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Darren (1599 KP) rated The Dish (2001) in Movies
Sep 16, 2019
Characters – Cliff Buxton is the director of the facility, he remains calm for the additional pressure placed on him by this mission, he knows how to welcome a new member to the team and keep his loyal team showing the respect required, Cliff has been through his own personal tragedy which has given him extra motivation to be part of this moment in history. Mitch is the senior member of the team in Australia, he has worked with Cliff for years now and doesn’t take too keenly to Al, he must learn to accept his own mistakes and that everyone involved wants the same thing. Glenn is the youngest member of the team, he is nervous person in life and has a side story of whether he will ask a local woman out. Al is the representative from NASA, he is very much by the book figure and this does cause tension in places because he isn’t as laid back as the rest of the team, even though he does have the utmost respect for the team.
Performances – Sam Neill is brilliant in this film, he has always been one of the actors that can portray knowledge with ease and will always be engaging. Kevin Harrington, Tom Long and Patrick Warburton are all wonderful to watch, showing great chemistry throughout the film.
Story – The story here follows the small team of satellite team in Australia that have been selected to be the link in communication for NASA for the Apollo 11 mission to be the first man to walk on the moon, we see how they team had to overcome their own problems to make sure they are part of history. When it comes to the moon mission, it has to go down as one of the biggest moments in human history and over the years we have seen many stories about the people involved in making this moment in history happen. By seeing how a small crew has operated to make this event visible for the world is entertaining. Seeing how things didn’t go to plan shows how they had to show their skills to adapt to the situation is interesting and the side story of the Mayor seeing how proud he is to be selected for this. This is a complete story that shows us just how wonderful this event was for the people involved.
Comedy/History – The comedy involved in the film shows us just how the crew can make the events fee light-hearted with what happens, showing us how they can feel like they are can operate best with the laidback nature. This does circle around one of the biggest events in human history.
Settings – The film uses a couple of main locations, first and most importantly is the dish which shows how contained the operation was and how the town came together to be remembered in history.
Scene of the Movie – Rudy the security guard, he gets so many laughs it is brilliant.
That Moment That Annoyed Me – Nothing about this film.
Final Thoughts – This is easily one of the most underrated movies involving the moon landing, it is one that is easy to enjoy with laughs and historical moments blend effortlessly.
Overall: Wonderful drama.
Performances – Sam Neill is brilliant in this film, he has always been one of the actors that can portray knowledge with ease and will always be engaging. Kevin Harrington, Tom Long and Patrick Warburton are all wonderful to watch, showing great chemistry throughout the film.
Story – The story here follows the small team of satellite team in Australia that have been selected to be the link in communication for NASA for the Apollo 11 mission to be the first man to walk on the moon, we see how they team had to overcome their own problems to make sure they are part of history. When it comes to the moon mission, it has to go down as one of the biggest moments in human history and over the years we have seen many stories about the people involved in making this moment in history happen. By seeing how a small crew has operated to make this event visible for the world is entertaining. Seeing how things didn’t go to plan shows how they had to show their skills to adapt to the situation is interesting and the side story of the Mayor seeing how proud he is to be selected for this. This is a complete story that shows us just how wonderful this event was for the people involved.
Comedy/History – The comedy involved in the film shows us just how the crew can make the events fee light-hearted with what happens, showing us how they can feel like they are can operate best with the laidback nature. This does circle around one of the biggest events in human history.
Settings – The film uses a couple of main locations, first and most importantly is the dish which shows how contained the operation was and how the town came together to be remembered in history.
Scene of the Movie – Rudy the security guard, he gets so many laughs it is brilliant.
That Moment That Annoyed Me – Nothing about this film.
Final Thoughts – This is easily one of the most underrated movies involving the moon landing, it is one that is easy to enjoy with laughs and historical moments blend effortlessly.
Overall: Wonderful drama.
Ivana A. | Diary of Difference (1171 KP) rated A Throne of Swans in Books
Aug 3, 2020
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#1 <a href="https://www.goodreads.com/review/show/3069605291">A Throne of Swans</a> - ★★★★
<img src="https://diaryofdifference.com/wp-content/uploads/2020/05/Book-Review-Banner-52.png"/>;
A Throne of Swans by Katharine & Elizabeth Corr is the first book in the series. An epic fantasy about courage, secrets, betrayals and love.
<b><i>Synopsis</i></b>
When her father dies, Aderyn inherits the role of Protector of Atratys, a dominion in a kingdom where nobles can transform into birds. Aderyn's ancestral bird is a swan, But since witnessing the death of her mother, Aderyn hasn't been able to transform. Aderyn must venture to the Citadel to seek the truth about her mother's death and to fight for the land she has vowed to protect!
<b><i>My Thoughts:</i></b>
From the first moment I read the synopsis of A Thorn of Swans, I was intrigued. I am a sucker for fantasies that involve badass princesses. The cover of this book is also incredible.
