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Bob Mann (459 KP) rated Molly's Game (2017) in Movies
Sep 29, 2021
Wordy but entertaining.
You can never accuse Aaron Sorkin of skimping on his words. Sorkin is of course the award-winning writer of “The West Wing” but on the big screen he has also written many classics: “A Few Good Men”; “The Social Network” and “Steve Jobs” for example. Here he also makes his directorial debut in a movie about the true-life turbulent career of Olympic wannabe skier Molly Bloom.
Bloom is played by Jessica Chastain, from films such as “Zero Dark Thirty” and “Miss Sloane” (one of my films of the year last year). Chastain’s roles as an actress are often quite cold and calculating, as suits her demeanour. As such her characters are not often easy to warm to in movies (and as such, my wife is not a fan).
Taking the piste. Molly in her younger ski-centric role.
Here as Molly Bloom she is as equally driven as in “Miss Sloane“, but the drive is learned from her father (Kevin Costner), bullying her to be the best she can be at skiing in a highly competitive family. Forced out of the skiing business (for reasons I won’t spoil), she takes a “gap year” from law school that turns into a “gap life” after she falls into the slightly shady business of running poker nights for LA’s rich elite. It’s here that Chastain’s Bloom is able to show a gentler and more compassionate side, trying to talk some of her clients (who invariably fall in love with her) off the ledge of their gambling addiction.
Chris O’Dowd as one of the punter’s in deep.
Sorkin’s script (based on Molly’s own autobiography, I should add) does a really nice job of cutting backwards and forwards through Molly’s timeline to drill into motivations and her mental state, and in doing so he pulls out an award-winning (or at least Golden-Globe award-nominating) performance from Chastain in the process. Also very effective though is Kevin Costner (“Hidden Figures“, “Man of Steel“), who is quietly building an impressive portfolio of supporting actor roles. Here he rather dials in his “tough and aloof guy” performance until the park bench scene (below) where he surprises in a good way.
Benches with wolves. Kevin Costner impressive as Molly’s hard-line father.
It’s also a blessed relief to find a decent vehicle to showcase the undoubted talents of Britain’s Idris Elba – an actor who has been woefully served by rubbish such as “Bastille Day“, rather lame sequels like “Star Trek: Beyond” or minor roles such as in “Thor: Ragnarok“. Here he can really get his teeth into the role of Molly’s lawyer, with a multi-layered character that reveals a little – but not too much of – his back-story to leave you with intriguing questions.
An indecisive Charlie Jaffey (Idris Elba) can make his mind up about Molly (Jessica Chastain).
So it’s a good film, but an intelligent watch that mandates your attention. The script is sufficiently dense and wordy that it requires significant concentration: this is not a “park your brain at the door” type of ‘Michael Bay film’. (As such, while it remains a recommended watch, I’m not sure it would be one that would necessarily make my DVD list for repeat watchings).
Michael Cera (centre) as the mysterious but powerful “Player X”; a Hollywood actor, but who is he supposed to be? (Answers on a postcard!).
But again, I must comment on what an amazing year this is turning out to be for women in film. Less #Me-too and more #She-do! Once again, here is a movie where a confident woman is firmly in the driving seat, and while powerful men try to bring her down, it is not them that succeeds. (The studio bill for talent in the past year must be a LOT less than it was the year before! #don’tshootme #topicalhumour #CarrieGracey). #TimesUp.
Bloom is played by Jessica Chastain, from films such as “Zero Dark Thirty” and “Miss Sloane” (one of my films of the year last year). Chastain’s roles as an actress are often quite cold and calculating, as suits her demeanour. As such her characters are not often easy to warm to in movies (and as such, my wife is not a fan).
Taking the piste. Molly in her younger ski-centric role.
Here as Molly Bloom she is as equally driven as in “Miss Sloane“, but the drive is learned from her father (Kevin Costner), bullying her to be the best she can be at skiing in a highly competitive family. Forced out of the skiing business (for reasons I won’t spoil), she takes a “gap year” from law school that turns into a “gap life” after she falls into the slightly shady business of running poker nights for LA’s rich elite. It’s here that Chastain’s Bloom is able to show a gentler and more compassionate side, trying to talk some of her clients (who invariably fall in love with her) off the ledge of their gambling addiction.
Chris O’Dowd as one of the punter’s in deep.
Sorkin’s script (based on Molly’s own autobiography, I should add) does a really nice job of cutting backwards and forwards through Molly’s timeline to drill into motivations and her mental state, and in doing so he pulls out an award-winning (or at least Golden-Globe award-nominating) performance from Chastain in the process. Also very effective though is Kevin Costner (“Hidden Figures“, “Man of Steel“), who is quietly building an impressive portfolio of supporting actor roles. Here he rather dials in his “tough and aloof guy” performance until the park bench scene (below) where he surprises in a good way.
Benches with wolves. Kevin Costner impressive as Molly’s hard-line father.
