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Bob Mann (459 KP) rated The Meg (2018) in Movies
Sep 28, 2021
Fins ain’t what they used to be.
OK, OK, so I must be about the last person in the country – at least, those who want to see this at the cinema – who actually has! Maybe its something about the summer slipping into autumn that made me crave for one last summer blockbuster hoorah! In any case, I feel like a bit of a traitor, since I was very scathing about this film’s trailer when it came out. But – do you know – as a brainless piece of popcorn entertainment, I quite enjoyed it!
Jason Statham – the unthinking man’s Dwayne Johnson – plays our hero Jonas Taylor. (Jonas? Surely some sly joke?). Jonas is drinking his life away in Thailand after being traumatised by an underwater rescue mission in which he was 90% successful. (Yeah, I know. Bloody perfectionists. Hate ’em). But he is needed again, since his cute ex-wife Lori (Jessica McNamee) is stuck at the bottom of the sea being terrorised by a terrifying creature: no, not Spongebob Square Pants… the titular prehistoric shark.
Lori is working at an undersea research station – Mana One – off the coast of China, funded by the annoyingly brash billionaire Morris (Rainn Wilson, from “The Office”), who you just HOPE HOPE HOPE will get munched at some point!
Running the station (in the most shameless Hollywood/Chinese market crossover since “The Great Wall“) is Zhang (Winston Chao) assisted by his cute daughter Suyin (played by the gloriously named and very talented Bingbing Li) and his even cuter granddaughter Meiying (Sophia Cai). The race is on to use their brains and Taylor’s brawn to stop the monster from reaching the seaside resort of Sanya Bay for lunch.
The action is, of course, absurd with so many near misses for Jonas from gnashing teeth that he could be The Meg’s registered dentist. There is a really nice dynamic though built up between Jonas, his potential cross-cultural love interest Suyin and young Meiying. Suyin is a classic TimesUp heroine for 2018, with an assertive f***-you attitude and not remotely giving an inch to Statham’s hero.
But it’s young Sophia as Meying who really steals lines and steals hearts with a truly charming performance, and would get my ‘man of the match’ were it not for…
…research assistant Jaxx (Australian model, Ruby Rose). She has an absolutely extraordinary look in this film. Chiselled and tattooed, she literally looks like she has stepped out of a Final Fantasy video game… and acts well too: the complete package.
As referenced above, the Hollywood/Chinese crossover is quite striking in this film, with the Chinese beach location looking like Amity Island on crack! (Cue the overweight Chinese kid as the Jaws “Alex” replacement… who knew China had a child obesity issue too… and that they also have ‘Zoom’ ice lollies!) Unusually for a mainstream Western film, a significant number of lines in the film are in Chinese with English subtitles.
In the league table of shark movies, it is far nearer to “Deep Blue Sea” than it is to “Jaws”, the reigning league champion, and all are far in excess of the ridiculous “Sharknado”. But compared to “Deep Blue Sea”, and even compared to “Jaws” – now, astonishingly, 43 years old! – it’s a curiously bloodless concoction, presumably to guarantee it’s 12A certificate. I have seen far bloodier and more violent 12A’s, and if anything I think director Jon Turteltaub (“National Treasure”) rather overdid the sanitisation.
It’s not going to win many gongs at the Oscars, but it is a slice of movie fun nonetheless.
Jason Statham – the unthinking man’s Dwayne Johnson – plays our hero Jonas Taylor. (Jonas? Surely some sly joke?). Jonas is drinking his life away in Thailand after being traumatised by an underwater rescue mission in which he was 90% successful. (Yeah, I know. Bloody perfectionists. Hate ’em). But he is needed again, since his cute ex-wife Lori (Jessica McNamee) is stuck at the bottom of the sea being terrorised by a terrifying creature: no, not Spongebob Square Pants… the titular prehistoric shark.
Lori is working at an undersea research station – Mana One – off the coast of China, funded by the annoyingly brash billionaire Morris (Rainn Wilson, from “The Office”), who you just HOPE HOPE HOPE will get munched at some point!
Running the station (in the most shameless Hollywood/Chinese market crossover since “The Great Wall“) is Zhang (Winston Chao) assisted by his cute daughter Suyin (played by the gloriously named and very talented Bingbing Li) and his even cuter granddaughter Meiying (Sophia Cai). The race is on to use their brains and Taylor’s brawn to stop the monster from reaching the seaside resort of Sanya Bay for lunch.
