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Darren (1599 KP) rated American Hustle (2013) in Movies
Jun 20, 2019
Story: When you have a con artist film you need to be anticipating some twist in the heroes favour. This has that and you are left to figure out how he will pull it off, what happens between is very familiar with the differences between the hero and the guy he has to complete the job for. What is not familiar is that the hero starts to support the guys he is meant to be conning, mix in a love triangle and you do get something more original. The film never tries to take its self too serious which is what makes it good, but in the end you won’t be left thinking I have to watch this again. (7/10)
Actor Reviews
Christian Bale: Irving the con-man who has to help his partner get off the crimes, keep his wife happy and work with someone he clearly doesn’t like. Good performance from Bale who takes a big step away from many roles he would be more know for. (9/10)
bale
Bradley Cooper: Richie the FBI agent who wants to take as many people down as he could, stepping on whoever tries to stop him. Good cocky performance showing he doesn’t always have to play the good guy. (8/10)
cooper
Amy Adams: Sydney the partner in crime of Irving who gets caught, but will work with her partner to take down enough people to get off the crime, smart, sexy she has to put up with being Irving’s piece on the side due to his marriage commitments. Good performance as always from Adams showing she can fit in any role given to her. (9/10)
adams
Jeremy Renner: Mayor Carmine the man they are all trying to catch, along with all his fellow big names who take money under the table. Good performance from Jeremy showing he can step into less serious roles after a string of action based films. (8/10)
renner
Jennifer Lawrence: Rosalyn, Irving’s estranged wife, they both don’t like each other but stay together for her child, and she is clumsy and never follows instructions, the complete opposite of Irving. Good performance from Jennifer who shows she can fill smaller roles and still steal the scene.(8/10)
jenny
Director Review: David O. Russell – Good direction throughout showing how each character is currently feeling and letting us know how they think about what is going on. (8/10)
Crime: Good con artist themes throughout. (8/10)
Settings: Very good authentic settings for the time period. (9/10)
Suggestion: I think this is only one to try, I feel some people will not enjoy it due to its unoriginal con artist themes but they may enjoy the characters. (Try It)
Best Part: De Niro cameo
Worst Part: It is kind of slow.
Believability: The corruption involved is real, but the characters are all made up. (5/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Nominated for TEN Oscars, but didn’t win any.
Box Office: $251,171,807
Budget: $40 Million
Runtime: 2 Hours 18 Minutes
Tagline: Everyone Hustles To Survive
Overall: Con Artist time machine to the 70s
https://moviesreview101.com/2014/04/28/american-hustle-2013/
Actor Reviews
Christian Bale: Irving the con-man who has to help his partner get off the crimes, keep his wife happy and work with someone he clearly doesn’t like. Good performance from Bale who takes a big step away from many roles he would be more know for. (9/10)
bale
Bradley Cooper: Richie the FBI agent who wants to take as many people down as he could, stepping on whoever tries to stop him. Good cocky performance showing he doesn’t always have to play the good guy. (8/10)
cooper
Amy Adams: Sydney the partner in crime of Irving who gets caught, but will work with her partner to take down enough people to get off the crime, smart, sexy she has to put up with being Irving’s piece on the side due to his marriage commitments. Good performance as always from Adams showing she can fit in any role given to her. (9/10)
adams
Jeremy Renner: Mayor Carmine the man they are all trying to catch, along with all his fellow big names who take money under the table. Good performance from Jeremy showing he can step into less serious roles after a string of action based films. (8/10)
renner
Jennifer Lawrence: Rosalyn, Irving’s estranged wife, they both don’t like each other but stay together for her child, and she is clumsy and never follows instructions, the complete opposite of Irving. Good performance from Jennifer who shows she can fill smaller roles and still steal the scene.(8/10)
jenny
Director Review: David O. Russell – Good direction throughout showing how each character is currently feeling and letting us know how they think about what is going on. (8/10)
Crime: Good con artist themes throughout. (8/10)
Settings: Very good authentic settings for the time period. (9/10)
Suggestion: I think this is only one to try, I feel some people will not enjoy it due to its unoriginal con artist themes but they may enjoy the characters. (Try It)
Best Part: De Niro cameo
Worst Part: It is kind of slow.