It’s also a blessed relief to find a decent vehicle to showcase the undoubted talents of Britain’s Idris Elba – an actor who has been woefully served by rubbish such as “Bastille Day“, rather lame sequels like “Star Trek: Beyond” or minor roles such as in “Thor: Ragnarok“. Here he can really get his teeth into the role of Molly’s lawyer, with a multi-layered character that reveals a little – but not too much of – his back-story to leave you with intriguing questions.
An indecisive Charlie Jaffey (Idris Elba) can make his mind up about Molly (Jessica Chastain).
So it’s a good film, but an intelligent watch that mandates your attention. The script is sufficiently dense and wordy that it requires significant concentration: this is not a “park your brain at the door” type of ‘Michael Bay film’. (As such, while it remains a recommended watch, I’m not sure it would be one that would necessarily make my DVD list for repeat watchings).
Michael Cera (centre) as the mysterious but powerful “Player X”; a Hollywood actor, but who is he supposed to be? (Answers on a postcard!).
But again, I must comment on what an amazing year this is turning out to be for women in film. Less #Me-too and more #She-do! Once again, here is a movie where a confident woman is firmly in the driving seat, and while powerful men try to bring her down, it is not them that succeeds. (The studio bill for talent in the past year must be a LOT less than it was the year before! #don’tshootme #topicalhumour #CarrieGracey). #TimesUp.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Dana (24 KP) rated A Conjuring of Light in Books
Mar 23, 2018
I tried to take my time with this book. I only listened to it for short amounts of time because I knew it was the last one and I wanted to take my time with it. Well, that and I was busy with Christmas stuff, so I guess I had to spend time with family.
So, onto the review. By the way, this is not spoiler free for the series or this book, so read at your own peril.
This book absolutely wrecked me. So we started off not knowing the status of Kell and therefore Rhys because they are freaking bound together via magical tattoos, so yeah, stressful. Then we have to know what is going on with Lila because how is she going to react to the information that Kell is possibly dying? I wasn't so sure. But damn am I glad she wanted to act. Then we have the knowledge that Holland is being taken over by Oseran because why not? Let's just have this piece of sentient magic take over an Antari's body to be able to take over worlds. Yes, plural. How could I not be okay with that? And that is all just from where we left off at the end of the last book, okay? I was a wreck when I started the book.
Alright, so onto Kell. He is so self sacrificing it kills me. Well, it nearly kills him and Rhys too, but that's beside the point. He, first, finds himself without magic, needing Delilah to come and save him. Then he is ostracized again from the court because obviously this is all his fault, right? Wrong. After that, he has to go on a mission with two people he hates as well as the woman he loves and a few strangers to boot. Not too bad so far. In order to save the woman he loves and (hopefully) protect her from harm, he is willing to do whatever, that means dying, to keep her alive and with magic. But he claims it's because he is able to control it better. Yeah, Kell. That's the reason. I can smell bullshit all the way over here, buddy. But really, even though he has a hard time staying alive and keeping out of trouble, I love Kell. He knows what is best for those he loves and will not hesitate to do it. He wants to travel the world, to get to see more than just London on any of the plains. And he gets to in the end. Plus, who doesn't want a person like Kell in their lives?
Now onto my girl Delilah. Hey there Delilah what's it like in Red London, are you trying to get yourself killed just to prove a point to Kell and Rhys? I would like to know why. (Sing that in the tune of the Plain White Tee's song, and you'll be golden.) But really. This girl has almost as much of a death wish as Kell does, swinging head first into danger without a plan most of the time. She is impulsive, rash, and strong as hell. And I wouldn't have her any other way. She hasn't known these people for very long, but she cares for them so deeply. She is also willing to give up everything to go up against Oseran, becasue why not? She thinks her unfiltered and untrained power can do a lot of damage. Which, yes it can, but not necessarily to your opponent, dear. I am proud of this scrappy little nobody. She became the badass pirate queen she has always needed to be. Plus, I like that she used her cunning and her knowledge as a thief to get the item they needed from the floating black market. So cool. Oh! And when she was battling Oseran and she freaking moved the river. Yeah girl! Prove Allucard wrong! Use that freaking ANTARI magic that you have. Get that black glass eye and become your true self!
Rhys is amazing. I honestly thought his father was going to do a spell to give Rhys his power when the King went out to fave Oseran in his palace, but I am glad he didn't. We need to see that even people without powers are powerful in their own right. He is a king, a commander, a force to be reckoned with, not in spite of his lack of magic, but because of it. He was able to train himself in the ways of people. He doesn't need magic to control, he's got words for that. What happened to his family, and almost happened to him, was heart breaking. I hate that he didn't really have time to mourn. I hate that he had to see his mother die in front of him. I hate that he didn't get to get revenge personally. But I know it would have hurt him as a character too much to have to kill those who betrayed the crown.
Allucard is still a hero in my eyes. He put up with so much shit from his family, and then Kell. I mean, the man paid for a magical mirror to be able to show Rhys the truth about why he left. HE JUST DESERVES TO BE HAPPY OKAY!!! I am glad that he and Rhys get to be together forever because they are in love and I love that love. Also, we got to see him use his magic so much more in this book. I feel like he got to earn his title as the winner of the Essen Tash. (I think that's how you spell it, I can't remember, okay). So, yeah, Allucard for life.
