is what happens when you mix a Cowboy personality, with a bit of witty humour, no respect for ladies and egotistical appearance. I happened to actually kind of like this guy!
Though the part I didn’t like it how he treats women and talks about them as they are a piece of meat with no brain whatsoever. I am not a feminist, but I mean – you couldn’t have tried harder, I guess. He would just go to a scene, let us know how irrelevant and thick this lady is, he would sleep with her, never call her again, and then continue with his life as nothing happened. Wonderful, isn’t it?
This is one of a kind book for me, and even though I wouldn’t put it on my favourites pile, it has a special place in my heart. I greatly enjoyed it, and it made me smirk at times. I will definitely explore this genre in the future, and I am sure that Quarry’s Climax was a great beginning for me on that.
I received this book by winning a Goodreads Giveaway from Max Allan Collins and Hard Case Crime.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="http://innahcrazy.tumblr.com/">Tumblr</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>; |
Quarry’s Climax is the 14th book of the Quarry series, and even though I only had the chance to read this one, the rest of the books are certainly something that I have put on my TBR list!
<img src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1498930963i/34014841._UY630_SR1200,630_.jpg"/>;
The plot is simple – until, of course, it gets complicated:
Quarry is a Hitman – he kills people for pleasure, I mean, money! He works for this guy ‘’the Broker’’ and his new mission is to protect a chairman of an underrated Porn magazine and strip club – The Climax. When this task might seem easy, suddenly everyone hides something and everyone has secrets. And then our man Quarry – who usually goes on the spot and just kills whoever he needs to, now has to play the role of a detective, find out what the hell is going on in this rat hole, and eliminate any danger.
Now - first things first - I am not usually a person that reads these types of books - Pulp fiction, hardboiled fiction, entangled harsh noir stories, but this book pleasantly surprised me with its light reading experience and admirable description of the characters.
Quarry – now that’s one interesting character! Quarry is what happens when you mix a Cowboy personality, with a bit of witty humour, no respect for ladies and egotistical appearance. I happened to actually kind of like this guy!
Though the part I didn’t like it how he treats women and talks about them as they are a piece of meat with no brain whatsoever. I am not a feminist, but I mean – you couldn’t have tried harder, I guess. He would just go to a scene, let us know how irrelevant and thick this lady is, he would sleep with her, never call her again, and then continue with his life as nothing happened. Wonderful, isn’t it?
This is one of a kind book for me, and even though I wouldn’t put it on my favourites pile, it has a special place in my heart. I greatly enjoyed it, and it made me smirk at times. I will definitely explore this genre in the future, and I am sure that Quarry’s Climax was a great beginning for me on that.
I received this book by winning a Goodreads Giveaway from Max Allan Collins and Hard Case Crime.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="http://innahcrazy.tumblr.com/">Tumblr</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>; |
Carma (21 KP) rated A Nice Day for a Cowboy Wedding (A Mile High Romance #4) in Books
Jun 17, 2019
It is always a nice day for a cowboy wedding
..Cora Preston is trying to make the best wedding happen for her clients even though every fiber in her body is telling her she will fail. She has worked hard to let go of the negative feelings she has for herself and her abilities but after so many years, it is easy to fall back into her old trappings. She has to do better, for her sister and the company, for her son and for herself. But can she trust herself to let success come without automatically expecting the worst?
Shane Tyler is a fixer, he fixes his ranch, his siblings, his mother. The one thing he couldnt fix has haunted him is a secret from when he was 12 years old. When the pretty new wedding planner shows up at their ranch to help his Mom with her marriage he figures out a way to get this wedding stopped once and for all.
Cora and Shane are both coming into this with the same sort of back issues in their lives but from completely different places. Cora has nothing but fixers in her life while Shane has nothing but people needing saved in his. Or so they both think. On the wedding front, Shane wants to get his mother to see the man she wants to marry is wrong for her and Cora does everything in her power to make Shane see he is wrong. Can they work together to prove their respective points, while navigating this slippery slope, despite being wildly attracted to each other?
I have been a fan of Nicole Helms writing for a while now and this one certainly doesnt disappoint earning 4 1/2 stars. Im usually pretty good at figuring out a storyline and I was greatly relieved to see that one point I was sure would happen, did not. Cora and Shane though both appearing confident in themselves were very much the opposite and I liked the way they both realized they needed to make that change in themselves. Moms definitely do know best always, even flawed ones like Cora and Deb Tyler doesnt miss a trick. Throw in the awesome Grandma Maisey, her sword collection and a possible love connection with Skeet in the future (please please) and this book is wonderfully all family.
I received an advance copy from Netgalley without any expectation for review. Any and all opinions expressed are my own. Another great read from Ms Helm and I cant wait to read the next chapter(s) to come in Gracely, Colorado.
Shane Tyler is a fixer, he fixes his ranch, his siblings, his mother. The one thing he couldnt fix has haunted him is a secret from when he was 12 years old. When the pretty new wedding planner shows up at their ranch to help his Mom with her marriage he figures out a way to get this wedding stopped once and for all.