From the very first pages we familiarise ourselves with Aderyn. She has already lost her mother, in fact, watched her die, and now she has lost her father too. She has been grieving her whole life, but she has also been wanting to find out what really happened that day. When her father dies and some clues are unveiled, she needs to travel to the Citadel to find answers.
However, this decision comes with a huge risk because of her current inability to transform into a swan. The punishment, if someone finds out the truth, is death.
On this trip, she is accompanied by Lucien, who is there to serve as an advisor and protector for Aderyn. They have a dynamic and interesting relationship, bonding over their vows to protect their kingdom. Lucien is also one of the few people that knows Aderyn cannot transform.
Following Aderyn's story, we witness revealing of secrets, betrayals, drama and gossip. She is determined to find answers, which sometimes includes trusting the wrong people and finding out more than she can cope with.
I was struggling with the fact that this book lacks strong side characters. People that are not main characters, but who you root for. Aderyn was an amazing character, but also the only one that had everything it takes.
<b><i>The story was very unpredictable until the very end, and quite unexpected at all times.</i></b>
I loved the plot twists and the cliffhanger at the end. I also shipped the romance, so I was quite perplexed with how the book ended regarding the romantic topic. Some questions remained unanswered and I am sure that the second book in the series will tackle them.
<b><i>I highly recommend A Throne of Swans if you love epic fantasies, castles, kingdoms and cool princesses!</i></b>
Thank you to ReadersFirst and Hot Key Books, for sending me a copy of this book in exchange for an honest review.
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#1 <a href="https://www.goodreads.com/review/show/3069605291">A Throne of Swans</a> - ★★★★
<img src="https://diaryofdifference.com/wp-content/uploads/2020/05/Book-Review-Banner-52.png"/>;
A Throne of Swans by Katharine & Elizabeth Corr is the first book in the series. An epic fantasy about courage, secrets, betrayals and love.
<b><i>Synopsis</i></b>
When her father dies, Aderyn inherits the role of Protector of Atratys, a dominion in a kingdom where nobles can transform into birds. Aderyn's ancestral bird is a swan, But since witnessing the death of her mother, Aderyn hasn't been able to transform. Aderyn must venture to the Citadel to seek the truth about her mother's death and to fight for the land she has vowed to protect!
<b><i>My Thoughts:</i></b>
From the first moment I read the synopsis of A Thorn of Swans, I was intrigued. I am a sucker for fantasies that involve badass princesses. The cover of this book is also incredible.
From the very first pages we familiarise ourselves with Aderyn. She has already lost her mother, in fact, watched her die, and now she has lost her father too. She has been grieving her whole life, but she has also been wanting to find out what really happened that day. When her father dies and some clues are unveiled, she needs to travel to the Citadel to find answers.
However, this decision comes with a huge risk because of her current inability to transform into a swan. The punishment, if someone finds out the truth, is death.
On this trip, she is accompanied by Lucien, who is there to serve as an advisor and protector for Aderyn. They have a dynamic and interesting relationship, bonding over their vows to protect their kingdom. Lucien is also one of the few people that knows Aderyn cannot transform.
Following Aderyn's story, we witness revealing of secrets, betrayals, drama and gossip. She is determined to find answers, which sometimes includes trusting the wrong people and finding out more than she can cope with.
I was struggling with the fact that this book lacks strong side characters. People that are not main characters, but who you root for. Aderyn was an amazing character, but also the only one that had everything it takes.
<b><i>The story was very unpredictable until the very end, and quite unexpected at all times.</i></b>
I loved the plot twists and the cliffhanger at the end. I also shipped the romance, so I was quite perplexed with how the book ended regarding the romantic topic. Some questions remained unanswered and I am sure that the second book in the series will tackle them.
<b><i>I highly recommend A Throne of Swans if you love epic fantasies, castles, kingdoms and cool princesses!</i></b>
Thank you to ReadersFirst and Hot Key Books, for sending me a copy of this book in exchange for an honest review.
Emma @ The Movies (1786 KP) rated An American Pickle (2020) in Movies
Aug 22, 2020
I'm not the biggest fan of Seth Rogen, his type of humour doesn't always gel with mine, but I saw a trailer that looked amusing so I figured it was something a little different to try.
Herschel and his wife Sarah get to America with hope and the dream of making the Greenbaum family a successful one. Herschel's plan is scuppered when he falls into a pickle vat at his job and isn't discovered for 100 years. The future is a very different place. Reunited with his great grandson Ben he starts to adjust to the new crazy way of life... with just a few bumps along the way.
So... I didn't hate it. It's a comedy that didn't raise many laughs, in me or the others in the screening. There were things that made me smile but I never broke the silence. It felt like a script problem rather than the acting, Rogen can deliver comedy well even if I don't find it funny.
Rogen's performances throughout were good. I couldn't help but watch for the continuity with his two roles, and apart from the frustrating shots needed to hide doubles it was all well done. He even got me with a bit of emotion which caught me by surprise... but that was something else that worked against the comedy, it felt much more like drama.