I don't know how she did it, but Ms Victoria Schwab made me like Holland. I just invested my hatred for this guy for two freaking books. TWO BOOKS!! And now I like him? What is this madness. But really, I loved that he was able to redeem himself and his actions. He just wanted to save his world and give it magic again. I like that he was able to use the device and save the day, even though he had to lose his power because of it. He is just, if not more so, self sacrificing as Kell and Lila are put together. He tries to die for the cause at least twice in this book. Also, I love that he becomes the King that is promised in White London. He brings back magic by giving up his. Just so beautiful.
All of the side characters were really interesting as well. I would love to see more into them if Ms Schwab has any plans to do so. As you can tell, I don't want to talk too much about Oseran because I don't like him. I will say, though, that Ms Schwab did a fantastic job creating such a vile creature. He brought a lot to the story and, even though I didn't like the character, it was more on a personal level than the writing of the character. I just didn't like the villain. But I loved how she wrote him. (I hope at least some of that makes sense)
This series was phenomenal. Every page was an adventure and I was so happy to be dragged along. Thank you for writing this book. I can't wait to see what's next.
So, onto the review. By the way, this is not spoiler free for the series or this book, so read at your own peril.
This book absolutely wrecked me. So we started off not knowing the status of Kell and therefore Rhys because they are freaking bound together via magical tattoos, so yeah, stressful. Then we have to know what is going on with Lila because how is she going to react to the information that Kell is possibly dying? I wasn't so sure. But damn am I glad she wanted to act. Then we have the knowledge that Holland is being taken over by Oseran because why not? Let's just have this piece of sentient magic take over an Antari's body to be able to take over worlds. Yes, plural. How could I not be okay with that? And that is all just from where we left off at the end of the last book, okay? I was a wreck when I started the book.
Alright, so onto Kell. He is so self sacrificing it kills me. Well, it nearly kills him and Rhys too, but that's beside the point. He, first, finds himself without magic, needing Delilah to come and save him. Then he is ostracized again from the court because obviously this is all his fault, right? Wrong. After that, he has to go on a mission with two people he hates as well as the woman he loves and a few strangers to boot. Not too bad so far. In order to save the woman he loves and (hopefully) protect her from harm, he is willing to do whatever, that means dying, to keep her alive and with magic. But he claims it's because he is able to control it better. Yeah, Kell. That's the reason. I can smell bullshit all the way over here, buddy. But really, even though he has a hard time staying alive and keeping out of trouble, I love Kell. He knows what is best for those he loves and will not hesitate to do it. He wants to travel the world, to get to see more than just London on any of the plains. And he gets to in the end. Plus, who doesn't want a person like Kell in their lives?
Now onto my girl Delilah. Hey there Delilah what's it like in Red London, are you trying to get yourself killed just to prove a point to Kell and Rhys? I would like to know why. (Sing that in the tune of the Plain White Tee's song, and you'll be golden.) But really. This girl has almost as much of a death wish as Kell does, swinging head first into danger without a plan most of the time. She is impulsive, rash, and strong as hell. And I wouldn't have her any other way. She hasn't known these people for very long, but she cares for them so deeply. She is also willing to give up everything to go up against Oseran, becasue why not? She thinks her unfiltered and untrained power can do a lot of damage. Which, yes it can, but not necessarily to your opponent, dear. I am proud of this scrappy little nobody. She became the badass pirate queen she has always needed to be. Plus, I like that she used her cunning and her knowledge as a thief to get the item they needed from the floating black market. So cool. Oh! And when she was battling Oseran and she freaking moved the river. Yeah girl! Prove Allucard wrong! Use that freaking ANTARI magic that you have. Get that black glass eye and become your true self!
Rhys is amazing. I honestly thought his father was going to do a spell to give Rhys his power when the King went out to fave Oseran in his palace, but I am glad he didn't. We need to see that even people without powers are powerful in their own right. He is a king, a commander, a force to be reckoned with, not in spite of his lack of magic, but because of it. He was able to train himself in the ways of people. He doesn't need magic to control, he's got words for that. What happened to his family, and almost happened to him, was heart breaking. I hate that he didn't really have time to mourn. I hate that he had to see his mother die in front of him. I hate that he didn't get to get revenge personally. But I know it would have hurt him as a character too much to have to kill those who betrayed the crown.
Allucard is still a hero in my eyes. He put up with so much shit from his family, and then Kell. I mean, the man paid for a magical mirror to be able to show Rhys the truth about why he left. HE JUST DESERVES TO BE HAPPY OKAY!!! I am glad that he and Rhys get to be together forever because they are in love and I love that love. Also, we got to see him use his magic so much more in this book. I feel like he got to earn his title as the winner of the Essen Tash. (I think that's how you spell it, I can't remember, okay). So, yeah, Allucard for life.
I don't know how she did it, but Ms Victoria Schwab made me like Holland. I just invested my hatred for this guy for two freaking books. TWO BOOKS!! And now I like him? What is this madness. But really, I loved that he was able to redeem himself and his actions. He just wanted to save his world and give it magic again. I like that he was able to use the device and save the day, even though he had to lose his power because of it. He is just, if not more so, self sacrificing as Kell and Lila are put together. He tries to die for the cause at least twice in this book. Also, I love that he becomes the King that is promised in White London. He brings back magic by giving up his. Just so beautiful.
