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BankofMarquis (1832 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 6, 2019
Check Into the El Royale, You'll Be Glad You Did
BAD TIMES AT THE EL ROYALE is a bloody movie about bloody people doing bloody things at a bloody hotel.
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
MelanieTheresa (997 KP) rated Vox in Books
Sep 19, 2018
This book made me so ANGRY.
Contains spoilers, click to show
** spoiler alert ** Somewhere along the line, what was known as the Bible Belt, that swath of Southern states where religion ruled, started expanding. It morphed from belt to corset, covering all but the country’s limbs—the democratic utopias of California, New England, the Pacific Northwest, DC, the southern jurisdictions of Texas and Florida—places so far on the blue end of the spectrum they seemed untouchable. But the corset turned into a full bodysuit, eventually reaching all the way to Hawaii. And we never saw it coming.
This book made me so ANGRY. I read it in a flurry of outrage in less than 24 hours because I just.could.not.stop.
It's the very near future, and the religious right has (seemingly) won in the United States. Women no longer hold jobs, are no longer allowed to read or write, and are limited to speaking 100 words per day, enforced by an electric-shock "bracelet" counter, their voices effectively silenced, their rights taken away. A religious zealot is pulling the strings of the puppet-President. School textbooks are replaced with religious tomes. The LGBTQ community is forced into prison/work camps for "conversion" to the "normal" way (read: man/woman). Engage in premarital or extramarital sex? Work camp in the Black Hills of South Dakota for the rest of your life, with a counter on your wrist set to ZERO. You may think "none of this would ever happen!" .....wouldn't it, though? Consider the current political climate and treatment of women, folks. Maybe it's not that far off the mark.
“Whose fault do you think it was?” he said. I stood in my kitchen, wanting to explain, careful not to, while he told me we’d marched one too many times, written one too many letters, screamed one too many words. “You women. You need to be taught a lesson.”
There will be the inevitable comparisons to The Handmaid's Tale, of course. I personally could not slog my way through The Handmaid's Tale,, so I can't speak to those comparisons. I can only tell you that if you aren't outraged by the very IDEA that this could happen, there may be something wrong with you.
I did feel like the ending was slightly rushed, but not to the point that it took away from the rest of the story. It was a satisfying, hopeful ending.
What would you do to be free?
This book made me so ANGRY. I read it in a flurry of outrage in less than 24 hours because I just.could.not.stop.
It's the very near future, and the religious right has (seemingly) won in the United States. Women no longer hold jobs, are no longer allowed to read or write, and are limited to speaking 100 words per day, enforced by an electric-shock "bracelet" counter, their voices effectively silenced, their rights taken away. A religious zealot is pulling the strings of the puppet-President. School textbooks are replaced with religious tomes. The LGBTQ community is forced into prison/work camps for "conversion" to the "normal" way (read: man/woman). Engage in premarital or extramarital sex? Work camp in the Black Hills of South Dakota for the rest of your life, with a counter on your wrist set to ZERO. You may think "none of this would ever happen!" .....wouldn't it, though? Consider the current political climate and treatment of women, folks. Maybe it's not that far off the mark.
“Whose fault do you think it was?” he said. I stood in my kitchen, wanting to explain, careful not to, while he told me we’d marched one too many times, written one too many letters, screamed one too many words. “You women. You need to be taught a lesson.”
There will be the inevitable comparisons to The Handmaid's Tale, of course. I personally could not slog my way through The Handmaid's Tale,, so I can't speak to those comparisons. I can only tell you that if you aren't outraged by the very IDEA that this could happen, there may be something wrong with you.
I did feel like the ending was slightly rushed, but not to the point that it took away from the rest of the story. It was a satisfying, hopeful ending.
What would you do to be free?
Andy K (10821 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Aug 14, 2019
I didn't think my face could smile for 2 hours and 41 minutes straight!
Guess what? I ventured out on my day off and went to the theatre for the first time in 2019! (I'm such a loser!)
There are so many QT fans out there and probably just as many who think his films are trashy and pointless. As a true film fan, I can't not love not only his unique approach to film-making, but also his appreciation for the art of film and the constant homages he pays to film of year's past.