I enjoyed the different styles of the old country and modern America, the sets and costumes were well thought out and I really enjoyed the hipster joke about Herschel's clothes. But, I had an issue with the filming choice to separate the two eras. You may know from previous rants that I dislike odd aspect ratios, and ugh, why?! The film starts with "old timey" hand drawn style titles and it's shot in 1:33 (according to IMDb), when we hit modern times it reverts to a full screen size. I don't feel like there would have been anything to recover this for me but it would have been... more satisfying?... if they'd stuck to a theme. Go all out, small ratio, muted colours, grainy footage. They use the old photos a few times later in the film and some proper tie in might have been good. There's also a lot of technology based content to emphasise the differences, and that's perfectly logical but there was a lot of it. News footage popped up everywhere, TVs, computers, devices or the characters actually in it. It felt a little odd and a tad excessive.
Early on I noticed a lot of music, when Herschel meets the real world after being pickled I got a heavy Avengers/Cap vibe which almost instantly changed to something very weird and out of place. Almost as suddenly I stopped noticing the music at all, if it was still there it blended a lot better with the scenes... I'll just have to shrug my shoulders on that one.
Everything about An American Pickle is up and down, an odd but interesting story idea, a lack of laughs for a comedy, some great use of atmosphere to illustrate Ben's mood... but that all comes together (or rather it doesn't) into something that left me feeling a little pickled myself.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/08/an-american-pickle-movie-review.html
Herschel and his wife Sarah get to America with hope and the dream of making the Greenbaum family a successful one. Herschel's plan is scuppered when he falls into a pickle vat at his job and isn't discovered for 100 years. The future is a very different place. Reunited with his great grandson Ben he starts to adjust to the new crazy way of life... with just a few bumps along the way.
So... I didn't hate it. It's a comedy that didn't raise many laughs, in me or the others in the screening. There were things that made me smile but I never broke the silence. It felt like a script problem rather than the acting, Rogen can deliver comedy well even if I don't find it funny.
Rogen's performances throughout were good. I couldn't help but watch for the continuity with his two roles, and apart from the frustrating shots needed to hide doubles it was all well done. He even got me with a bit of emotion which caught me by surprise... but that was something else that worked against the comedy, it felt much more like drama.
I enjoyed the different styles of the old country and modern America, the sets and costumes were well thought out and I really enjoyed the hipster joke about Herschel's clothes. But, I had an issue with the filming choice to separate the two eras. You may know from previous rants that I dislike odd aspect ratios, and ugh, why?! The film starts with "old timey" hand drawn style titles and it's shot in 1:33 (according to IMDb), when we hit modern times it reverts to a full screen size. I don't feel like there would have been anything to recover this for me but it would have been... more satisfying?... if they'd stuck to a theme. Go all out, small ratio, muted colours, grainy footage. They use the old photos a few times later in the film and some proper tie in might have been good. There's also a lot of technology based content to emphasise the differences, and that's perfectly logical but there was a lot of it. News footage popped up everywhere, TVs, computers, devices or the characters actually in it. It felt a little odd and a tad excessive.
Early on I noticed a lot of music, when Herschel meets the real world after being pickled I got a heavy Avengers/Cap vibe which almost instantly changed to something very weird and out of place. Almost as suddenly I stopped noticing the music at all, if it was still there it blended a lot better with the scenes... I'll just have to shrug my shoulders on that one.
Everything about An American Pickle is up and down, an odd but interesting story idea, a lack of laughs for a comedy, some great use of atmosphere to illustrate Ben's mood... but that all comes together (or rather it doesn't) into something that left me feeling a little pickled myself.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/08/an-american-pickle-movie-review.html
Ivana A. | Diary of Difference (1171 KP) rated Eleven Lines to Somewhere in Books
Oct 2, 2020
I am extremely happy and excited to be part of the blog tour for Eleven Lines to Somewhere by Alyson Rudd. Thank you to the team at HQ - for sending me a copy in exchange for an honest review. Check out the other book bloggers that are part of the tour as well:
Synopsis:
Everyone is searching for love. Sometimes we just take our own route to find it.
Ryan sees a young woman on the tube on his way to work, and he can't stop looking at her. Attracted and intrigued, he's set to find out more about this mysterious passenger that shares the tube with him.
Sylvie keeps travelling the underground, unable to leave for reasons unknown to Ryan. He hasn't been dating for ten years, when he was at university and the love of his life died.
But for some reason, he feels he needs to help Sylvie. In a world of missed opportunities and what-ifs, a connection has been made.
My Thoughts:
This is the second book I have read by Alyson Rudd, with the first one being The First Time Lauren Pailing Died. That book intrigued me, and when I saw Eleven Lines to Somewhere being published - I had to know and compare them.
At the beginning, I was intrigued, knowing what the synopsis is. We meet Ryan and Sylvie (separately), and we get a small glimpse into their lives. In the beginning, Ryan's story with his family and friends is more talked about. I liked getting to know Ryan, very slowly throughout the first half of the book. He is a very intriguing character himself, going through a personal time, as well as making very controversial decisions to get to know Sylvie better.