Believability: The corruption involved is real, but the characters are all made up. (5/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Nominated for TEN Oscars, but didn’t win any.
Box Office: $251,171,807
Budget: $40 Million
Runtime: 2 Hours 18 Minutes
Tagline: Everyone Hustles To Survive
Overall: Con Artist time machine to the 70s
https://moviesreview101.com/2014/04/28/american-hustle-2013/
Goddess in the Stacks (553 KP) rated Wintersong in Books
Dec 27, 2018
So I knew this was inspired by Jim Henson's Labyrinth. That's partially why I picked it up, as I love that movie and David Bowie as the Goblin King. I didn't expect to get, basically, Labyrinth fanfiction. That was my first impression. As the book carries on, though, and especially as you get into the second book, it's more like a musician's fever-dream of their favorite childhood movie. There are so many elements taken from the movie, but they are deconstructed and put back together in such unexpected ways.
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
Goddess in the Stacks (553 KP) rated Shadowsong (Wintersong #2) in Books
Dec 27, 2018
So I knew this was inspired by Jim Henson's Labyrinth. That's partially why I picked it up, as I love that movie and David Bowie as the Goblin King. I didn't expect to get, basically, Labyrinth fanfiction. That was my first impression. As the book carries on, though, and especially as you get into the second book, it's more like a musician's fever-dream of their favorite childhood movie. There are so many elements taken from the movie, but they are deconstructed and put back together in such unexpected ways.
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
Gareth von Kallenbach (971 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
Gareth von Kallenbach (971 KP) rated Madagascar 3: Europe's Most Wanted (2012) in Movies
Aug 7, 2019
After being shipped from New York to Madagascar and then leaving Madagascar only to end up stranded in Africa, our four favorite zoo animals are back and causing a ruckus once again, but this time in Europe.
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Madagascar 3: Europe’s Most Wanted starts off where Madagascar: Escape 2 Africa left off, with Alex the lion(Ben Stiller), Marty the zebra(Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stranded in Africa longing to get back to their beloved zoo in New York City. They realize the only way they will be able to return home is by relying on their super competent penguin buddies who have made their way to Monte Carlo with their chimp powered plane and the loot of jewels and money they squandered upon in Africa during the second movie.
So the quartet of four legged lovable characters along with a few familiar lemurs, King Julien (Sacha Baron Cohen), the self proclaimed King of Madagascar and his assistants Maurice (Cedric the Entertainer) and Mort (Andy Richter), decide to make their way to Monte Carlo, find the penguins, the chimpanzees, and head to New York.
Once the gang arrives in Monte Carlo it doesn’t take long for them to incite panic. Enter Captain Chantal Dubois (Francis McDormand), an impassive, somewhat indestructible animal control officer, who wants nothing more than to add a lion to her already impressive collection of animal heads mounted on her office wall. Due to her relentless pursuit and unconventional hunting techniques the animals are forced to take refuge aboard a circus train where they are welcomed by a simple-minded sea lion named Stefano (Martin Short). Stefano introduces the group to the rest of the animal circus performers and they each demonstrate their amazing tricks. The train is on its way to London and the circus crew hopes their show will garner the attention of a big time U.S. circus promoter looking to bring a show to New York. This was Alex and company’s ticket home! But would they be up to the challenge of putting on the greatest show anyone has ever seen AND evade Dubois who is hot on their tails every step of the way?
The simple storyline of animals wanting to get home has been the common thread in all three Madagascar movies. Dreamworks Animation rarely reaches the emotional expertise of Pixar, but they always manage to create movies that are still very much engaging, humorous and visually stunning. Eric Darnell and Tom McGrath, who directed the first two movies, come together once again and steer clear from the choppy, thrown together sequence of events that have plagued some sequels and trilogies. I truly believe that keeping with the same directoral chemistry plays a big part in this movie’s well-paced and entertaining storyline.
This movie is definitely geared toward the kindergarten and preschool aged audience with much of the action in the movie involving the circus performance and its Cirque du Soleil-type entertainment. Let’s add the 3D component and voila! An amazing, kaleidoscope of lights and pyrotechnics along with wonderful performances of acrobats, seal shot from cannon, high wire dancing giraffe and hippo, and flying penguins. It’s like a box of animal crackers come to life!