All of the side characters were really interesting as well. I would love to see more into them if Ms Schwab has any plans to do so. As you can tell, I don't want to talk too much about Oseran because I don't like him. I will say, though, that Ms Schwab did a fantastic job creating such a vile creature. He brought a lot to the story and, even though I didn't like the character, it was more on a personal level than the writing of the character. I just didn't like the villain. But I loved how she wrote him. (I hope at least some of that makes sense)
This series was phenomenal. Every page was an adventure and I was so happy to be dragged along. Thank you for writing this book. I can't wait to see what's next.
Bob Mann (459 KP) rated The Roads Not Taken (2020) in Movies
Sep 15, 2020
Javier Bardem and Elle Fanning act their socks off (1 more)
Robbie Ryan cinematography is Oscar worthy
Pain and not a lot of Glory.
If you like your movies action packed you are going to dislike this movie. If you like light and uplifting stories you are going to positively loathe this one! For everyone else, "The Roads Not Taken" is a very thought-provoking piece of film-making from writer/director Sally Potter that I have a lot of respect for. Even more so, since I learned that the film is based on the director's time caring for her now deceased brother Nic, diagnosed with early onset dementia in 2010.
It's not a promising premise. "The Roads Not Taken" concerns a New Yorker with dementia being taking to the dentist and the opticians. Gripped yet? Nope... didn't think so. But stay with me here.
Elle Fanning plays Molly, daughter of the almost catatonic Leo (Javier Bardem) who is receiving a lot of support to stay in his own home. As his daughter assists him on his trip to his medical appointments, he is only about 10% 'there'. Glassy-eyed and almost incomprehensible, his utterances are often taken to refer to his present experiences. But actually, he's 90% somewhere else, revisiting two key episodes in his past life and reacting in the real world to what's happening in his dreams.
As he relives 'the roads not taken' we can piece together the elements of a life that's lived and - perhaps - lay out some elements that might have contributed to his mental decline in later life.
Before we plunge into the doom and gloom of the story, there was one moment of levity for me in the opening titles. I commented in my review of "The Farewell" that the company 'dog-tags' at the start of the film reminded me of a famous Family Guy comic moment. But this is kindergarten level compared to this movie. I assume Sally Potter must have tapped her complete phone contacts list to raise the funding for this one! Since I counted FOURTEEN different production companies referenced! Is this a record?
As you enter later life, it's common for many of us to suffer a significant source of stress. Sometimes - if you're lucky - four sources of stress. The reason? You stop worrying about your kids as much and start worrying about your aged parents and in-laws. Like heating up a frog in water, it's often imperceptible how much stress you are actually carrying with that until the last of the relatives 'shuffles off this mortal coil'. Within the grief, there's also a source of guilty relief in there somewhere. Such is the maelstrom that young Molly is in - with knobs on - given the disability of Leo. As a professional in her 20's, she is also having the juggle this responsibility with progressing her career.
It's a bit early in this turbulent year to talk of Oscar nominations. But for me, there are three standout performances in this movie:
1) Javier Bardem: what an acting masterclass! As with Daniel Day-Lewis's win in 1990 for "My Left Foot", the Academy loves a disability-based performance. I haven't seen much Oscar-buzz about this performance, but I'd personally throw his hat into the ring, for at least my long-list;
2) Elle Fanning: this young lady has been in movies since the age of 2, but rose to stardom with "Super 8". She's building a formidable filmography behind her. Here she matches Bardem shot-for-shot in the acting stakes: a caring daughter being emotionally torn apart; always needing to be in two places at the same time (as nicely positioned by the cryptic ending). A first Oscar-nomination perhaps?
3) Robbie Ryan: with an Oscar-nom previously for "The Favourite", could another one follow for this? For this is a beautiful film to look at, despite its downbeat story. There are some drop-dead gorgeous shots. One in particular is where a sun-lit Fanning has a "Marilyn Monroe subway skirt moment" at a window (with her hair being blown, I should add). Glorious. And all of the Mexican/Greek scenes (all Spain I believe) are deliciously lit and coloured.
"The Roads Not Taken" is an intelligent watch for sure, and reminiscent to me of Almodovar's "Pain and Glory": another artist's life lived again in flashback. If anything, this one is more unstructured in setting out a box of jigsaw pieces that you need to piece together through the unreliable narrator's random memories. ("Ooh, look - here's a bit with Laura Linney on it... ah, that goes there"; "So that's who Selma Hayek is"; etc.) But, as with a jigsaw, staying the course and putting the last pieces in is a very satisfying experience.
There's also a really feelgood scene in a taxi rank that restores your faith in the underlying goodness of people.... and a rant by a "Trump-voter" that gives you quite the opposite view!
Where I found some frustration was in the lack of backstory for Molly. She seems to be painted rather two-dimensionally. Yes - young with job, but of her personal life we see nothing. Adding another dimension (a young family for example) would have added yet another set of stresses to the mix. Leo's flashbacks are also focused on just two time periods. More wide-ranging reminiscences might have broadened the drama.