The action is, of course, absurd with so many near misses for Jonas from gnashing teeth that he could be The Meg’s registered dentist. There is a really nice dynamic though built up between Jonas, his potential cross-cultural love interest Suyin and young Meiying. Suyin is a classic TimesUp heroine for 2018, with an assertive f***-you attitude and not remotely giving an inch to Statham’s hero.
But it’s young Sophia as Meying who really steals lines and steals hearts with a truly charming performance, and would get my ‘man of the match’ were it not for…
…research assistant Jaxx (Australian model, Ruby Rose). She has an absolutely extraordinary look in this film. Chiselled and tattooed, she literally looks like she has stepped out of a Final Fantasy video game… and acts well too: the complete package.
As referenced above, the Hollywood/Chinese crossover is quite striking in this film, with the Chinese beach location looking like Amity Island on crack! (Cue the overweight Chinese kid as the Jaws “Alex” replacement… who knew China had a child obesity issue too… and that they also have ‘Zoom’ ice lollies!) Unusually for a mainstream Western film, a significant number of lines in the film are in Chinese with English subtitles.
In the league table of shark movies, it is far nearer to “Deep Blue Sea” than it is to “Jaws”, the reigning league champion, and all are far in excess of the ridiculous “Sharknado”. But compared to “Deep Blue Sea”, and even compared to “Jaws” – now, astonishingly, 43 years old! – it’s a curiously bloodless concoction, presumably to guarantee it’s 12A certificate. I have seen far bloodier and more violent 12A’s, and if anything I think director Jon Turteltaub (“National Treasure”) rather overdid the sanitisation.
It’s not going to win many gongs at the Oscars, but it is a slice of movie fun nonetheless.
Eastern Empires
Tabletop Game
Eastern Empires is a board game for 3 to 9 players and covers the development of ancient...
Gareth von Kallenbach (980 KP) rated Top Gun: Maverick (2022) in Movies
May 19, 2022
Back in 1987, Tom Cruise and Paramount released “Top Gun” and in doing so created a cultural phenomenon that launched Cruise into Superstardom and became an enduring classic.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.
DaveySmithy (107 KP) rated Fight Club (1999) in Movies
Dec 3, 2024
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
Factually Accurate
I received this book for free through Goodreads First Reads.
A spectacle of celebrity, talent and burning ambition, Queen Bees combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the Victoria and Albert Museum, National Trust and Design Museum, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in Queen Bees are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title Queen Bees suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. Queen Bees can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading Queen Bees – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, Queen Bees is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
A spectacle of celebrity, talent and burning ambition, Queen Bees combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the Victoria and Albert Museum, National Trust and Design Museum, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in Queen Bees are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title Queen Bees suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. Queen Bees can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading Queen Bees – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, Queen Bees is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
RəX Regent (349 KP) rated Downfall (Der Untergang) (2004) in Movies
Feb 19, 2019
The true story of the last days of NAZI Germany, focusing on Hitler and his cohorts as they sought refuge on his Berlin Bunker and is chronicled here with such honesty.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
<i>I received this book for free through Goodreads First Reads.</i>
A spectacle of celebrity, talent and burning ambition, <i>Queen Bees</i> combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the <i>Victoria and Albert Museum, National Trust </i>and <i>Design Museum</i>, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in <i>Queen Bees</i> are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title <i>Queen Bees</i> suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. <i>Queen Bees</i> can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading <i>Queen Bees</i> – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, <i>Queen Bees </i>is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
A spectacle of celebrity, talent and burning ambition, <i>Queen Bees</i> combines the biographical stories of six ambitious women who helped to shape the standards of British society between the two world wars. Londoner Siân Evans is a cultural historian who has previously worked with the <i>Victoria and Albert Museum, National Trust </i>and <i>Design Museum</i>, and takes great lengths to thoroughly research into her written subject in order to portray a highly accurate insight to the lives of historical figures. Due to the non-existent political status of women in the early 1900s, the women featured in this book are virtually unknown today, yet they had a great impact during the 20s and 30s and helped to shape the Britain of today.