Alex Kapranos recommended track Le Pastie de la Bourgeoisie (with Belle And Sebastian) by Belle & Sebastian in Push Barman to Open Old Wounds by Belle & Sebastian in Music (curated)
Bob Mann (459 KP) rated David Brent: Life on the Road (2017) in Movies
Sep 29, 2021
A squirm-athon from beginning to end.
“Life on the Road” is a mockumentary sequel to the classic British version of the TV comedy “The Office” (obviously later remade for the US market and featuring Steve Carell). Ricky Gervais played the ego-centric David Brent, a monster of a character who exercised what little control he had in his managerial role at a Slough paper company.
Here in “Life on the Road” we join Brent 15 years later where he has taken a rung or two down the career ladder and is working as a sales rep for Lavachem, a sanitary goods manufacturer, also based in Slough.
But Brent still harbours a dream of making it big in the rock world with his middle-of-the-road band called ‘Foregone Conclusion (2)’. Gathering around him his ethnic rapper ‘friend’ Dom Johnson (Doc Brown) and a band of session musicians (who can’t stand him), Brent cashes in “several pensions” to fund a tour of the venues of Berkshire… or at least, those that will give stage time over to a “shite band”. As the tour delivers predictably diminishing returns, and no record-company interest (at least, not in him) Brent is forced to face his inner demons and some uncomfortable truths.
Bringing TV comedy characters to screen is fraught with difficulty, and few have successfully done it. Even legends like Morecambe and Wise struggled with a series of lacklustre films. Perhaps in recent times Steve Coogan’s Alan Partridge has come closest with “Alan Partridge – Alpha Papa” and indeed there are a lot of similarities visible between Partridge and Brent: both have extreme ego issues and self-centredness. But there are significant differences as well, for while Partridge is just an irritatingly loud and obnoxious minor-celebrity Brent – as this film makes much clearer – has real mental illness.
Brent - the sun shines out of his earhole.
Brent – the sun shines out of his earhole.
Is this therefore a comedy at all? Well, yes, but in a very black way. There are certainly moments of excellent humour, with the tattooing scene being a high-point. But the result of watching Brent’s progressive decline, with his nervous laugh as a constant ‘fingernails on chalk board’ reminder of his insecurity, results in a level of audience squirming that is palpable. Everything he does is perverse, from describing in excruciating detail every song before singing it, to spending his money on multiple hotel rooms when every gig is within the County of Berkshire.
As a black comedy its important that it doesn’t outstay its welcome, and at 96 minutes it doesn’t. However, the film lacks the courage of its own dark convictions, and unnecessarily switches tack in the last reel to provide a degree of redemption for Brent. Whilst ‘sweet’, it is also implausible given what’s happened before and I would have suspected the interference of the director in lightening the mood of the writer’s original intent. However, as Gervais is both writer and director, there is no such excuse. That’s a shame.
So, in summary, an uncomfortable watch that aligns appropriately with the high squirm factor of the original TV show. Prepare to laugh, but feel a bit guilty in doing so.
Here in “Life on the Road” we join Brent 15 years later where he has taken a rung or two down the career ladder and is working as a sales rep for Lavachem, a sanitary goods manufacturer, also based in Slough.
But Brent still harbours a dream of making it big in the rock world with his middle-of-the-road band called ‘Foregone Conclusion (2)’. Gathering around him his ethnic rapper ‘friend’ Dom Johnson (Doc Brown) and a band of session musicians (who can’t stand him), Brent cashes in “several pensions” to fund a tour of the venues of Berkshire… or at least, those that will give stage time over to a “shite band”. As the tour delivers predictably diminishing returns, and no record-company interest (at least, not in him) Brent is forced to face his inner demons and some uncomfortable truths.
Bringing TV comedy characters to screen is fraught with difficulty, and few have successfully done it. Even legends like Morecambe and Wise struggled with a series of lacklustre films. Perhaps in recent times Steve Coogan’s Alan Partridge has come closest with “Alan Partridge – Alpha Papa” and indeed there are a lot of similarities visible between Partridge and Brent: both have extreme ego issues and self-centredness. But there are significant differences as well, for while Partridge is just an irritatingly loud and obnoxious minor-celebrity Brent – as this film makes much clearer – has real mental illness.