But I personally found "The Roads Not Taken" intensely moving. I'm not sure I could say I "enjoyed" it, but it is a worthy watch and has left me with thought-provoking images to chew on.
(For the full graphical review, please check out the One Mann's Movies here https://bob-the-movie-man.com/2020/09/15/the-roads-not-taken-2020-pain-and-very-little-glory/.)
It's not a promising premise. "The Roads Not Taken" concerns a New Yorker with dementia being taking to the dentist and the opticians. Gripped yet? Nope... didn't think so. But stay with me here.
Elle Fanning plays Molly, daughter of the almost catatonic Leo (Javier Bardem) who is receiving a lot of support to stay in his own home. As his daughter assists him on his trip to his medical appointments, he is only about 10% 'there'. Glassy-eyed and almost incomprehensible, his utterances are often taken to refer to his present experiences. But actually, he's 90% somewhere else, revisiting two key episodes in his past life and reacting in the real world to what's happening in his dreams.
As he relives 'the roads not taken' we can piece together the elements of a life that's lived and - perhaps - lay out some elements that might have contributed to his mental decline in later life.
Before we plunge into the doom and gloom of the story, there was one moment of levity for me in the opening titles. I commented in my review of "The Farewell" that the company 'dog-tags' at the start of the film reminded me of a famous Family Guy comic moment. But this is kindergarten level compared to this movie. I assume Sally Potter must have tapped her complete phone contacts list to raise the funding for this one! Since I counted FOURTEEN different production companies referenced! Is this a record?
As you enter later life, it's common for many of us to suffer a significant source of stress. Sometimes - if you're lucky - four sources of stress. The reason? You stop worrying about your kids as much and start worrying about your aged parents and in-laws. Like heating up a frog in water, it's often imperceptible how much stress you are actually carrying with that until the last of the relatives 'shuffles off this mortal coil'. Within the grief, there's also a source of guilty relief in there somewhere. Such is the maelstrom that young Molly is in - with knobs on - given the disability of Leo. As a professional in her 20's, she is also having the juggle this responsibility with progressing her career.
It's a bit early in this turbulent year to talk of Oscar nominations. But for me, there are three standout performances in this movie:
1) Javier Bardem: what an acting masterclass! As with Daniel Day-Lewis's win in 1990 for "My Left Foot", the Academy loves a disability-based performance. I haven't seen much Oscar-buzz about this performance, but I'd personally throw his hat into the ring, for at least my long-list;
2) Elle Fanning: this young lady has been in movies since the age of 2, but rose to stardom with "Super 8". She's building a formidable filmography behind her. Here she matches Bardem shot-for-shot in the acting stakes: a caring daughter being emotionally torn apart; always needing to be in two places at the same time (as nicely positioned by the cryptic ending). A first Oscar-nomination perhaps?
3) Robbie Ryan: with an Oscar-nom previously for "The Favourite", could another one follow for this? For this is a beautiful film to look at, despite its downbeat story. There are some drop-dead gorgeous shots. One in particular is where a sun-lit Fanning has a "Marilyn Monroe subway skirt moment" at a window (with her hair being blown, I should add). Glorious. And all of the Mexican/Greek scenes (all Spain I believe) are deliciously lit and coloured.
"The Roads Not Taken" is an intelligent watch for sure, and reminiscent to me of Almodovar's "Pain and Glory": another artist's life lived again in flashback. If anything, this one is more unstructured in setting out a box of jigsaw pieces that you need to piece together through the unreliable narrator's random memories. ("Ooh, look - here's a bit with Laura Linney on it... ah, that goes there"; "So that's who Selma Hayek is"; etc.) But, as with a jigsaw, staying the course and putting the last pieces in is a very satisfying experience.
There's also a really feelgood scene in a taxi rank that restores your faith in the underlying goodness of people.... and a rant by a "Trump-voter" that gives you quite the opposite view!
Where I found some frustration was in the lack of backstory for Molly. She seems to be painted rather two-dimensionally. Yes - young with job, but of her personal life we see nothing. Adding another dimension (a young family for example) would have added yet another set of stresses to the mix. Leo's flashbacks are also focused on just two time periods. More wide-ranging reminiscences might have broadened the drama.
But I personally found "The Roads Not Taken" intensely moving. I'm not sure I could say I "enjoyed" it, but it is a worthy watch and has left me with thought-provoking images to chew on.
(For the full graphical review, please check out the One Mann's Movies here https://bob-the-movie-man.com/2020/09/15/the-roads-not-taken-2020-pain-and-very-little-glory/.)
Charlie Cobra Reviews (1840 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 5, 2021
Superhero Epic With Emotional Family Drama And Gravity-Defying Martial Arts
In the past, Xu Wenwu (Tony Leung), Shang-Chi's father, used the Ten Rings, mystical weapons granting him immortality and power, to amass an army of warriors and topple kingdoms and governments alike. In the present Shang-Chi (Simu Liu) is just a regular guy working a dead end job as a valet with his best friend Katy (Awkwafina) and enjoying life. When he and Katy are attacked by the mysterious Ten Rings Organization, Shang-Chi must confront the past of his former life. A life he thought he left behind.
