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Entertainment Editor (1988 KP) created a video about Feud: Bette and Joan in TV

Nov 13, 2017  
Video

FEUD Season 1 TRAILER Bette Davis & Joan Crawford (2017) FX Series

  
Video

HOW TO GET AWAY WITH MURDER Season 4 Official Promo Trailer (HD) Viola Davis

  
Doctor Who - Series 2 (New Season - 2)
Doctor Who - Series 2 (New Season - 2)
2006 | Sci-Fi
The doctor and rose relationship (3 more)
Monsters
Arc
Moffat and Davies creation
Tennant makes the best doctor
Out of the New generations doctor who David Tennant is by far my favorite doctor. His charisma brings something special and perfect to the doctors persona.

The relationship between Rose and the Doctor is something beautiful and so bittersweet that there love can never be.


Show runners Russel T Davies and head written Steven Moffat make a great team and when they work together the show episode, story boards arcs and monsters are something that make any other show hard to match up to.
  
Doctor who star beast
Doctor who star beast
2023 | Sci-Fi
10
8.0 (3 Ratings)
TV Show Rating
David Tennant (1 more)
Catherine tate
Yes the doctor is back and it's been awhile with an old face in David Tennant why they haven't explained that yet and Catherine tate as donna noble even Russell t davies back as head writer it doesn't get better than that any doctor who fan may have heard about the story of star beast that ran back in the 80s in the doctor who weekly now magazine and yes as a ten year old I read it simple cute alien on the run from the scary monsters but who or what is the star beast won't say spoliers hard yo believe this story predates ET by 2 years overall good start happy 60th birthday doctor who
  
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Alex Kapranos recommended Something Else by The Kinks in Music (curated)

 
Something Else by The Kinks
Something Else by The Kinks
1967 | Rock
8.5 (2 Ratings)
Album Favorite

"It’s a record that always puts me in a good mood whenever I play it. Loved The Kinks when I was a kid and I learnt how to play guitar by learning from a Kinks songbook. I think if you are learning to play acoustic guitar, then The Kinks are a great place to start. Ray Davies makes the songs sound deceptively simple. There’s elements that are coming from blues or music hall or whatever, but he tends to modulate the chord progressions in really weird, unpredictable ways that are so fresh on the ears when you hear them even now all these years later you think, ""How did you come up with that?"", but at the same time they also had these pure pop melodies over the top as well. He didn’t sound like he was a smart-arse, he sounds like he has a very lateral imagination and also quite unconsidered as well in the way he must have written those songs. You can imagine him sitting there thinking, “I’m going to try this one now”. You can explain it in terms of music theory and it would sound complex, but he was “Why don’t I try this?” Dave Davies is also a total star of this record: there’s a couple of really good songs like 'Death Of A Clown' is on this record too. 'Waterloo Sunset' is on here, as is 'David Watts' and so you have those classic Ray Davies songs about social observation, but my favourite song on the album is 'Two Sisters', and it’s about two sisters, one who has this mundane life who is jealous of the other one who has this carefree existence, and I might be reading too much into it but I sometimes wonder if it was ""Raymond looking in his washing machine"". I don’t know these guys, but I get the sense that Dave was a bit wild and Ray had a family at that time, and that the two sisters were in fact two brothers. It also has this heartbreaking melancholia running through it which I think The Kinks capture so well, like very few bands can. It’s saturated with a sweet melancholia, and I think that song captures it."

Source
  
The Bromley Boys (2018)
The Bromley Boys (2018)
2018 |
8
8.5 (2 Ratings)
Movie Rating
Story: The Bromley Boys starts in 1969 three years after England won the World Cup, David Roberts (O’Connor) had wanted to support the popular teams of either West Ham or Tottenham, but his father Donald (Davies) has banned football in the house, leading to his mother Gertrude (McCutcheon) sneaking him a scarf of his local team Bromley.