The first thing to talk about is the film's perfect tone and look of 1969. The costumes, hairstyles and music of the period was right on, but even more than that was the art direction and cinematography. Almost every scene has a vintage movie poster, retro theatre marquee or period television pram playing in the background. This helps you immerse yourself in this cinematic landscape almost immediately.
Can I also say the movie had opening credits! (Bring them back please !?!)
Basically, a Hollywood television/B movie actor and his personal stuntman navigate their Hollywood lifestyles in 1969 amidst the Playboy Mansion and the Charles Manson cult. The roller coaster goes from movie sets to retro Hollywood and everywhere in between. We also meet Sharon Tate. She loves her world of budding stardom and basks in the opportunity to be famous.
QT takes his usual liberties with historical facts, but can't say too much more than that here. If you are used to this in his other films like Inglorious Basterds, it won't bother you here either. He always seems to manage to make every actor look great and brings the best out of them and this film is no exception. Even actors with smaller roles like Al Pacino, Dakota Fanning and Luke Perry shine in their limited screen time.
As usual, his score was playing constantly throughout the film and complemented the situations remarkably well. I am sure I will be downloading some of them for myself later on.
QT has talked about retiring which would be a shame. I have pretty much loved everything he has ever done so losing a truly one of a kind cinematic voice such as his at such a young age would be truly heartbreaking.
There are so many QT fans out there and probably just as many who think his films are trashy and pointless. As a true film fan, I can't not love not only his unique approach to film-making, but also his appreciation for the art of film and the constant homages he pays to film of year's past.
The first thing to talk about is the film's perfect tone and look of 1969. The costumes, hairstyles and music of the period was right on, but even more than that was the art direction and cinematography. Almost every scene has a vintage movie poster, retro theatre marquee or period television pram playing in the background. This helps you immerse yourself in this cinematic landscape almost immediately.
Can I also say the movie had opening credits! (Bring them back please !?!)
Basically, a Hollywood television/B movie actor and his personal stuntman navigate their Hollywood lifestyles in 1969 amidst the Playboy Mansion and the Charles Manson cult. The roller coaster goes from movie sets to retro Hollywood and everywhere in between. We also meet Sharon Tate. She loves her world of budding stardom and basks in the opportunity to be famous.
QT takes his usual liberties with historical facts, but can't say too much more than that here. If you are used to this in his other films like Inglorious Basterds, it won't bother you here either. He always seems to manage to make every actor look great and brings the best out of them and this film is no exception. Even actors with smaller roles like Al Pacino, Dakota Fanning and Luke Perry shine in their limited screen time.
As usual, his score was playing constantly throughout the film and complemented the situations remarkably well. I am sure I will be downloading some of them for myself later on.
QT has talked about retiring which would be a shame. I have pretty much loved everything he has ever done so losing a truly one of a kind cinematic voice such as his at such a young age would be truly heartbreaking.
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
The Rise of Theodore Roosevelt
Book
This classic biography is the story of seven men--a naturalist, a writer, a lover, a hunter, a...
Gareth von Kallenbach (971 KP) rated Fifty Shades Freed (2018) in Movies
Jun 19, 2019
The third and final entry in the “Fifty Shades” series has arrived with the release of “fifty Shades Freed”. The story opens with the wedding of Anastasia (Dakota Johnson), and Christian (Jamie Dornan), and follows their honeymoon in the lavish locales of France.
There getaway is cut short by an act of sabotage at Christian’s company and it soon becomes clear that a person from their past has taken things to a dangerous level which requires Christian to implement security measures for Anastasia and their extended family.
In between the intrigue presented by the threat, we also have numerous scenes of nudity and eroticism as Christian is not going to give up his dominating needs anytime soon.
Combine this with a new revelation that threatens to disrupt the crafted and controlled world he has created for himself and Anastasia; the tensions rise between them making a dangerous and stress-filled situation even more complicated.