Brent - the sun shines out of his earhole.
Brent – the sun shines out of his earhole.
Is this therefore a comedy at all? Well, yes, but in a very black way. There are certainly moments of excellent humour, with the tattooing scene being a high-point. But the result of watching Brent’s progressive decline, with his nervous laugh as a constant ‘fingernails on chalk board’ reminder of his insecurity, results in a level of audience squirming that is palpable. Everything he does is perverse, from describing in excruciating detail every song before singing it, to spending his money on multiple hotel rooms when every gig is within the County of Berkshire.
As a black comedy its important that it doesn’t outstay its welcome, and at 96 minutes it doesn’t. However, the film lacks the courage of its own dark convictions, and unnecessarily switches tack in the last reel to provide a degree of redemption for Brent. Whilst ‘sweet’, it is also implausible given what’s happened before and I would have suspected the interference of the director in lightening the mood of the writer’s original intent. However, as Gervais is both writer and director, there is no such excuse. That’s a shame.
So, in summary, an uncomfortable watch that aligns appropriately with the high squirm factor of the original TV show. Prepare to laugh, but feel a bit guilty in doing so.
Sophia (Bookwyrming Thoughts) (530 KP) rated Daughter of Deep Silence in Books
Jan 23, 2020
You know what happens when you read a little over a hundred pages and rage for two full pages in a reading notebook?
You don't continue the book. You mark it as a DNF because you don't want to spend approximately eight pages raging and raging over a four hundred page book when you can read another book.
As you can see, I did exactly that.
But <b>never, <i>never</i> have I ever wanted to throw a book out the window <i>SO BADLY</i></b> as I want to do with <i>Daughter of Deep Silence</i>. This is <b>an absolute, horrifying mess disguised as a book with a gorgeous cover and an absolutely beautiful interior layout.</b> <i>Daughter of Deep Silence</i> is really about <b>a girl who is so hell-bent on revenge, she's become obsessed and obviously needs to get a move on with her life.</b>
It's obvious from early on in the book. <b>I don't actually know much about Frances as a person</b> from the fourth of the book I read. <b>I know her plans and what happened on the <i>Persephone</i></b> with the flashbacks here and there, but I don't know Frances. The book screams <i>revenge</i>. It also screams <i>obsessed</i>, because <b>what else could it be if you're keeping a bleeping notebook on each of the family members filled with little details among details about each member?</b>
<blockquote>Over the past four years I've become an expert on Grey. An expert on everyone in the Wells family. I have the same kind of notebook on each one of them.</blockquote>
But <i>Daughter of Deep Silence</i> isn't just that. It's a carbon copy. <b>An absolute carbon copy of <i>Revenge</i></b>, and I mean <i>ABSOLUTE</i>. It's worse than <i><a title="Unbreakable by Kami Garcia" href="https://bookwyrmingthoughts.com/dnf-audiobook-review-unbreakable-by-kami-garcia/"; target="_blank" rel="noopener">Unbreakable</a></i> and <i>Supernatural</i> or <i>The Hunger Games</i> and <i><a title="The Testing by Joelle Charbonneau" href="https://bookwyrmingthoughts.com/review-the-testing-by-joelle-charbonneau/"; target="_blank" rel="noopener">The Testing</a></i> and other dystopian novels put together, because there's actually <i>some</i> difference. <a title="The Moon Dwellers by David Estes" href="https://bookwyrmingthoughts.com/review-the-moon-dwellers-by-david-estes/"; target="_blank" rel="noopener">There's a chance that I'll actually like the book.</a> (It's happened. I PROMISE.)
<i>Daughter of Deep Silence</i>, on the other hand? <b>I don't even know where <i>Revenge</i> ends and the book actually begins</b> I can distinguish nary a difference, and I'm completely disappointed.
<b>There's revenge obviously.</b> There's a reason <i>behind</i> both Frances' and Emily's vengeance, and <b>this whole revenge idea didn't bother me at all.</b> It's only just one similarity right? <b>This could have gone on an entirely different route from early on</b> and I wouldn't have complained about a single thing. Maybe not a single thing, but there would be less rage. But I should have seen the signs from the moment I picked up the book.