I liked Sylvie's story and her connection to the underground. It was very intriguing to me to read and understand how some moments in life can let us become something that we can't help but be. That a certain experience can cause such a need for Sylvie to action. I loved the psychological aspect of her characterisation, and how the trauma was handled.
Once Ryan and Sylvie got to know each other, the pace of the book changed, I felt. The pace was very slow, but the scenes moved very quickly in time.
Even though I loved Ryan and Sylvie as separate characters, I couldn't love them as a couple.
I felt that there was chemistry and romance missing, and somehow their connection to each other was based on the need to help the other one with their own trauma. For me, that being a single reason to love someone makes me think a person is in such a relationship to only feel better about themselves. Look - I helped someone, I am a better person now. But that's just my humble opinion.
There were a lot of side characters that had their own storylines - which I really enjoyed. A lot of drama and twists happened with them, which was quite enjoyable to read. Some characters in the end were thrown into the story abruptly, almost as if for convenience to the story line. But it worked well in the end.
I really enjoyed this story. Still a 4 star, but I enjoyed it more than The First Time Lauren Pailing Died. If you love contemporary books with a lot of characters, this will be a very good pick for you!
Synopsis:
Everyone is searching for love. Sometimes we just take our own route to find it.
Ryan sees a young woman on the tube on his way to work, and he can't stop looking at her. Attracted and intrigued, he's set to find out more about this mysterious passenger that shares the tube with him.
Sylvie keeps travelling the underground, unable to leave for reasons unknown to Ryan. He hasn't been dating for ten years, when he was at university and the love of his life died.
But for some reason, he feels he needs to help Sylvie. In a world of missed opportunities and what-ifs, a connection has been made.
My Thoughts:
This is the second book I have read by Alyson Rudd, with the first one being The First Time Lauren Pailing Died. That book intrigued me, and when I saw Eleven Lines to Somewhere being published - I had to know and compare them.
At the beginning, I was intrigued, knowing what the synopsis is. We meet Ryan and Sylvie (separately), and we get a small glimpse into their lives. In the beginning, Ryan's story with his family and friends is more talked about. I liked getting to know Ryan, very slowly throughout the first half of the book. He is a very intriguing character himself, going through a personal time, as well as making very controversial decisions to get to know Sylvie better.
I liked Sylvie's story and her connection to the underground. It was very intriguing to me to read and understand how some moments in life can let us become something that we can't help but be. That a certain experience can cause such a need for Sylvie to action. I loved the psychological aspect of her characterisation, and how the trauma was handled.
Once Ryan and Sylvie got to know each other, the pace of the book changed, I felt. The pace was very slow, but the scenes moved very quickly in time.
Even though I loved Ryan and Sylvie as separate characters, I couldn't love them as a couple.
I felt that there was chemistry and romance missing, and somehow their connection to each other was based on the need to help the other one with their own trauma. For me, that being a single reason to love someone makes me think a person is in such a relationship to only feel better about themselves. Look - I helped someone, I am a better person now. But that's just my humble opinion.
There were a lot of side characters that had their own storylines - which I really enjoyed. A lot of drama and twists happened with them, which was quite enjoyable to read. Some characters in the end were thrown into the story abruptly, almost as if for convenience to the story line. But it worked well in the end.
I really enjoyed this story. Still a 4 star, but I enjoyed it more than The First Time Lauren Pailing Died. If you love contemporary books with a lot of characters, this will be a very good pick for you!
Ivana A. | Diary of Difference (1171 KP) rated The Move in Books
Oct 2, 2020
I am very excited to be part of the Blog Tour for The Move by Felicity Everett. Especially on New Year’s Day, finishing the year with a blog tour. Thank you to the team at HQ, for sending me an advance readers copy in exchange for an honest review.
Karen moves into a new home with her husband Nick. It is a new house and a fresh start. But it is still the same husband.
I do love myself a bit of family thriller and drama novels. The Move seemed like the perfect choice to get myself cosy, right before saying goodbye to the old year and entering the “new year – new me” attitude. And in the end, it does have this vibe, as our main female protagonist finds her true self and starts making the right choices in her life.
However, this book was not as exciting as I expected it to be.
There is a woman that is going through a hard time and a mental health recovery, judging by her memories and thoughts. Her husband had an affair and she didn’t handle that well at all. But now, it seems that she is well. Her husband got them a new home, with new neighbors, in the idyllic little village, where she can do the things she loves the most.
But her neighbors are not the best kind of type – they all seem weird. And her husband is not really listening to her when she speaks. Her child Ethan is here and there, the relationship shattered by the actions of his father.
And we spend the whole book standing by Karen’s side, watching all the dull things she is doing in the house, talking to her neighbors and being depressed and constantly worrying about everything.