This movie was really great! I'm so glad I went to go watch it in theaters and on the first day before anybody spoiled anything for me. I hate people who do that. Anyways, this movie was an excellent addition to the MCU and I like the way it went about being it's own thing. It felt like they didn't have to try and adhere to being part of a shared universe and making things fit but at the same time there were plenty of Easter eggs and surprises sprinkled throughout. The film also managed to check a lot of boxes without feeling like they were forced. It had drama, really great action, killer fight scenes, and some comedy mixed in there. The movie felt a lot like the first Guardians of the Galaxy movie, especially in how it balanced the seriousness and lightness throughout the film. I liked the chemistry between the characters and thought the casting was perfect. The bus scene was one of my favorite parts of the movie and all the action that went on. If I had to say that there was a biggest flaw in the film it would probably be that they didn't really go too far into some of the lore involved but ultimately that didn't detract from it enough to be something major.
I liked the way the director chose to portray the events in the story and how it was a pretty cohesive plot and not all over the place. The pacing was done well and there was good use of flashbacks in certain scenes to move the plot. I felt like it was done well without turning into "info dumping" with character dialogue. The cinematography was great and seemed naturalistic and heightened. They definitely took advantage of filming on location in San Francisco with some scenes filmed in famous places such as Russian Hill, Noe Valley, Nob Hill and Fisherman's Wharf. The fight choreography in the movie is phenomenal. It's probably the best that there has ever been in a Marvel film and it shows. They got Brad Allen who had worked with Jackie Chan before, as the supervising stunt coordinator and he brought that physical comedy to the scenes where setups and stakes keep rising as do the payoffs. The tone of the movie was light but definitely had it's moments were it got darker however it never left it's core of being about family. The music was more contemporary and modern but with some musical score in the scenes where it fit really well but there was nothing that really stuck out as unique or compelling. The acting was pretty good with even Awkwafina showing a little bit of range with some dramatic scenes and not just comedy. Simu Liu was very convincing as Shang-Chi, both versions, the "average Joe" and the warrior. His father played by Tony Leung was also very good in his scenes from the ones showing the past to his interactions with Shang-Chi. You could really feel the tension between them. And of course Michelle Yeoh was just awesome!
The writing was good and dialogue never felt like somebody said something that was out of character or didn't fit right. The plot was never weak or boring. Although you could tell where it was going it had a little bit of mystery to it. The editing was done very proper and there were some good cuts of action scenes particularly the bus scene. I liked the one transition in the beginning from the tale of the past to the alarm clock. The costume designs were something that you usually don't remember in some films but this one had some really iconic ones that stuck out. For example that one masked blue ninja's outfit, as well as the other Ten Rings soldiers looked cool. Razor Fist's arm design was inventive also. There were so many outfits that come out later in the movie that just fit really well too. Although as cool and nice looking as Shang-Chi's costume was, I did think it could have been better. There were plenty of really cool set designs from the Ten Rings lair to a underground fight club in Macau but the one set piece that stole the show to me was this really ornate wooden carving that looked really intricate. You'll know the one when you see it. The special effects were really good and I couldn't really complain too much except that the movie did suffer from one of those things that happened towards the end like in Black Panther where they just used too much in a certain sequence and it looked bad in that particular part. I did have a favorite character in the movie but it'd be spoiling it if I said who it was, so I'll just say that they have exceptional "acting" skills. Anyways I give Shang-Chi and the Legend of the Ten Rings a 8/10 and it gets my "Must See Seal of Approval". You need to get out there and check this movie out this Labor Day Weekend.
This movie was really great! I'm so glad I went to go watch it in theaters and on the first day before anybody spoiled anything for me. I hate people who do that. Anyways, this movie was an excellent addition to the MCU and I like the way it went about being it's own thing. It felt like they didn't have to try and adhere to being part of a shared universe and making things fit but at the same time there were plenty of Easter eggs and surprises sprinkled throughout. The film also managed to check a lot of boxes without feeling like they were forced. It had drama, really great action, killer fight scenes, and some comedy mixed in there. The movie felt a lot like the first Guardians of the Galaxy movie, especially in how it balanced the seriousness and lightness throughout the film. I liked the chemistry between the characters and thought the casting was perfect. The bus scene was one of my favorite parts of the movie and all the action that went on. If I had to say that there was a biggest flaw in the film it would probably be that they didn't really go too far into some of the lore involved but ultimately that didn't detract from it enough to be something major.