While the film does have a better plot and is more engaging than the previous films in the series it is hampered by many of the same issues that hindered the series. The two leads have zero chemistry with one another and their supposedly highly erotic scenes are so routine and by the numbers they lack any form of excitement or real titillation. The film also has this message that behavior that would be considered highly unacceptable in others seems to get a pass for Christian as he is a handsome billionaire. He is a very selfish and controlling individual who demands obedience. While Anastasia does have a strong enough character to stand up to him, she tolerates behavior that would be considered unacceptable by many and seems very quick to give him a pass when lavish gifts and trips are bestowed upon her. I wonder how romantic and acceptable his behavior would be if he was a struggling musician who did not have the financial resources to create fantasies and buy his apologies. I know the film is supposed to be romantic fantasy but this really annoys me as he exhibits much of the behavior that is considered unacceptable and to be avoided at all costs, yet it is all wrapped up in a sweet bow of forgiveness.
That aside the series does seem to be losing steam as the last film earned less than the original film and “Fifty Shades Freed” is tracking to open well below the last film as well. Fans of the series will likely enjoy it as a satisfying finale, but I really expected more from the final moments of the series as after following the characters, the ending seemed very anti-climactic.
http://sknr.net/2018/02/08/fifty-shades-freed/
There getaway is cut short by an act of sabotage at Christian’s company and it soon becomes clear that a person from their past has taken things to a dangerous level which requires Christian to implement security measures for Anastasia and their extended family.
In between the intrigue presented by the threat, we also have numerous scenes of nudity and eroticism as Christian is not going to give up his dominating needs anytime soon.
Combine this with a new revelation that threatens to disrupt the crafted and controlled world he has created for himself and Anastasia; the tensions rise between them making a dangerous and stress-filled situation even more complicated.
While the film does have a better plot and is more engaging than the previous films in the series it is hampered by many of the same issues that hindered the series. The two leads have zero chemistry with one another and their supposedly highly erotic scenes are so routine and by the numbers they lack any form of excitement or real titillation. The film also has this message that behavior that would be considered highly unacceptable in others seems to get a pass for Christian as he is a handsome billionaire. He is a very selfish and controlling individual who demands obedience. While Anastasia does have a strong enough character to stand up to him, she tolerates behavior that would be considered unacceptable by many and seems very quick to give him a pass when lavish gifts and trips are bestowed upon her. I wonder how romantic and acceptable his behavior would be if he was a struggling musician who did not have the financial resources to create fantasies and buy his apologies. I know the film is supposed to be romantic fantasy but this really annoys me as he exhibits much of the behavior that is considered unacceptable and to be avoided at all costs, yet it is all wrapped up in a sweet bow of forgiveness.
That aside the series does seem to be losing steam as the last film earned less than the original film and “Fifty Shades Freed” is tracking to open well below the last film as well. Fans of the series will likely enjoy it as a satisfying finale, but I really expected more from the final moments of the series as after following the characters, the ending seemed very anti-climactic.
http://sknr.net/2018/02/08/fifty-shades-freed/
Gareth von Kallenbach (971 KP) rated Bad Times at the El Royale (2018) in Movies
Jul 2, 2019
The El Royale Hotel sit directly on the California and Nevada border just outside of Lake Tahoe. In its heyday, the novelty hotel, vibrant and bustling with activity. Even getting visits from famous actors, singers and politicians. But by the 1960s those days had gone and now it is rundown and mostly vacant. Then on one fateful day a group of random strangers meet at the El Royale. There is a minister, Father Daniel Flynn (Jeff Bridges), on his way back from Oakland visiting his brother. Singer Darlene Sweet (Cynthia Erivo) who came to the El Royale because her midday casino singing gig in Reno didn’t pay enough for her to stay anywhere else. Then there is Laramie Seymour Sullivan (John Hamm) the vacuum salesman who talks fast and loud. His company does all the hotel bookings so he was stuck with the El Royale, but he is dead set on enjoying the luxurious Honeymoon Suite given the choices. Lastly, there is Emily (Dakota Johnson) she doesn’t say much besides she wants a room far away from the other guests. The mismatched group is all greeted by the bellhop/bar tender/service manager Miles (Lewis Pullman). All seems like a chance meeting of a group of travelers. But nothing is what it seems. By the nights end all manner of secrets will come out and all the guests’ lives will be in jeopardy.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
El Royale is a well-crafted and executed mystery/thriller. Writer and Director Drew Goddard (The Martian) does a great job of telling an original story. It keeps you guessing to the end. The cast for the most part is really good. Chris Hemsworth (as Billy Lee) and Cailee Spaeny (as Ruth Summersping) have more underwhelming performances compared to the rest of the cast but still good. Cynthia Erivo, for me, had a great performance. I thought her voice was amazing and how her character was developed throughout the film was interesting and well done. The pace of the movie does start out somewhat slow but rapidly builds and overall is good. The film is set in the 1960s and definitely feels like of that era with the music, news stories, overall appearance of the hotel rooms, etc.