Cora and Shane are both coming into this with the same sort of back issues in their lives but from completely different places. Cora has nothing but fixers in her life while Shane has nothing but people needing saved in his. Or so they both think. On the wedding front, Shane wants to get his mother to see the man she wants to marry is wrong for her and Cora does everything in her power to make Shane see he is wrong. Can they work together to prove their respective points, while navigating this slippery slope, despite being wildly attracted to each other?
I have been a fan of Nicole Helms writing for a while now and this one certainly doesnt disappoint earning 4 1/2 stars. Im usually pretty good at figuring out a storyline and I was greatly relieved to see that one point I was sure would happen, did not. Cora and Shane though both appearing confident in themselves were very much the opposite and I liked the way they both realized they needed to make that change in themselves. Moms definitely do know best always, even flawed ones like Cora and Deb Tyler doesnt miss a trick. Throw in the awesome Grandma Maisey, her sword collection and a possible love connection with Skeet in the future (please please) and this book is wonderfully all family.
I received an advance copy from Netgalley without any expectation for review. Any and all opinions expressed are my own. Another great read from Ms Helm and I cant wait to read the next chapter(s) to come in Gracely, Colorado.
Kids Trains! Baby Games for One & Two Year Olds
Education and Games
App
NEW! Fun pirate train game. Chug and toot into some true train fun and have a toot-riffic time...
Britt Daniel recommended Parade by Prince and The Revolution in Music (curated)
BankofMarquis (1832 KP) rated Good Will Hunting (1997) in Movies
Jul 9, 2021
Well Deserved Oscars for Williams, Damon and Affleck
One of the benefits of “Secret Movie Night” is that it forces me to watch (or rewatch) a film that I would not seek out on my own. Such is the case with this month’s selection - GOOD WILL HUNTING - the film that made Matt Damon and Ben Affleck stars and earned the late, great Robin Williams his only Academy Award.
Leaning hard on the mantra “write what you know”, GOOD WILL HUNTING tells the tale of a generationally talented math prodigy, who grew up in South Boston and fights his demons to find his place in this world.
Famously, the screenplay of this film earned Damon and Affleck Oscars for Best Original Screenplay and it is well deserved. They paint a picture of life of these “Southies” that appears to me real and genuine. The “family” feel of the friendship of the main characters rings true and Damon and Affleck have real chemistry with each other - like old friends playing off each other.
However, the relationship between Affleck and Damon’s character in this film is only the 3rd best relationship in this film. The best, of course, is the relationship between Will Hunting (Damon) and the shrink that is assigned to him, played by Robin Williams. It is a haunting, raw, emotional and REAL performance by Williams - one very deserving of the Oscar - and I was more than a little sad to watch this performance knowing that this uniquely talented performer is no longer with us.
The surprise to me in this rewatch of the film is the performance of Minnie Driver as a young lady that becomes emotionally attached to Will. Driver’s performance as Harvard student Skylar is also real and the struggles of her character to get a connection with Will was heartbreaking to watch.
Good Will Hunting also features strong supporting work by Stellan Skarsgard as the MIT Math Professor who discovers - and then becomes jealous of - Will’s talents and Ben Affleck’s younger brother, a then unknown Casey Affleck, who steals almost every scene he is in.
All of this would not have worked without the magnificent, Oscar nominated, Direction of Gus Van Sant (DRUGSTORE COWBOY). He was the perfect choice to direct this intimate, personal drama and he has a way of drawing out the emotions and rawness of the characters on the screen without being cloying or overdramatic. He was a strong contender for Best Director that year (as was Good Will Hunting for Best Picture) but it ran into a roadblock that was James Cameron and TITANIC.
If you have never seen this film - or if you haven’t seen this in quite some time - check out GOOD WILL HUNTING, it is well worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Leaning hard on the mantra “write what you know”, GOOD WILL HUNTING tells the tale of a generationally talented math prodigy, who grew up in South Boston and fights his demons to find his place in this world.
Famously, the screenplay of this film earned Damon and Affleck Oscars for Best Original Screenplay and it is well deserved. They paint a picture of life of these “Southies” that appears to me real and genuine. The “family” feel of the friendship of the main characters rings true and Damon and Affleck have real chemistry with each other - like old friends playing off each other.
However, the relationship between Affleck and Damon’s character in this film is only the 3rd best relationship in this film. The best, of course, is the relationship between Will Hunting (Damon) and the shrink that is assigned to him, played by Robin Williams. It is a haunting, raw, emotional and REAL performance by Williams - one very deserving of the Oscar - and I was more than a little sad to watch this performance knowing that this uniquely talented performer is no longer with us.
The surprise to me in this rewatch of the film is the performance of Minnie Driver as a young lady that becomes emotionally attached to Will. Driver’s performance as Harvard student Skylar is also real and the struggles of her character to get a connection with Will was heartbreaking to watch.