I liked the way the director chose to portray the events in the story and how it was a pretty cohesive plot and not all over the place. The pacing was done well and there was good use of flashbacks in certain scenes to move the plot. I felt like it was done well without turning into "info dumping" with character dialogue. The cinematography was great and seemed naturalistic and heightened. They definitely took advantage of filming on location in San Francisco with some scenes filmed in famous places such as Russian Hill, Noe Valley, Nob Hill and Fisherman's Wharf. The fight choreography in the movie is phenomenal. It's probably the best that there has ever been in a Marvel film and it shows. They got Brad Allen who had worked with Jackie Chan before, as the supervising stunt coordinator and he brought that physical comedy to the scenes where setups and stakes keep rising as do the payoffs. The tone of the movie was light but definitely had it's moments were it got darker however it never left it's core of being about family. The music was more contemporary and modern but with some musical score in the scenes where it fit really well but there was nothing that really stuck out as unique or compelling. The acting was pretty good with even Awkwafina showing a little bit of range with some dramatic scenes and not just comedy. Simu Liu was very convincing as Shang-Chi, both versions, the "average Joe" and the warrior. His father played by Tony Leung was also very good in his scenes from the ones showing the past to his interactions with Shang-Chi. You could really feel the tension between them. And of course Michelle Yeoh was just awesome!
The writing was good and dialogue never felt like somebody said something that was out of character or didn't fit right. The plot was never weak or boring. Although you could tell where it was going it had a little bit of mystery to it. The editing was done very proper and there were some good cuts of action scenes particularly the bus scene. I liked the one transition in the beginning from the tale of the past to the alarm clock. The costume designs were something that you usually don't remember in some films but this one had some really iconic ones that stuck out. For example that one masked blue ninja's outfit, as well as the other Ten Rings soldiers looked cool. Razor Fist's arm design was inventive also. There were so many outfits that come out later in the movie that just fit really well too. Although as cool and nice looking as Shang-Chi's costume was, I did think it could have been better. There were plenty of really cool set designs from the Ten Rings lair to a underground fight club in Macau but the one set piece that stole the show to me was this really ornate wooden carving that looked really intricate. You'll know the one when you see it. The special effects were really good and I couldn't really complain too much except that the movie did suffer from one of those things that happened towards the end like in Black Panther where they just used too much in a certain sequence and it looked bad in that particular part. I did have a favorite character in the movie but it'd be spoiling it if I said who it was, so I'll just say that they have exceptional "acting" skills. Anyways I give Shang-Chi and the Legend of the Ten Rings a 8/10 and it gets my "Must See Seal of Approval". You need to get out there and check this movie out this Labor Day Weekend.
Kristy H (1252 KP) rated Eleanor Oliphant Is Completely Fine in Books
Dec 24, 2017
funny (3 more)
heartbreaking
tender
beautiful
Eleanor Oliphant leads a simple, albeit lonely, life. Up in the morning, head to work, and heads down at the office (with a solo break for lunch and the crossword). She spends her evenings and weekends alone--typically with a book, the TV, and a lot vodka. Every Wednesday evening, she speaks on the phone with her mother (Mummy)-- always a painful conversation as her mother is judgemental and exacting. Then one day, Eleanor and Raymond, the slightly oafish IT guy from her office, save the elderly Sammy, who has fallen on the sidewalk. The act turns out to change Eleanor's life--bringing her into Sammy's life and that of his boisterous family--and involving her more with Raymond, as well. Suddenly, it's almost as if Eleanor and Raymond are friends and Eleanor isn't completely lonely anymore. But can her friendship with Raymond erase the sadness in her life?
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.
Daniel Boyd (1066 KP) rated Rick and Morty - Season 2 in TV
Jul 21, 2017
Absolute insanity (1 more)
Will leave you in stitches throughout
The Universe Is A Crazy and Chaotic Place…
Rick & Morty was one of those shows that totally flew under the radar for me while it was on the air for months, then all of a sudden almost every podcast and youtuber that I subscribe to were recommending it. Though by the time that I was recommended it, I was aware it was an Adult Swim show, so I assumed each episode would only be around six or seven minutes long and put it on the backburner. Then one day I had run out of things to watch, I was up to date on all of my youtube videos and decided to give it a shot. Whilst I didn’t fall in love with it immediately, it did hook me right away and I was pleased to learn each episode was 20 minutes long and because the episodes are so short, I decided to watch a few episodes in a row and by the time I had finished watching Anatomy Park, the third episode of the first season, I realised how great this show was. The writing is so off the wall and insane yet dry that it works and the characters and the dynamic that they have is honestly hilarious, the comedic timing is also spot on. If you haven’t seen the show, think a blend of Family Guy style animation, with a backdrop of a Back To The Future or Doctor Who kind of universe and sprinkled with Always Sunny In Philadelphia style comedy. There is so much about this show that makes it funny, the sheer insanity and traumatisation that Rick exposes his grandchildren to, only to then brush it off as if it is totally normal as it is them that are overreacting and then there is Gerry and Beth’s broken marriage that only exists because Gerry got Beth pregnant with Summer when they were teenagers. Rick and Gerry are probably my two favourite characters in the show, Rick because you know he has seen so many insane things all over the galaxy over the years that literally nothing bothers him anymore and everything is normal to him, no matter how insane it seems to us and the other characters in the show and Gerry because of his exceptional mediocrity and impressive amount of general naivety. Also it would be criminal not to mention the other vast array of fantastically hilarious characters that we meet throughout the show, from Mr Meeseeks, (look at me!) to Mr Poopybutthole, to Birdperson, the list goes on getting more and more crazy as it does. The show is two seasons in so far, with a total of 21 episodes and I can honestly say that there is not one episode that I don’t like. I do have my favourites however, like M Night Shamaliens, when Rick, Morty and Gerry are stuck in a simulation of the real world and Gerry thinks he is having the greatest day of his life, or Rick Potion No.9, where said potion makes everybody fall in love with Morty, then transform into grotesque monsters, so they simply leave that reality behind and move into a fresh one, or Raising Gazorpazorp, where Morty goes through fatherhood in the space of a day, or Mortynight Run where they leave Gerry in a nursing home full of other Gerrys, I don’t want to spoil too much for those who haven’t seen it, but if you haven’t then stop watching this review right now and go watch Rick & Morty. The animation uses an odd art style, which may be initially off-putting, but a few episodes in, it becomes clear that this animation is to a high standard, just done in an odd style. The voice acting also seems fairly amateur at first, but as the show goes on and you get to know the characters and the world, the voice acting actually works perfectly in unison with the way that the show is written.