I enjoyed this film. I thought the way the story unfolded was interesting and original. One part that really occurred to be later is that you never really knew who the hero of the film was or would wind up being. When I thought I had it figured out something would happen to change my mind. Or maybe there was not really hero. The slow build up was a little long for me but otherwise it was a great movie theater experience.
The Bandersnatch (199 KP) rated The Wonderful Wizard of Oz in Books
Nov 7, 2019
The Book was Published by George M. Hill Company with an advanced publication date of September 1900. The public heard of it at a book fair in Chicago around July 5th to 20th with its copyright registered by August 1st. The books sold out quickly and the second editions went just as quickly as the first. When Hills company became bankrupt in 1901, Bobbs-Merrill Company resumed publishing the book. By 1933 there were more than a million copies printed and by 1956 the sales had grown to three million printed. Because The Wizard of Oz was so popular it became the first in a thirteen book series.
I had known about the wizard of oz ever since I was a child but this was due to the 1939 Movie by MGM of the same name starring Judy Garland. As such I didn't read the book until I was nearly an adult. The book is highly different to the movie with Dorothy having to do more to get home and for both the Wizard and Oz as a whole. The major differences between book and movie is the fact that the Ruby slippers from the movie are silver in the book and the flying monkeys are controlled by a magical cap and Dorothy having protection from Glinda the good witch of the north. I have to admit I am a stickler for details and I prefer the book rather than the movie, despite the movie being good. I recommend this book to everyone and give the book a 9/10
Lyman Frank Baum was born May 15th 1856 in Chittenango, New York to a devout Methodist family the seventh of nine children of Cynthia and Benjamin Baum. Only Baum and five of his siblings survived to adulthood. Lyman hated his first name despite being named for an uncle and liked his middle name better, he was known as Frank for most of his life. Baum married his wife Maud Gage on November 9th 1882 and by 1888 had moved to Aberdeen, Dakota Territory where he operated his own store for a while before turning to writing full time which he loved to do since he was a child. By the time of his death on May 6th 1919 Baum had written the thirteen book Oz series, a plethora of other books and several musicals and radio plays. Baum had died of a stroke and passed away in his sleep, he's buried in Glendale's Forest Lawn Memorial Park Cemetery. L. Frank Baum certainly has my respect for both his writing of the Oz series and the craziness that his life had been.
I had known about the wizard of oz ever since I was a child but this was due to the 1939 Movie by MGM of the same name starring Judy Garland. As such I didn't read the book until I was nearly an adult. The book is highly different to the movie with Dorothy having to do more to get home and for both the Wizard and Oz as a whole. The major differences between book and movie is the fact that the Ruby slippers from the movie are silver in the book and the flying monkeys are controlled by a magical cap and Dorothy having protection from Glinda the good witch of the north. I have to admit I am a stickler for details and I prefer the book rather than the movie, despite the movie being good. I recommend this book to everyone and give the book a 9/10
Lyman Frank Baum was born May 15th 1856 in Chittenango, New York to a devout Methodist family the seventh of nine children of Cynthia and Benjamin Baum. Only Baum and five of his siblings survived to adulthood. Lyman hated his first name despite being named for an uncle and liked his middle name better, he was known as Frank for most of his life. Baum married his wife Maud Gage on November 9th 1882 and by 1888 had moved to Aberdeen, Dakota Territory where he operated his own store for a while before turning to writing full time which he loved to do since he was a child. By the time of his death on May 6th 1919 Baum had written the thirteen book Oz series, a plethora of other books and several musicals and radio plays. Baum had died of a stroke and passed away in his sleep, he's buried in Glendale's Forest Lawn Memorial Park Cemetery. L. Frank Baum certainly has my respect for both his writing of the Oz series and the craziness that his life had been.