<blockquote>*peruses new books shelves, sees book*
Hey, didn't I want to read this? *picks up book and reads synopsis again*
Sounds like Revenge. I'll come back and think about it. *looks at other books and chooses two more*
Screw it. Let's give this a whirl. If I don't like it, I've got plenty of papery ammunition.</blockquote>
<b>There's a disguise involved.</b> It's revealed in a later season View Spoiler »Emily is actually disguised as someone else. Frances is asked by her best friend's father to change her identity to Libby O'Martin so she can be protected and be able to find a way to exploit the truth behind the fate of <i>Persephone</i>.
<blockquote>"It's the only way to keep you sage." He pushes the ring toward me. "It's the only way to figure out who did this and make them pay."</blockquote>
<b>There's a politically powerful family.</b> Both are senators, both are planning on running for president, both are famous, both have a mansion with French doors (at least, I'm pretty sure <i>Revenge</i> had the French doors). And both have a son named...
...wait for it...
Greyson. *whistles* Imagine that! I mean, so much is similar, and the son had to be named the <i>exact same name as the one in the show I'm comparing this to?</i> You have got to be seriously kidding me. View Spoiler »I started expecting Ryan to actually throw in a secret son or something.
I just... can't. Someone pick up my horrified self off the floor. I'll wake up later. Until then, Ella or Lupe can take over.
<b><i>Daughter of Deep Silence</i> is <i>Revenge</i> down to the very basic formula.</b> Enough said.
<a href="https://bookwyrmingthoughts.com/dnf-review-daughter-of-deep-silence-by-carrie-ryan/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
You don't continue the book. You mark it as a DNF because you don't want to spend approximately eight pages raging and raging over a four hundred page book when you can read another book.
As you can see, I did exactly that.
But <b>never, <i>never</i> have I ever wanted to throw a book out the window <i>SO BADLY</i></b> as I want to do with <i>Daughter of Deep Silence</i>. This is <b>an absolute, horrifying mess disguised as a book with a gorgeous cover and an absolutely beautiful interior layout.</b> <i>Daughter of Deep Silence</i> is really about <b>a girl who is so hell-bent on revenge, she's become obsessed and obviously needs to get a move on with her life.</b>
It's obvious from early on in the book. <b>I don't actually know much about Frances as a person</b> from the fourth of the book I read. <b>I know her plans and what happened on the <i>Persephone</i></b> with the flashbacks here and there, but I don't know Frances. The book screams <i>revenge</i>. It also screams <i>obsessed</i>, because <b>what else could it be if you're keeping a bleeping notebook on each of the family members filled with little details among details about each member?</b>
<blockquote>Over the past four years I've become an expert on Grey. An expert on everyone in the Wells family. I have the same kind of notebook on each one of them.</blockquote>
But <i>Daughter of Deep Silence</i> isn't just that. It's a carbon copy. <b>An absolute carbon copy of <i>Revenge</i></b>, and I mean <i>ABSOLUTE</i>. It's worse than <i><a title="Unbreakable by Kami Garcia" href="https://bookwyrmingthoughts.com/dnf-audiobook-review-unbreakable-by-kami-garcia/"; target="_blank" rel="noopener">Unbreakable</a></i> and <i>Supernatural</i> or <i>The Hunger Games</i> and <i><a title="The Testing by Joelle Charbonneau" href="https://bookwyrmingthoughts.com/review-the-testing-by-joelle-charbonneau/"; target="_blank" rel="noopener">The Testing</a></i> and other dystopian novels put together, because there's actually <i>some</i> difference. <a title="The Moon Dwellers by David Estes" href="https://bookwyrmingthoughts.com/review-the-moon-dwellers-by-david-estes/"; target="_blank" rel="noopener">There's a chance that I'll actually like the book.</a> (It's happened. I PROMISE.)
<i>Daughter of Deep Silence</i>, on the other hand? <b>I don't even know where <i>Revenge</i> ends and the book actually begins</b> I can distinguish nary a difference, and I'm completely disappointed.