I felt bad for Karen, because she is still going through a mental breakdown, even though really trying to figure out her life. She is really trying, but her husband, friends and neighbors are slowly pushing her down again. The Move has a very big voice on mental health. How important it is that we have our support network next to us, and I am glad that Karen finds Cath in all that mess of a life. Also, how important it is to trust your own guts. When all your friends keep telling you your marriage is perfect and you are so lucky, only because it looks so from the outside, you shouldn’t always believe them. Don’t ever ignore the little things. And don’t ever stay with a man that doesn’t believe in you.
As far as the book goes though, it was quite monotonous and uninteresting. No major plot twists, no big cliff-hanger. I was reading the whole time, waiting for the big moment to come, and it never did.
And in the end, even though we clearly know what choice Karen makes for her life, we don’t have a conclusive ending. We have one of those endings that sort of finishes and lets the reader figure out what happens next. I am not a fan of those, and it might be why I am slightly disappointed in how it all wrapped up.
I would still recommend it if you love family dramas and thrillers. However, if you are expecting for a book that will keep you on the edge, I am afraid you need to still keep looking.
Karen moves into a new home with her husband Nick. It is a new house and a fresh start. But it is still the same husband.
I do love myself a bit of family thriller and drama novels. The Move seemed like the perfect choice to get myself cosy, right before saying goodbye to the old year and entering the “new year – new me” attitude. And in the end, it does have this vibe, as our main female protagonist finds her true self and starts making the right choices in her life.
However, this book was not as exciting as I expected it to be.
There is a woman that is going through a hard time and a mental health recovery, judging by her memories and thoughts. Her husband had an affair and she didn’t handle that well at all. But now, it seems that she is well. Her husband got them a new home, with new neighbors, in the idyllic little village, where she can do the things she loves the most.
But her neighbors are not the best kind of type – they all seem weird. And her husband is not really listening to her when she speaks. Her child Ethan is here and there, the relationship shattered by the actions of his father.
And we spend the whole book standing by Karen’s side, watching all the dull things she is doing in the house, talking to her neighbors and being depressed and constantly worrying about everything.
I felt bad for Karen, because she is still going through a mental breakdown, even though really trying to figure out her life. She is really trying, but her husband, friends and neighbors are slowly pushing her down again. The Move has a very big voice on mental health. How important it is that we have our support network next to us, and I am glad that Karen finds Cath in all that mess of a life. Also, how important it is to trust your own guts. When all your friends keep telling you your marriage is perfect and you are so lucky, only because it looks so from the outside, you shouldn’t always believe them. Don’t ever ignore the little things. And don’t ever stay with a man that doesn’t believe in you.
As far as the book goes though, it was quite monotonous and uninteresting. No major plot twists, no big cliff-hanger. I was reading the whole time, waiting for the big moment to come, and it never did.
And in the end, even though we clearly know what choice Karen makes for her life, we don’t have a conclusive ending. We have one of those endings that sort of finishes and lets the reader figure out what happens next. I am not a fan of those, and it might be why I am slightly disappointed in how it all wrapped up.
I would still recommend it if you love family dramas and thrillers. However, if you are expecting for a book that will keep you on the edge, I am afraid you need to still keep looking.
Bob Mann (459 KP) rated Censor (2021) in Movies
Sep 3, 2021
Niamh Algar is fabulous (1 more)
Novel story and great direction
A genuinely original story (at last!)
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
BankofMarquis (1832 KP) rated The Power of the Dog (2021) in Movies
Dec 7, 2021
Deep and Layered
If the movie you are watching has a long shot of wheat blowing in the wind, then you are watching a character drama. If that same film also includes a 5 minute scene of someone braiding rope, then you have THE POWER OF THE DOG.
Written and Directed by Jane Campion (THE PIANO) and based on the best-selling novel by Thomas Savage, THE POWER OF THE DOG tells the tale of 2 brothers, talkative and charismatic Phil (Benedict Cumberbatch) and quiet and contemplative George (Jesse Plemons) who are tending their cattle ranch in Montana in the mid-1920’s. As horses give way to horseless carriages, George falls for a widow (Kirsten Dunst) who has an effeminate son (Kodi Smit-McPhee) and this relationship makes Phil face his own feelings - and a changing world.
In the hands of Campion, this film is a quiet, introspective look at how a hard-drinking, hard-living Cowboy deals with a changing world - and his own pent up emotions - and it works well. She weaves a fascinating story that takes its time unfurling it’s pages and the time that the audience takes in steeping themselves in the story and the characters is time well spent, indeed.
This is because the great Benedict Cumberbatch (TV’s SHERLOCK) is on-screen for 95% of the film as Phil and he commands the screen every moment that his presence is known. It is a bravura - though eerily quiet and introspective - performance by Cumberbatch. Campion and Cumberbatch create a memorable character that fills the screen not because he is wide or high or showy, but because he is deep and layered and the film spends most of its 2 hour and 6 minute running time peeling back the layers and digging deep into this character. It is an Oscar-worthy performance and is a shoo-in Oscar nominee and would not be surprising if Cumberbatch finally wins his Oscar for this role.