This season is going to be David’s biggest as he learns about the corruption from the chairman Charlie McQueen (Foreman) and the potential sale of the club’s best player. David also meets Ruby (Baker) the daughter of the chairman that is the only girl that talks to him as he experiences love for the first time.

Thoughts on The Bromley Boys

Characters – David Roberts is a teenage boy that got dreams of being a footballer after seeing England win the World Cup in 1966, he is forced to support his local team, a small team with a tiny fanbase, he becomes a loyal fan and during the 1969 season he must figure out prove the chairman is out to ruin the club as they constantly struggle on the pitch. Ruby McQueen is the daughter of the chairman that starts dating David, she wants a normal relationship but often has to play second fiddle to his love of football. Charlie McQueen is the greedy chairman of Bromley, the fans and manager believe he is trying to put them out of business, which reflects on how David tries to expose his truth. Gertrude and Donald are David’s parents that are trying to give him the best future even if they don’t like him enjoy football.

Performances – Brenock O’Connor is delightful in the leading role showing us just how obsessed teenager can become when it comes to sports. Savannah Baker is great as the love interest who is looking for a future. Jamie Foreman looks all the part of a corrupt chairman through the film, with Alan Davies and Martine McCutcheon showing they have the star power from the English side.

Story – The story here follows a teenage football fan of his local team that starts to see things putting his beloved club in trouble after overhearing a conversation, he tries to fix things during the season just to make sure his team will be their next season. As a football fan this is one of the easiest films to relate to, seeing the ups, well downs more than often in this film, we can see how footballs can see their lives taken over by the season, it is even worse in modern day too, we do also have the important message about trying to support your local team instead of one of the more established teams that friends support. This is based on a trouble story which apart from the romantic angle does feel like it could have been real, but also the tales told from the tiny crowds to get buzz around their club. This is a story that is going to be one that the English market will enjoy the most.

Comedy – You will get plenty of laughs in this film, a lot comes from the love of football and seeing just how much it can change a life.

Settings – The film is set in and around the small town of Bromley, we spend plenty of time at the club, which helps us understand what this meant to David.


Scene of the Movie – The last game of the season.

That Moment That Annoyed Me – The teachers seem very harsh.

Final Thoughts – This is an enjoyable British comedy, one that the English will enjoy most and one we can understand the passion behind supporting the team.

Overall: Truly fun and feel good film.
  
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Lenard (726 KP) rated Mank (2020) in Movies

Dec 6, 2020  
Mank (2020)
Mank (2020)
2020 | Biography, Drama
David Fincher has spent two decades working to adapt his father's screenplay about Herman Mankiewicz. He succeeded in a major triumph. Gary Oldman plays the alcoholic washed up screenwriter hired by New York wunderkind Orson Welles to write the first draft of the screenplay for his first film. The resulting film, Citizen Kane, would change moviemaking for generations even if the battle to get it made, released, and seen lasted two industry cycles.
Mank is a wonder to behold technically. The production design, editing, and cinematography takes you back to an earlier Hollywood era. Its use of flashback, mirroring Kane, fills in the blank as to how Mank was in this world and why he was willing to burn it. The movie even foreshadows events that would.shape the screenplay Mank is writing.
My greatest pleasure was how its relevance continues today, but without the explicit shoutouts or manipulation of events. Do you know the parable of the organ grinder's monkey? If you don't, Mank tells you, but never exposes the reason it resonates. Also, even if you have seen other works about WRH, you still learn more about him. Mank is great and will get many Oscar nominations. Amanda Seyfried gives Marion Davies the star turn she never had in life.
  
Johnny English Strikes Again (2018)
Johnny English Strikes Again (2018)
2018 | Action, Adventure, Comedy
Spy spoof caper that’s only passably amusing.
It’s a HILARIOUS concept. It’s Bond but not as we know it: a suave, sophisticated, well-dressed hero but someone who’s a complete klutz when it comes to the spy business. Rowan Atkinson is perfect in the role: because when he plays his face ”straight” he IS strangely good-looking and certainly pulls off the air of confidence, intelligence and sophistication well.