<b>There's revenge obviously.</b> There's a reason <i>behind</i> both Frances' and Emily's vengeance, and <b>this whole revenge idea didn't bother me at all.</b> It's only just one similarity right? <b>This could have gone on an entirely different route from early on</b> and I wouldn't have complained about a single thing. Maybe not a single thing, but there would be less rage. But I should have seen the signs from the moment I picked up the book.
<blockquote>*peruses new books shelves, sees book*
Hey, didn't I want to read this? *picks up book and reads synopsis again*
Sounds like Revenge. I'll come back and think about it. *looks at other books and chooses two more*
Screw it. Let's give this a whirl. If I don't like it, I've got plenty of papery ammunition.</blockquote>
<b>There's a disguise involved.</b> It's revealed in a later season View Spoiler »Emily is actually disguised as someone else. Frances is asked by her best friend's father to change her identity to Libby O'Martin so she can be protected and be able to find a way to exploit the truth behind the fate of <i>Persephone</i>.
<blockquote>"It's the only way to keep you sage." He pushes the ring toward me. "It's the only way to figure out who did this and make them pay."</blockquote>
<b>There's a politically powerful family.</b> Both are senators, both are planning on running for president, both are famous, both have a mansion with French doors (at least, I'm pretty sure <i>Revenge</i> had the French doors). And both have a son named...
...wait for it...
Greyson. *whistles* Imagine that! I mean, so much is similar, and the son had to be named the <i>exact same name as the one in the show I'm comparing this to?</i> You have got to be seriously kidding me. View Spoiler »I started expecting Ryan to actually throw in a secret son or something.
I just... can't. Someone pick up my horrified self off the floor. I'll wake up later. Until then, Ella or Lupe can take over.
<b><i>Daughter of Deep Silence</i> is <i>Revenge</i> down to the very basic formula.</b> Enough said.
<a href="https://bookwyrmingthoughts.com/dnf-review-daughter-of-deep-silence-by-carrie-ryan/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
BankofMarquis (1832 KP) rated Annihilation (2018) in Movies
Feb 24, 2018
Just didn't work for me
I like "Intelligent Science Fiction". You know, like Alex Garland's other Directorial effort 2014's EX MACHINA or Jeff Nichols’ involving 2016 film MIDNIGHT SPECIAL. These are the types of films that uses the backdrop of Science Fiction to delve deeper into character, concepts or ideas, leaving time for the audience to take it all in and to really think about what is being shown on the screen and to wrestle with the concepts brought forth. So, I was really excited when I found out the Garland would be helming a film of the first book in Jeff VanderMeer's SOUTHERN REACH trilogy, ANNIHILATION - a trippy sci-fi book series about an alien presence that starts tearing away at the very fabric of human existence. I was convinced that this marriage of source material and filmmaker would create another cinematic gem.
Boy, was I wrong.
ANNIHILATION fails in all the ways that these types of films could fail. It is self-indulgent, favors style over substance, mood over momentum and has long, long, loooong scenes of dialogue (or non-dialogue) that is supposed to convey a sense of dread and, for me, just made me want to yell at the screen "get on with it!"
ANNIHILATION tells the story of a group of women who comprise the 12th group of explorers entering "the shimmer" - an unknown phenomenon in a remote part of the US that is growing and will soon start engulfing populated areas. None of the other groups have returned (save for 1 soldier). This 12th group, led by the mysterious Dr. Ventres, tries to get at the heart of what the shimmer is and succeed where others failed. Once inside "the shimmer" the group must fight with their own nightmares and what makes them human.
Sounds like a really good premise for an intelligent Sci-Fi film doesn't it? Unfortunately, Director and Writer Garland is more interested in the sights, sounds and moods of "the shimmer" and fails to create any interesting characters - or circumstances - for the audience to follow.