Plemons and Dunst (who played a couple in the first season of the TV series FARGO) are the catalyst that set the film - and the discoveries - in motion, but, though they are good, they have very little to do besides react to Cumberbatch’s characters’ moves.
Surprisingly, the character that does stand-out and the actor who does go toe-to-toe with Cumberbatch’s Phil is Peter, the son of Rose and played by Kodi Smit-McPhee (NIghtcrawler in X-MEN:APOCALYPSE) who is (at first) befriended by Phil as a joke and becomes closer and closer to him as the film progresses. It is through Peter that we dig through the layers of Phil - and it is a fascinating journey.
This is a gorgeous film to look at - Cinematographer Ari Wegner (THE GIRLFRIEND EXPERIENCE) is a shoo-in for an Oscar nomination as well - and this is good, because Phil (and the audience) spend long stretches looking out in the wilderness, contemplating the world - and change.
Not the fastest moving film you will ever encounter, but if you are in the mood for this sort of thing and can get caught up with discovering the layers of Phil, then you will be rewarded with a layered and deep experience.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written and Directed by Jane Campion (THE PIANO) and based on the best-selling novel by Thomas Savage, THE POWER OF THE DOG tells the tale of 2 brothers, talkative and charismatic Phil (Benedict Cumberbatch) and quiet and contemplative George (Jesse Plemons) who are tending their cattle ranch in Montana in the mid-1920’s. As horses give way to horseless carriages, George falls for a widow (Kirsten Dunst) who has an effeminate son (Kodi Smit-McPhee) and this relationship makes Phil face his own feelings - and a changing world.
In the hands of Campion, this film is a quiet, introspective look at how a hard-drinking, hard-living Cowboy deals with a changing world - and his own pent up emotions - and it works well. She weaves a fascinating story that takes its time unfurling it’s pages and the time that the audience takes in steeping themselves in the story and the characters is time well spent, indeed.
This is because the great Benedict Cumberbatch (TV’s SHERLOCK) is on-screen for 95% of the film as Phil and he commands the screen every moment that his presence is known. It is a bravura - though eerily quiet and introspective - performance by Cumberbatch. Campion and Cumberbatch create a memorable character that fills the screen not because he is wide or high or showy, but because he is deep and layered and the film spends most of its 2 hour and 6 minute running time peeling back the layers and digging deep into this character. It is an Oscar-worthy performance and is a shoo-in Oscar nominee and would not be surprising if Cumberbatch finally wins his Oscar for this role.
Plemons and Dunst (who played a couple in the first season of the TV series FARGO) are the catalyst that set the film - and the discoveries - in motion, but, though they are good, they have very little to do besides react to Cumberbatch’s characters’ moves.
Surprisingly, the character that does stand-out and the actor who does go toe-to-toe with Cumberbatch’s Phil is Peter, the son of Rose and played by Kodi Smit-McPhee (NIghtcrawler in X-MEN:APOCALYPSE) who is (at first) befriended by Phil as a joke and becomes closer and closer to him as the film progresses. It is through Peter that we dig through the layers of Phil - and it is a fascinating journey.
This is a gorgeous film to look at - Cinematographer Ari Wegner (THE GIRLFRIEND EXPERIENCE) is a shoo-in for an Oscar nomination as well - and this is good, because Phil (and the audience) spend long stretches looking out in the wilderness, contemplating the world - and change.
Not the fastest moving film you will ever encounter, but if you are in the mood for this sort of thing and can get caught up with discovering the layers of Phil, then you will be rewarded with a layered and deep experience.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Paths of Glory (1957) in Movies
Feb 18, 2024
Early Kubrick Masterpiece
Dore Schary, then head of production of MGM, like Stanley Kubrick’s first film, THE KILLING (1956) so he hired Kubrick to develop film stories from the studios pile of scripts and purchased novels. Finding nothing the he liked, Kubrick remembered reading Humprhey Cobb’s anti-war novel PATHS OF GLORY and suggested that. Schary (like every other studio exec in Hollywood at the time) turned down the opportunity to make this bleak anti-war film.
When Schary was fired by MGM, Kubrick went to Kirk Douglas (who liked THE KILLING as well and was anxious to work with Kubrick). Using his clout as one of the Major Stars of Hollywood at the time, Douglas got United Artists to agree to make the picture.
Starring Douglas, PATHS OF GLORY tells the WWI tale of a group of soldiers who mutiny when asked to take on a suicide mission to take the impregnable “ANTHILL”.
In this film, Kubrick starts to come into his own as a unique and visionary filmmaker who would insist on take after take until he got the exact shot he was looking for.
The highlight of the film is the 5 minute tracking shot of the troops attacking the Anthill, a tracking shot that films such as SAVING PRIVATE RYAN and 1917 owe a debt to. It is a masterclass of filmmaking from Kubrick.
As for Douglas – who was also used to having complete control of his films – PATHS OF GLORY was a battle of wills between Kubrick and Douglas with each man coming out on top (at times)…to the betterment of the film.