Although not necessarily born into it, circumstances such as marriage meant these six women were regarded as upper class. In no particular order, the names impacting on the social revolution and thus featured in <i>Queen Bees</i> are as follows: Lady Nancy Astor, the first female MP; Lady Sybil Colefax, who became a friend of Edward VIII; Lady Emerald Cunard, also connected with the royal family; Mrs. Ronnie Greville, a rather formidable woman; Lady Edith Londonderry, the founder of the Women’s Legion; and Laura Corrigan, the youngest of the set. Evans talks the reader through these women’s careers as professional hostesses as they compete to throw the better party, entertaining famous writers and actors as well as members of royalty, both national and foreign.
What is perhaps the most interesting, and indeed the most worth learning, is the way a couple of these women altered the future of the British monarchy. Without their interference the future George VI would never have married Elizabeth Bowes-Lyon, and without their involvement in the relationship between Edward VIII and Wallis Simpson, George VI would never have come to the throne. This is such an important aspect of British history that has been widely left out and ignored. Without these hostesses influence we would all be experiencing a slightly different life.
In terms of the actual writing, Siân Evans manages fairly well to engage the reader as she relates the factual story in a more or less chronological way. A slight issue is the quick, often undetected, move from one woman to the next, resulting in a lot of confusion about who is who particularly at the beginning of the book. A lot of the narrative features other key figures from the same period and often moves away from the main characters, which, whilst interesting, is not what the reader necessarily expected from a book whose title <i>Queen Bees</i> suggested it was only going to be about the women’s lives.
Footnotes, quotes and extracts from letters and diaries help to make the book appear reliable, factual and believable. Some of the content, without back up, would have seemed rather fanciful or exaggerated. <i>Queen Bees</i> can be read as a source of entertainment or as a citation for historical research. What is found within these pages is a more unbiased account of the early twentieth century than would be found in numerous male dominated history textbooks.
Mature readers of all ages are likely to gain something from reading <i>Queen Bees</i> – pleasure, knowledge etc., however it is most likely to appeal to the contemporary feminist. With this in mind, be aware that the six hostesses were not feminists of their time; they were not involved in Suffragette movements and were fairly content to live off money earned by their husbands or fathers. Yet, on the other hand, they impacted on the future of Britain as much as the male politicians of the time. Highly political in content, <i>Queen Bees </i>is worth reading to discover our own history, but be prepared for initial confusion over who is who and rather lengthy paragraphs.
Gareth von Kallenbach (980 KP) rated The Wolfman (2010) in Movies
Aug 8, 2019
During the golden age of cinematic horror, Lon Chaney terrified audiences with his portrayal of the Wolfman which launched the character as a cultural mainstay.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Gareth von Kallenbach (980 KP) rated Bruno (2009) in Movies
Aug 9, 2019
Life is good for Austrian fashonista Bruno (Sacha Baron Cohen). As the star of the top Austrian fashion show, he is a fixture at all of the social events and is the flamboyant highpoint of any event he graces.
That is until things go awry and Bruno finds himself on the outside looking in and is blacklisted from the European fashion industry he lives for.
Undaunted, Bruno sets out to become a star and take America by storm in the shockingly outrageous and sure to be controversial “Bruno”. The film is a follow up to “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” which took the box office by storm when it was released three years ago.
Upon arriving in America, Bruno sets out to be a star, but soon runs into trouble when his first day on a television set goes out of control. If this was not bad enough, Bruno’s pitch for a variety shows scores badly with a focus group who are dismayed at the very graphic depiction of the male form and other outrageous humor.
Undaunted even when his attempts at celebrity interviews crash and burn around him, Bruno sets out to get tabloid attention by adopting a baby from Africa. This leads to a daring and outrageous segment on a Texas talk show where Bruno is verbally chastised by the predominately African American audience.
Unable to catch a break, Bruno travels to locales as diverse as Israel, Alabama, and Los Angeles hoping to get a break, but only finds failure. Despite his horrible luck, Bruno has the adoration of his assistant Lutz (Gustaf Hammarsten), which sadly for Gustaf is unrequited.
Desperate for acceptance, Bruno decides to become straight and sets off to the South to learn what being a straight man is all about which sets up some outrageous encounters ranging from a swingers party to a hilarious macho man event hosted by Bruno as “Straight Dave”.
While there are those who will see only the nudity and crude humor of the film and dismiss it, those who are more open minded will see the genius of Cohen who is a master of improvisational. It is fascinating to see how much he throws himself into a scene and literally becomes his characters. No matter how outrageous the scenario, Cohen is not afraid to push the boundaries and get people to expose their true selves.