So it was that 2003’s Johnny English was a refreshing novelty. Roll forwards 15 years (via 2011’s “Johnny English Reborn”) and the concoction needs… you know… actual JOKES.

For “Johnny English Strikes Again” is unfortunately a pretty lame affair.

The Plot
Johnny English (Atkinson) is retired from MI7 and living life as a Geography teacher at a public school. Aside from teaching them about sheep farming in Australia and magma, English delights in teaching his young pupils the tricks of the spy trade: “You’re looking particularly beautiful tonight”, with a twinkle and a vodka martini in hand. “You’re looking particularly beautiful tonight” repeats the class.

But the quiet life of English is about to end, since a cyber-attack has exposed all of MI7’s current agents and the Prime Minister (Emma Thompson) needs to re-hire a retired agent who is currently ‘off the grid’. But noone – friend or foe – is safe when the bumbling English and his faithful helper Bough (Ben Miller) go back into the field.

The Turns
As UK comedy professionals, Atkinson and Miller deliver their English/Bough schtick serviceably enough. The brilliant Emma Thompson though is woefully underused as a straight-woman, being asked to do little more than an exasperated Theresa May impersonation.

If you need a sexy and sophisticated femme fatale for a Bond spoof, what better than a real ex-Bond girl? So the extremely sexy and sophisticated Olga Kurylenko (Camille from “Quantum of Solace”) plays Ophelia Bhuletova, which sounds much funnier when pronounced by Atkinson. And a very good job she does too.

The Review
To emphasise the positive for a moment, the film is suitably glossy, which are table stakes for a spy caper like this or Austin Powers.

But the script by William Davies (who did the previous Johnny Englishes, but nothing much since “Reborn”) doesn’t deliver any real laugh-out-loud moments. My hopes were raised when the “pensioner interviews” happened and Charles Dance, Edward Fox and Michael Gambon turned up. Great, I thought… having the old timers play off Atkinson will be fun. But unfortunately they were nothing but cameos and (although one of the film’s comedy highlights) they came and went in the blink of an eye.

Elsewhere the film relied too much on a few running jokes: ostensibly the need for health and safety in MI7, where guns are rather frowned upon, given their potential to caused injury or worse. A ‘virtual reality’ training mission also delivers smiles but outstays its welcome.

The film is a first-time feature for TV-comedy director David Kerr.

Final thoughts
There are films which are wildly offensive. There are films that are just plain bad. This is neither: it is as Douglas Adams might have described it as “Mostly Harmless”. But to get any more than the rating I have given it, a comedy film has to make me laugh and this one failed miserably. It’s a watchable TV film for a rainy afternoon, but not worth heading out to the cinema to watch.
  
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Bob Mann (459 KP) rated Mank (2020) in Movies

Dec 10, 2020  
Mank (2020)
Mank (2020)
2020 | Biography, Drama
Cinematography - glorious to look at (1 more)
A fabulous ensemble cast, with Oldham, Seyfried, Arliss and Dance excelling
Sound mixing make some of the dialogue difficult to hear (0 more)
"Mank" is a biopic slice of the career of Herman Jacob Mankiewicz (Gary Oldman), the Hollywood screenwriter who was the pen behind what is regularly voted by critics as being the greatest movie of all time - "Citizen Kane". "Citizen Kane" was written in 1940 (and released the following year) and much of the action in "Mank" takes place in a retreat in the Mojave desert when Mank, crippled by a full-cast on the leg, has been 'sent' by Orson Welles (Tom Burke) to complete the screenplay without alcohol and other worldly distractions. Helping administer to his writing and care needs are English typist Rita Alexander (Lily Collins) and carer Fraulein Freda (Monika Gossmann). However, although Mank produces brilliant stuff, his speed of progress exasperates his 'minder' and editor John Houseman (Sam Troughton). (Yes, THAT John Houseman, the actor.)