Good Will Hunting also features strong supporting work by Stellan Skarsgard as the MIT Math Professor who discovers - and then becomes jealous of - Will’s talents and Ben Affleck’s younger brother, a then unknown Casey Affleck, who steals almost every scene he is in.
All of this would not have worked without the magnificent, Oscar nominated, Direction of Gus Van Sant (DRUGSTORE COWBOY). He was the perfect choice to direct this intimate, personal drama and he has a way of drawing out the emotions and rawness of the characters on the screen without being cloying or overdramatic. He was a strong contender for Best Director that year (as was Good Will Hunting for Best Picture) but it ran into a roadblock that was James Cameron and TITANIC.
If you have never seen this film - or if you haven’t seen this in quite some time - check out GOOD WILL HUNTING, it is well worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Lee (2222 KP) rated Wild Rose (2018) in Movies
Mar 20, 2019 (Updated Mar 20, 2019)
A Star Is Born
I've talked before about how disappointed I was with 'A Star Is Born' last year. An overrated movie of two halves, with an incredible first half and a dire second half. What I wanted from that movie was the story of a girl chasing a dream, culminating in the birth of a star and an epic singing finale. That all happened in the first half though, with the second half spiraling into boring filler territory. Wild Rose tells the story of Rose-Lynn, a down on her luck, aspiring country singer with dreams of becoming a star. It more closely follows that story I was looking for than 'A Star Is Born' did and is a much better movie overall, despite remaining fairly average throughout. If you put Sheridan Smith in the lead role, this could have just as easily been shown on ITV as their latest big weeknight drama series.
Things kick off with Rose-Lynn (Jessie Buckley) being released from a year in prison where she served time for drug charges. Before anything else, she meets up with a friend to catch up on some sex before heading over to her mums house (Julie Walters). Mum has been looking after Rose-Lynn's two young kids, aged 5 and 8, for the last year and it's clear the bond between mum and children has taken a serious hit. She doesn't exactly make any effort to reconnect with her children either, pulling on her cowboy boots and heading down to Glasgows Grand Ole Opry to try and pick up the regular singing slot she held there before winding up in jail. Rose-Lynn is a huge country music fan, and has plans to head over to Nashville in order to try and become a star.
Rose-Lynn lands a day job, cleaning for a wealthy couple in their large house. The lady of the house, Susannah (Sophie Okonedo) takes a shine to Rose-Lynn and after her children hear her belting out a song while cleaning, goes out of her way to try and help her. Using her connections to get a demo video to BBC Radio 2 legend 'Whispering' Bob Harris and even landing Rose-Lynn a gig at her 50th birthday party with a view to getting her wealthy guests to help 'crowdfund' Rose-Lynn.
Rose-Lynn is not a very likeable character for much of this movie. Selfish, annoying and with questionable life choices and actions. But that's the whole idea - to manipulate our feelings towards her. She's played wonderfully by Jessie Buckley and as her character grows and learns from life, we begin to like her that little bit more too. I was worried that if she eventually did find her way to Nashville, we'd see her become this huge star and I would have felt cheated if that were the case. Without heading too much into spoiler territory, I'll just say that things don't exactly work out that way. It's an unexpected but welcome change in direction, and leads to an incredible and emotional final number.
Things kick off with Rose-Lynn (Jessie Buckley) being released from a year in prison where she served time for drug charges. Before anything else, she meets up with a friend to catch up on some sex before heading over to her mums house (Julie Walters). Mum has been looking after Rose-Lynn's two young kids, aged 5 and 8, for the last year and it's clear the bond between mum and children has taken a serious hit. She doesn't exactly make any effort to reconnect with her children either, pulling on her cowboy boots and heading down to Glasgows Grand Ole Opry to try and pick up the regular singing slot she held there before winding up in jail. Rose-Lynn is a huge country music fan, and has plans to head over to Nashville in order to try and become a star.
Rose-Lynn lands a day job, cleaning for a wealthy couple in their large house. The lady of the house, Susannah (Sophie Okonedo) takes a shine to Rose-Lynn and after her children hear her belting out a song while cleaning, goes out of her way to try and help her. Using her connections to get a demo video to BBC Radio 2 legend 'Whispering' Bob Harris and even landing Rose-Lynn a gig at her 50th birthday party with a view to getting her wealthy guests to help 'crowdfund' Rose-Lynn.
Rose-Lynn is not a very likeable character for much of this movie. Selfish, annoying and with questionable life choices and actions. But that's the whole idea - to manipulate our feelings towards her. She's played wonderfully by Jessie Buckley and as her character grows and learns from life, we begin to like her that little bit more too. I was worried that if she eventually did find her way to Nashville, we'd see her become this huge star and I would have felt cheated if that were the case. Without heading too much into spoiler territory, I'll just say that things don't exactly work out that way. It's an unexpected but welcome change in direction, and leads to an incredible and emotional final number.