While his scenarios shock, they also educate and enlighten as he gets his unsuspecting co-stars to show sides of themselves and human nature which people try to hide and ignore. Despite thinking we are an enlightened society, there are those that are shocked by a person who is so flamboyant and open, even swingers whose very lifestyle is considered by most to be out of the norm and for others to be unordinary.
Numerous celebrity appearances also grace the film, which I will refrain from spoiling but suffice it to say add to the enjoyment of the film.
The movie does not have much in the way of plot and character development, but that is not the intention of the film, as the plot is a framework to connect the segments which work well in my opinion.
Unlike a Saturday Night Live sketch turned into a movie, “Bruno” works well within the films run time without overstaying its welcome and losing momentum.
In the end, you will either love or hate the film, and much of this will depend on your tolerance for very mature, bawdy, and controversial humor. For my taste, this was one of the funniest films I have ever seen and I could not stop laughing.
That is until things go awry and Bruno finds himself on the outside looking in and is blacklisted from the European fashion industry he lives for.
Undaunted, Bruno sets out to become a star and take America by storm in the shockingly outrageous and sure to be controversial “Bruno”. The film is a follow up to “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” which took the box office by storm when it was released three years ago.
Upon arriving in America, Bruno sets out to be a star, but soon runs into trouble when his first day on a television set goes out of control. If this was not bad enough, Bruno’s pitch for a variety shows scores badly with a focus group who are dismayed at the very graphic depiction of the male form and other outrageous humor.
Undaunted even when his attempts at celebrity interviews crash and burn around him, Bruno sets out to get tabloid attention by adopting a baby from Africa. This leads to a daring and outrageous segment on a Texas talk show where Bruno is verbally chastised by the predominately African American audience.
Unable to catch a break, Bruno travels to locales as diverse as Israel, Alabama, and Los Angeles hoping to get a break, but only finds failure. Despite his horrible luck, Bruno has the adoration of his assistant Lutz (Gustaf Hammarsten), which sadly for Gustaf is unrequited.
Desperate for acceptance, Bruno decides to become straight and sets off to the South to learn what being a straight man is all about which sets up some outrageous encounters ranging from a swingers party to a hilarious macho man event hosted by Bruno as “Straight Dave”.
While there are those who will see only the nudity and crude humor of the film and dismiss it, those who are more open minded will see the genius of Cohen who is a master of improvisational. It is fascinating to see how much he throws himself into a scene and literally becomes his characters. No matter how outrageous the scenario, Cohen is not afraid to push the boundaries and get people to expose their true selves.
While his scenarios shock, they also educate and enlighten as he gets his unsuspecting co-stars to show sides of themselves and human nature which people try to hide and ignore. Despite thinking we are an enlightened society, there are those that are shocked by a person who is so flamboyant and open, even swingers whose very lifestyle is considered by most to be out of the norm and for others to be unordinary.
Numerous celebrity appearances also grace the film, which I will refrain from spoiling but suffice it to say add to the enjoyment of the film.
The movie does not have much in the way of plot and character development, but that is not the intention of the film, as the plot is a framework to connect the segments which work well in my opinion.
Unlike a Saturday Night Live sketch turned into a movie, “Bruno” works well within the films run time without overstaying its welcome and losing momentum.
In the end, you will either love or hate the film, and much of this will depend on your tolerance for very mature, bawdy, and controversial humor. For my taste, this was one of the funniest films I have ever seen and I could not stop laughing.
What might be sabotaging your uniquely gifted contribution to the world around you? Discover the obstacles and barriers standing between you and your God-given purpose. In this revised book, youll learn how to identify ways to strengthen your calling thatll encourage you to confidently operate in the gifts and talents that God designed you to do. Through the lens of T.H. Meyers own journey, youll recognize the universal struggle in embracing your whole person as she encourages you to live a life without regrets. For the individual reader looking to examine more deeply their life purpose or a group seeking to collectively spur each other toward their God-given gifts, talents, and life. This book can be used as a 12-week, 6-week, or 4-week study guide, with exploratory questions at the end of each chapter the assist you in listening to Gods voice and revealing your unique purpose, path, or direction.