On the acting front, Douglas has never been better as the Commander of the unit that has the mutiny and who decides to defend the soldiers who are on trial for mutiny and cowardice and who quickly realizes that the trial is a sham and that there is no way for him these soldiers to get a fair trial.
Adolph Menjou (the 1937 version of A STAR IS BORN) and George Macready (GILDA) are appropriately blustery and out-of-touch as the Senior Officers who give (and then defend) their impossible orders. Richard Anderson (Oscar in the SIX MILLION DOLLAR MAN) is slimey and slippery as the prosecuting attorney (who knows that the outcome of the trial is a done-deal) while Ralph Meeker (THE DIRTY DOZEN), Joe Turkel (the bartender in THE SHINING) and Timothy Carey (who famously clashed with Kubrick during filming in a calculated attempt to get some publicity for himself and was subsequently fired from the film) are the unfortunate 3 who are put on trial as representatives of their troops while the outstanding performance in this film is fomer child actor Wayne Morris (KID GALAHAD) as drunken Lt. Roget.
Even though this film is about ½ war battle film and ½ a court-room drama, it is the visuals of the folly of war that will stick with the audience long after it is over…and stick with it it does as this film was selected for preservation in the United States Film Registry in 1992 and is still listed in IMDB’s TOP 100 Rated films.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
When Schary was fired by MGM, Kubrick went to Kirk Douglas (who liked THE KILLING as well and was anxious to work with Kubrick). Using his clout as one of the Major Stars of Hollywood at the time, Douglas got United Artists to agree to make the picture.
Starring Douglas, PATHS OF GLORY tells the WWI tale of a group of soldiers who mutiny when asked to take on a suicide mission to take the impregnable “ANTHILL”.
In this film, Kubrick starts to come into his own as a unique and visionary filmmaker who would insist on take after take until he got the exact shot he was looking for.
The highlight of the film is the 5 minute tracking shot of the troops attacking the Anthill, a tracking shot that films such as SAVING PRIVATE RYAN and 1917 owe a debt to. It is a masterclass of filmmaking from Kubrick.
As for Douglas – who was also used to having complete control of his films – PATHS OF GLORY was a battle of wills between Kubrick and Douglas with each man coming out on top (at times)…to the betterment of the film.
On the acting front, Douglas has never been better as the Commander of the unit that has the mutiny and who decides to defend the soldiers who are on trial for mutiny and cowardice and who quickly realizes that the trial is a sham and that there is no way for him these soldiers to get a fair trial.
Adolph Menjou (the 1937 version of A STAR IS BORN) and George Macready (GILDA) are appropriately blustery and out-of-touch as the Senior Officers who give (and then defend) their impossible orders. Richard Anderson (Oscar in the SIX MILLION DOLLAR MAN) is slimey and slippery as the prosecuting attorney (who knows that the outcome of the trial is a done-deal) while Ralph Meeker (THE DIRTY DOZEN), Joe Turkel (the bartender in THE SHINING) and Timothy Carey (who famously clashed with Kubrick during filming in a calculated attempt to get some publicity for himself and was subsequently fired from the film) are the unfortunate 3 who are put on trial as representatives of their troops while the outstanding performance in this film is fomer child actor Wayne Morris (KID GALAHAD) as drunken Lt. Roget.
Even though this film is about ½ war battle film and ½ a court-room drama, it is the visuals of the folly of war that will stick with the audience long after it is over…and stick with it it does as this film was selected for preservation in the United States Film Registry in 1992 and is still listed in IMDB’s TOP 100 Rated films.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
DaveySmithy (107 KP) rated Casablanca (1942) in Movies
Dec 3, 2024
A Timeless Classic: Casablanca - A 10/10 Masterpiece
Few films manage to withstand the test of time quite like Casablanca. Released in 1942, this cinematic gem not only defines its era but also transcends it, continuing to captivate audiences decades later. Directed by Michael Curtiz and featuring unforgettable performances by Humphrey Bogart and Ingrid Bergman, Casablanca is a rare film that combines stellar storytelling, iconic performances, and a profound emotional core into an unparalleled movie experience.
What makes Casablanca truly extraordinary is its perfect balance of intimate romance and global stakes. Set during World War II in the Moroccan city of Casablanca, the story revolves around Rick Blaine (Bogart), a cynical American expatriate who runs a nightclub, and Ilsa Lund (Bergman), the woman who once broke his heart. Their unexpected reunion is fraught with unresolved emotions and set against the backdrop of political intrigue, resistance efforts, and the shadow of Nazi oppression. It’s not just a love story—it’s a story of sacrifice, morality, and the search for meaning in chaotic times.
Humphrey Bogart, known for his tough-guy persona, delivers a nuanced and deeply human performance as Rick. His dry wit, vulnerability, and quiet heroism make Rick one of cinema’s most iconic characters. Bogart effortlessly conveys the tension between Rick’s outward indifference and his inner turmoil, making his journey from apathy to sacrifice profoundly moving. Opposite him, Ingrid Bergman is luminous as Ilsa. Her portrayal is layered with strength, grace, and a quiet sadness that makes her character unforgettable. The chemistry between Bogart and Bergman is electric, their unspoken longing resonating in every glance and line of dialogue.