Natalie Portman stars as Lena - a biologist (and former military) who's husband (the great Oscar Isaac) is the lone returning solider (though not all of him, mentally, has returned). The pairing of these two strong, interesting actors should have been enough to propel this film forward, but all they do is stare at each other and "not say" anything. They look at each other like something is wrong, but the never say or do anything. Compounding things is the weird portrayal of the weird Dr. Ventres by Jennifer Jason Leigh - an actress not known from shying away from weird. Her portrayal would have worked, I think, if she had some "normal" folks to play against - or if her character had some sort of climax, but she doesn't, she just sort of peters out. Joining these two are Tessa Thompson (losing the goodwill she earned in THOR:RAGNAROK) as a physicist that "has secrets" and Gina Rodriguez (channelling her inner Michelle Rodriguez) as a gung-ho "kick-ass" paramedic (you can guess how that is going to turn out). Only Tuva Novotny as scientist Cass Sheppard has anything approaching an interesting character, but she is on all too briefly.
Also wasted in this film is Benedict Wong (DOCTOR STRANGE) as the "Basil Exposition" of this film (explaining things to the audience) and David Gyasi (INTERSTELLAR) as a pseudo-love interest for Lena.
Maybe I'm just not "artsy" enough to enjoy this. If you are and you enjoy this, let me know what I missed. As it is, I have an early, leading contender for "Worst Film of 2018".
In the meantime, I'm going to rewatch EX MACHINA or MIDNIGHT SPECIAL, two intelligent Science Fiction films that work.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Boy, was I wrong.
ANNIHILATION fails in all the ways that these types of films could fail. It is self-indulgent, favors style over substance, mood over momentum and has long, long, loooong scenes of dialogue (or non-dialogue) that is supposed to convey a sense of dread and, for me, just made me want to yell at the screen "get on with it!"
ANNIHILATION tells the story of a group of women who comprise the 12th group of explorers entering "the shimmer" - an unknown phenomenon in a remote part of the US that is growing and will soon start engulfing populated areas. None of the other groups have returned (save for 1 soldier). This 12th group, led by the mysterious Dr. Ventres, tries to get at the heart of what the shimmer is and succeed where others failed. Once inside "the shimmer" the group must fight with their own nightmares and what makes them human.
Sounds like a really good premise for an intelligent Sci-Fi film doesn't it? Unfortunately, Director and Writer Garland is more interested in the sights, sounds and moods of "the shimmer" and fails to create any interesting characters - or circumstances - for the audience to follow.
Natalie Portman stars as Lena - a biologist (and former military) who's husband (the great Oscar Isaac) is the lone returning solider (though not all of him, mentally, has returned). The pairing of these two strong, interesting actors should have been enough to propel this film forward, but all they do is stare at each other and "not say" anything. They look at each other like something is wrong, but the never say or do anything. Compounding things is the weird portrayal of the weird Dr. Ventres by Jennifer Jason Leigh - an actress not known from shying away from weird. Her portrayal would have worked, I think, if she had some "normal" folks to play against - or if her character had some sort of climax, but she doesn't, she just sort of peters out. Joining these two are Tessa Thompson (losing the goodwill she earned in THOR:RAGNAROK) as a physicist that "has secrets" and Gina Rodriguez (channelling her inner Michelle Rodriguez) as a gung-ho "kick-ass" paramedic (you can guess how that is going to turn out). Only Tuva Novotny as scientist Cass Sheppard has anything approaching an interesting character, but she is on all too briefly.
Also wasted in this film is Benedict Wong (DOCTOR STRANGE) as the "Basil Exposition" of this film (explaining things to the audience) and David Gyasi (INTERSTELLAR) as a pseudo-love interest for Lena.
Maybe I'm just not "artsy" enough to enjoy this. If you are and you enjoy this, let me know what I missed. As it is, I have an early, leading contender for "Worst Film of 2018".
In the meantime, I'm going to rewatch EX MACHINA or MIDNIGHT SPECIAL, two intelligent Science Fiction films that work.
Letter Grade: C
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Scream 4 (2011) in Movies
Aug 7, 2019
Over a decade ago, director Wes Craven and writer Kevin Williamson breathed new life into what had become a very stagnant horror genre with the release of Scream. The film was a clever twist on the killer-on-the-loose theme that had dominated the genre since the 80s and scored huge with audiences who loved the twists and turns of the film as well as the characters who quoted rules for surviving a horror film. With the huge success of the film, two sequels followed. But by the time Scream 3 was released, the series had lost its momentum and was becomeing the very cliche of a horror film that the series had originally made fun of.