Endorsements A wonderful exploration, but not only for readers to look inwardly, but to also look around at others, at where our lives are at, and mostly upward toward Gods design and dreams for our lives. Love it! Cindy Coloma, best selling and award-winning author of over 15 books Youll come away from this wise and insightful book with a clearer understanding of how you are uniquely gifted to contribute to the world, and why its imperative that you honor your creative calling. Michelle DeRusha, author of Katharina and Martin Luther: The Radical Marriage of a Runway TH Meyer looks at the glass ceiling the world has placed between creatives and non-creatives and shatters it. This those who have felt they are not creative, too timid, or simply too late to the life they were called to live, Meyer says, Pish-posh. She delivers on her promise to help people embrace uniqueness, explore boldness, and encourage faith. Amy Young, author of Looming Transitions: Starting & Finishing Well in Cross-Cultural Service In her book, A Life Of Creative Purpose, Tammy Hendricksmeyer [TH Meyer] is a trusted mentor, offer ing us the tools we need to step completely into Gods design for us as individuals, and as members of His body. Her relatable stories coupled with scripture inspire and ignite a renewed passion for pursuing not only our own creative callings but even more, her words stoke the fire in our hearts for the Giver of these gifts. Kris Camealy, author of Come, Lord Jesus: The Weight Of Waiting A Life of Creative Purpose is a fantastic resource filled with thoughtful questions, stories, and Scripture each designed to awaken us to Gods unique purposes for our lives. It is well-written, thoughtful, and engaging, an invitation to embrace our own eternally significant creative purpose. Cindee S. Re, author of Discovering Hope: Beginning the Journey Toward Hope in Chronic Illness In her book, A Life of Creative Purpose, TH Meyer masterfully blends personal stories with wisdom from Scripture to reveal the importance of creative purpose (even if you think you are not creative.) The thought-provoking questions at the end of each chapter will help you discover (or uncover) and embrace the unique way God has made you and inspire you to step into a life of purpose, meaning, and fulfillment. JoDitt Williams, author/artist of Delight in the Word of God: A Devotional Coloring Book/Journal for Adults
My Thoughts: This is a great book to remind us about the gifts that God has for each of us. It reminds us not to be afraid to step out in faith to use the guts that God gives us to use.
This is a book of encouragement. It helps those who may not know what their purpose or gift is, to learn how to find it.
I enjoyed this book and encourage others to read it.
Endorsements A wonderful exploration, but not only for readers to look inwardly, but to also look around at others, at where our lives are at, and mostly upward toward Gods design and dreams for our lives. Love it! Cindy Coloma, best selling and award-winning author of over 15 books Youll come away from this wise and insightful book with a clearer understanding of how you are uniquely gifted to contribute to the world, and why its imperative that you honor your creative calling. Michelle DeRusha, author of Katharina and Martin Luther: The Radical Marriage of a Runway TH Meyer looks at the glass ceiling the world has placed between creatives and non-creatives and shatters it. This those who have felt they are not creative, too timid, or simply too late to the life they were called to live, Meyer says, Pish-posh. She delivers on her promise to help people embrace uniqueness, explore boldness, and encourage faith. Amy Young, author of Looming Transitions: Starting & Finishing Well in Cross-Cultural Service In her book, A Life Of Creative Purpose, Tammy Hendricksmeyer [TH Meyer] is a trusted mentor, offer ing us the tools we need to step completely into Gods design for us as individuals, and as members of His body. Her relatable stories coupled with scripture inspire and ignite a renewed passion for pursuing not only our own creative callings but even more, her words stoke the fire in our hearts for the Giver of these gifts. Kris Camealy, author of Come, Lord Jesus: The Weight Of Waiting A Life of Creative Purpose is a fantastic resource filled with thoughtful questions, stories, and Scripture each designed to awaken us to Gods unique purposes for our lives. It is well-written, thoughtful, and engaging, an invitation to embrace our own eternally significant creative purpose. Cindee S. Re, author of Discovering Hope: Beginning the Journey Toward Hope in Chronic Illness In her book, A Life of Creative Purpose, TH Meyer masterfully blends personal stories with wisdom from Scripture to reveal the importance of creative purpose (even if you think you are not creative.) The thought-provoking questions at the end of each chapter will help you discover (or uncover) and embrace the unique way God has made you and inspire you to step into a life of purpose, meaning, and fulfillment. JoDitt Williams, author/artist of Delight in the Word of God: A Devotional Coloring Book/Journal for Adults
My Thoughts: This is a great book to remind us about the gifts that God has for each of us. It reminds us not to be afraid to step out in faith to use the guts that God gives us to use.
This is a book of encouragement. It helps those who may not know what their purpose or gift is, to learn how to find it.
I enjoyed this book and encourage others to read it.