The supporting cast is equally brilliant. Claude Rains as the charmingly corrupt Captain Renault steals nearly every scene he’s in with his biting humor and moral ambiguity. Paul Henreid’s portrayal of Victor Laszlo, the noble resistance leader, adds gravitas to the story, while Sydney Greenstreet and Peter Lorre deliver memorable turns as colorful figures in Casablanca’s shadowy underworld. Every character, no matter how small their role, feels fully realized and essential to the tapestry of the story.
What elevates Casablanca to legendary status, however, is its script. Few films boast dialogue as sharp and iconic, with lines like “Here’s looking at you, kid,” and “We’ll always have Paris” becoming ingrained in pop culture. The screenplay, penned by Julius and Philip Epstein and Howard Koch, is a masterclass in storytelling, seamlessly blending romance, suspense, and humor. Each scene serves a purpose, driving the plot forward while deepening the emotional stakes.
Max Steiner’s score is another standout element, with the recurring use of “As Time Goes By” becoming as timeless as the film itself. The music weaves through the narrative, underscoring moments of joy, heartbreak, and tension with haunting beauty.
But perhaps the most remarkable aspect of Casablanca is its ability to resonate on multiple levels. It’s a sweeping romance, a gripping war drama, and a meditation on sacrifice and duty, all rolled into one. Its themes remain universal, its characters relatable, and its emotional impact undiminished by time.
In a world filled with good movies and great movies, Casablanca stands apart as a perfect one. It’s not just a film—it’s an experience, a masterpiece that speaks to the heart and soul. For that, it earns a well-deserved 10/10.
What makes Casablanca truly extraordinary is its perfect balance of intimate romance and global stakes. Set during World War II in the Moroccan city of Casablanca, the story revolves around Rick Blaine (Bogart), a cynical American expatriate who runs a nightclub, and Ilsa Lund (Bergman), the woman who once broke his heart. Their unexpected reunion is fraught with unresolved emotions and set against the backdrop of political intrigue, resistance efforts, and the shadow of Nazi oppression. It’s not just a love story—it’s a story of sacrifice, morality, and the search for meaning in chaotic times.
Humphrey Bogart, known for his tough-guy persona, delivers a nuanced and deeply human performance as Rick. His dry wit, vulnerability, and quiet heroism make Rick one of cinema’s most iconic characters. Bogart effortlessly conveys the tension between Rick’s outward indifference and his inner turmoil, making his journey from apathy to sacrifice profoundly moving. Opposite him, Ingrid Bergman is luminous as Ilsa. Her portrayal is layered with strength, grace, and a quiet sadness that makes her character unforgettable. The chemistry between Bogart and Bergman is electric, their unspoken longing resonating in every glance and line of dialogue.
The supporting cast is equally brilliant. Claude Rains as the charmingly corrupt Captain Renault steals nearly every scene he’s in with his biting humor and moral ambiguity. Paul Henreid’s portrayal of Victor Laszlo, the noble resistance leader, adds gravitas to the story, while Sydney Greenstreet and Peter Lorre deliver memorable turns as colorful figures in Casablanca’s shadowy underworld. Every character, no matter how small their role, feels fully realized and essential to the tapestry of the story.
What elevates Casablanca to legendary status, however, is its script. Few films boast dialogue as sharp and iconic, with lines like “Here’s looking at you, kid,” and “We’ll always have Paris” becoming ingrained in pop culture. The screenplay, penned by Julius and Philip Epstein and Howard Koch, is a masterclass in storytelling, seamlessly blending romance, suspense, and humor. Each scene serves a purpose, driving the plot forward while deepening the emotional stakes.
Max Steiner’s score is another standout element, with the recurring use of “As Time Goes By” becoming as timeless as the film itself. The music weaves through the narrative, underscoring moments of joy, heartbreak, and tension with haunting beauty.
But perhaps the most remarkable aspect of Casablanca is its ability to resonate on multiple levels. It’s a sweeping romance, a gripping war drama, and a meditation on sacrifice and duty, all rolled into one. Its themes remain universal, its characters relatable, and its emotional impact undiminished by time.
In a world filled with good movies and great movies, Casablanca stands apart as a perfect one. It’s not just a film—it’s an experience, a masterpiece that speaks to the heart and soul. For that, it earns a well-deserved 10/10.
Bird (1704 KP) rated Prison Break in TV
Nov 29, 2024
A Riveting Ride with a Few Bumps:
Prison Break is a show that deserves its reputation as one of the most exciting and original dramas of its time. While not without its flaws, the series delivers a thrilling mix of suspense, clever plotting, and character-driven storytelling that keeps you invested throughout its run. With an intriguing premise and a solid cast, it’s easy to see why Prison Break has garnered such a devoted fanbase.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.