Now in 2011, Craven and Williamson have returned with Scream 4, which is the planned first film in a new trilogy for the series with hopes to breath new life in a genre that has once again grown stale with ghost films and the so-called torture porn of the Saw films. Scream 4 is set 10 years after the events of the first film, and with a new book to promote, Sidney Prescott (Neve Campbell), has returned to Woodsboro as a best-selling author, thanks to her book on self-empowerment, a direct result of her experiences in the previous three films.
The return of Sidney is a happy moment for Sherrif Dewey Riley (David Arquette), but not so much for his wife Gale (Courtney Cox), who is facing a bad case of writer’s block and is not exactly thrilled with her fade from the spotlight and life as the wife of the sheriff in the small town. Things get shaken up when a couple of gruesome murders are discovered and before long Sidney is being targeted by a killer who seems to be repeating the pattern of killing that had haunted her in the past.
When the killer strikes again and taunts Sidney with a disturbing phone call, Gale sees the chance to regain her former glory and despite the wishes of her husband Dewey, sets out to solve the mystery of the killer before it is too late.
What follows is a twisting and turning plot that has you seeing suspects everywhere as the body count piles up.
The film introduces some new faces into the series and Hayden Panettiere and Emma Roberts make the best of their roles and actually bring some depth to their characters. Of course there are numerous horror and pop culture references in the film which not only lighten the tension but help with the plot. The killings are graphic and the mix of comedy and horror is in good balance. As usual, people are really dumb just before they get theirs and do not do things like phone for help, take a safer route, and so on, but the film is still enjoyable from a horror fan’s perspective.
There are some nice celebrity cameos in the film and while the film did drag a bit in the final act before the conclusion, the film did redeem itself in the end. While it is not in danger of being cited for a deep plot, original story, or deep characters with wide character arcs, Scream 4 knows who its target audience is and what the audience expects. Some may say the series stayed away top long and has lost its edge and simply repeats the pattern and plot lines we’ve seen in the previous films. In the end, despite some issues, Scream 4 delivers a welcome return to the franchise and paves the way for future sequels in a manner which should delight fans of the genre and franchise.
Now in 2011, Craven and Williamson have returned with Scream 4, which is the planned first film in a new trilogy for the series with hopes to breath new life in a genre that has once again grown stale with ghost films and the so-called torture porn of the Saw films. Scream 4 is set 10 years after the events of the first film, and with a new book to promote, Sidney Prescott (Neve Campbell), has returned to Woodsboro as a best-selling author, thanks to her book on self-empowerment, a direct result of her experiences in the previous three films.
The return of Sidney is a happy moment for Sherrif Dewey Riley (David Arquette), but not so much for his wife Gale (Courtney Cox), who is facing a bad case of writer’s block and is not exactly thrilled with her fade from the spotlight and life as the wife of the sheriff in the small town. Things get shaken up when a couple of gruesome murders are discovered and before long Sidney is being targeted by a killer who seems to be repeating the pattern of killing that had haunted her in the past.
When the killer strikes again and taunts Sidney with a disturbing phone call, Gale sees the chance to regain her former glory and despite the wishes of her husband Dewey, sets out to solve the mystery of the killer before it is too late.
What follows is a twisting and turning plot that has you seeing suspects everywhere as the body count piles up.
The film introduces some new faces into the series and Hayden Panettiere and Emma Roberts make the best of their roles and actually bring some depth to their characters. Of course there are numerous horror and pop culture references in the film which not only lighten the tension but help with the plot. The killings are graphic and the mix of comedy and horror is in good balance. As usual, people are really dumb just before they get theirs and do not do things like phone for help, take a safer route, and so on, but the film is still enjoyable from a horror fan’s perspective.
There are some nice celebrity cameos in the film and while the film did drag a bit in the final act before the conclusion, the film did redeem itself in the end. While it is not in danger of being cited for a deep plot, original story, or deep characters with wide character arcs, Scream 4 knows who its target audience is and what the audience expects. Some may say the series stayed away top long and has lost its edge and simply repeats the pattern and plot lines we’ve seen in the previous films. In the end, despite some issues, Scream 4 delivers a welcome return to the franchise and paves the way for future sequels in a manner which should delight fans of the genre and franchise.