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
Phillip McSween (751 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 13, 2019
Great Mystery
A strange mystery unfolds at a seedy motel that resides on the border of California and Nevada.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The cinematics of Bad Times At the El Royale are both vibrant and dark at the same time. The El Royale hotel itself is captured in a nostalgic sense where you get the feel that it’s full of history and not all good history either. There is a seedy undertone that’s unshakeable throughout. I love how director Drew Goddard plays with different elements like rain and close spaces. The two-way mirror scenes definitely increase the intensity of the film. There is so much to appreciate here, I will probably have to watch this again to get the full grasp.
Conflict: 7
While the film definitely could have used more action, the scenes that do exist are pretty solid. It leaves you guessing as you have no idea how things are going to play out. Who will die next? Will this person find what they’re looking for? The conflict is not always driven through direct action, but tension as well. There is one scene in particular involving Jeff Bridges, Cynthia Erivo, and Dakota Johnson that is easily my favorite in the entire movie.
Genre: 9
The characters really contribute in making this a strong mystery. Most times, it’s hard to tell up from down and you get just a little bit closer as you learn the backstory of each of the motel residents. From beginning to end, you wonder how things will ultimately play out amongst the group. Clever twists and turns along the way help to give the film life.
Memorability: 8
Never quite seen anything like it which makes Bad Times memorable in and of itself. It all goes back to the one scene I mentioned above, a scene that paralyzed me and had me on the edge of my seat. It was masterfully crafted and I can think of about three other scenes (at least) that come almost as close. Much discussion was had on the drive home.
Pace: 7
Although the twists keep things interesting the movie does get slow in some spots. It’s almost like it’s lulling you to sleep before picking up the pace yet again, like a car shifting gears. Some may have balked at the singing interludes, but I welcomed them. Erivo’s voice is captivating and heartwarming.
Plot: 10
Great storytelling here filled with intrigue and misdirection. From beginning to end, I felt pretty entertained for the most part. Watching everything unfold and all the stories collide was a definite treat.
Resolution: 10
Overall: 91
Great beginning that hooks you immediately. A shady cast of characters. Solid performances from the likes of Bridges and Chris Hemsworth. Solid ending. Bad Times At the El Royale is an awesome movie that is well worth your time.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The cinematics of Bad Times At the El Royale are both vibrant and dark at the same time. The El Royale hotel itself is captured in a nostalgic sense where you get the feel that it’s full of history and not all good history either. There is a seedy undertone that’s unshakeable throughout. I love how director Drew Goddard plays with different elements like rain and close spaces. The two-way mirror scenes definitely increase the intensity of the film. There is so much to appreciate here, I will probably have to watch this again to get the full grasp.
Conflict: 7
While the film definitely could have used more action, the scenes that do exist are pretty solid. It leaves you guessing as you have no idea how things are going to play out. Who will die next? Will this person find what they’re looking for? The conflict is not always driven through direct action, but tension as well. There is one scene in particular involving Jeff Bridges, Cynthia Erivo, and Dakota Johnson that is easily my favorite in the entire movie.
Genre: 9
The characters really contribute in making this a strong mystery. Most times, it’s hard to tell up from down and you get just a little bit closer as you learn the backstory of each of the motel residents. From beginning to end, you wonder how things will ultimately play out amongst the group. Clever twists and turns along the way help to give the film life.
Memorability: 8
Never quite seen anything like it which makes Bad Times memorable in and of itself. It all goes back to the one scene I mentioned above, a scene that paralyzed me and had me on the edge of my seat. It was masterfully crafted and I can think of about three other scenes (at least) that come almost as close. Much discussion was had on the drive home.
Pace: 7
Although the twists keep things interesting the movie does get slow in some spots. It’s almost like it’s lulling you to sleep before picking up the pace yet again, like a car shifting gears. Some may have balked at the singing interludes, but I welcomed them. Erivo’s voice is captivating and heartwarming.
Plot: 10
Great storytelling here filled with intrigue and misdirection. From beginning to end, I felt pretty entertained for the most part. Watching everything unfold and all the stories collide was a definite treat.
Resolution: 10
Overall: 91
Great beginning that hooks you immediately. A shady cast of characters. Solid performances from the likes of Bridges and Chris Hemsworth. Solid ending. Bad Times At the El Royale is an awesome movie that is well worth your time.