In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?

Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?

Equally impressive though are some of the supporting cast.

- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.

The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!

Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.

In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.

Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)

It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!

A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!

Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.

The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.

Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.

Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.

(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
  
Mank (2020)
Mank (2020)
2020 | Biography, Drama
Good companion piece to CITIZEN KANE
Orson Welles’ 1941 masterpiece CITIZEN KANE is truly a remarkable work of art (especially for the time it was created) and it regularly lands in either the #1 or #2 spot on my list of all-time favorite films (battling back and forth with THE GODFATHER - the one that ends up at #1 is usually the one I have watched most recently), so I am a sucker for films that are about (or around) the making of this classic.

And…the Netflix film MANK does not disappoint in this regard.

Starring Oscar winning actor Gary Oldman (he won the Oscar for portraying Sir Winston Churchill in DARKEST HOUR), Mank tells the tale of the writing of the screenplay of CITIZEN KANE by screenwriter Herman Mankiewicz. It is an intriguing story of a self-destructive, alcoholic artist (is there any other kind in this kind of film) that (ultimately) produces one of the best scripts in Hollywood history, despite (or maybe because of) his condition and the people he interacts with along the way.

Directed by David Fincher (FIGHT CLUB) - who is one of my favorite Directors working today - MANK starts slow but brews to a satisfying conclusion as Fincher focuses on the man and the relationships he has with the people around him, rather than the circumstances, which then draws to a forceful conclusion.

Gary Oldman is, of course, stellar as Herman “Mank” Mankiewicz, the writer at the center of the story. This film hinges on this performance as the titular Mank is in almost every scene of this film - and at the beginning I was worried that Fincher was going to let Oldman revert to his “hammy” ways (a very real possibility with Oldman if he is left unchecked by a Director), but Fincher reels Oldman in just enough for him to bring a portrait of a troubled man, who has sold his soul to work and alcohol. This character needs to find that soul if he is to succeed. Since Mank won the Oscar for his screenplay - and I’ve already stated that I think the CITIZEN KANE screenplay is one of the best written of all time - you know how it will turn out, but it is fascinating (and satisfying) to watch Oldman on this journey.

Fincher, of course, is smart enough to surround Oldman with some very good Supporting Actors, most notably the always evil Charles Dance (Tywin Lannister on GAME OF THRONES) as William Randolph Hearst (the inspiration for Charles Foster Kane). Dance spends most of the film observing Mank but in the final “confrontation” scene between the two, the screen sparkles as two wonderful thespians throw down.

Others in the Supporting cast - like Lilly Collins, Tom Burke (as Orson Welles), Jamie McShane and, especially Arliss Howard (as Louis B. Mayer) bring heft and the ability to go “toe to toe” with Oldman, not a small task.

Special notice has to be made of the work of Amanda Seyfried as Marion Davies - Hearst’s mistress and a character that is used as a “throw away toy” in Citizen Kane. Davis and Mank form an interesting bond and the platonic chemistry between Seyfried and Oldman is strong. I gotta admit that when Seyfried first burst on the scene in such films as MAMA MIA and MEAN GIRLS, I figured she was just the “pretty young Rom-Com girl of the time” and would come and go quickly, but she has rounded into a very impressive actress and I can unequivocally state that I was wrong about her. She can act with the best of them.

The Cinematography by Erik Messerschmidt is also a very important part of this film - as he (and Fincher) attempt to recreate in this film the look/feel of CITIZEN KANE and they pull this off very, very well.

If you can get through the slow start of the film - and if you can stomach a protagonist that is not a very nice person in most of this film, than you’ll be rewarded by a rich film experience.

Letter Grade: A-

8 stars (out of10) and you can take that to the Bank(ofMarquis)