There isn’t much more to say, this show has hardly any negative qualities, it is one of the best animated shows that I have seen in the last decade and it is totally my kind of humour.
There isn’t much more to say, this show has hardly any negative qualities, it is one of the best animated shows that I have seen in the last decade and it is totally my kind of humour.
Haley Mathiot (9 KP) rated My One and Only in Books
Apr 27, 2018
I loved Kristin Higgins' last release, All I Ever Wanted. I loved that it was a good romance with good characters and no explicit sex scenes. I loved the dogs. I loved the quirks. I loved the family, I loved everything about it. I was psyched to get her new release.
Sadly, it was a huge disappointment.
There were a few things that stacked against her in the beginning and I figured they would be made up for later, but it didn't improve. First, the characters.
I didn't like the main character, Harper. She was pessimistic, nosey, had no filter from her brain to her mouth, and her view of marriage was slightly offensive to me (only because I'm a Christian and a romantic. Don't mess with me.). I figured by halfway through the story maybe she'd see things the way they were, or that at least someone would hit her over the head and tell her to get a grip, but nobody did. I didn't like her interior monologue either. She didn't swear, but she had a few expletives that were... raunchy. I don't mind the "d" word too much. But supplementing the word "Crotch" or other phrases of similar nature just doesn't sit well with me.
And her boyfriend had the mentality of a sixth grader. Not joking. We'll leave it at that. Moving on!
Then there was her Ex. He was hot stuff, and I could see how the two of them could make it work (their personalities played off each other) but I just didn't like him. He was totally ignorant of the mistakes he'd made, at the halfway through point where we finally learn the back-story of her and him I seriously wanted to beat him over the head with a baseball bat--or a Bible--and give him a lecture about what marriage meant because the guy didn't get it. I didn't want the two to get back together, because it would be a recipe for disaster all over again. By the looks of it, neither of them had learned from their mistakes!
Second, I knew what was going to happen. She broke up with her boyfriend, she was going to fall for Nick again, and they were going to get married. Again. And because I didn't give a rat's poo about the characters, I didn't really care what happened to them.
Third, there were editorial mistakes. Now I know it's rude to point those out because when you read something dozens of times, you miss stuff like that. I understand that. I'm a writer. But I'm also a Professional Writing major and an editor, and I proofread stuff and I write promotional material and I edit things. It's what I do. It's my job. When I read a published book and I find things like "/= in the middle of the paragraph, or a grammatical error that is definitely not dialect or part of the character's personality, it makes me angry.
Fourth: I don't remember Kristin Higgins being a poor writer, but this book was poorly written and full of fragments. Sentences go like this: Subject, Verb, Direct Object. Or, Actor, Action, Description. Rearranging this causes passive voice, which is never fun to read, even though it does raise the word count. Ellipses should be used sparingly. Two or three per book: not per page or per paragraph.
And, no offense, but the dog was retarded. I know I shouldn't complain about the dog because now I'm just being whiney. But really? Maybe I'm biased about dogs, but I can't stand anything that bounces when it barks, even when it is in a book.
So those are five reasons why I stopped halfway through the book. This one is going to PBS. Don't get me wrong, I will continue to read Kristin's books. I've got a few more of hers that I hope will be as great as All I Ever Wanted, but this book was not her best work.
Recommended: Ages 18+ (Please note I don't know what sort of content was in the second half of the book.)
Sadly, it was a huge disappointment.
There were a few things that stacked against her in the beginning and I figured they would be made up for later, but it didn't improve. First, the characters.
I didn't like the main character, Harper. She was pessimistic, nosey, had no filter from her brain to her mouth, and her view of marriage was slightly offensive to me (only because I'm a Christian and a romantic. Don't mess with me.). I figured by halfway through the story maybe she'd see things the way they were, or that at least someone would hit her over the head and tell her to get a grip, but nobody did. I didn't like her interior monologue either. She didn't swear, but she had a few expletives that were... raunchy. I don't mind the "d" word too much. But supplementing the word "Crotch" or other phrases of similar nature just doesn't sit well with me.
And her boyfriend had the mentality of a sixth grader. Not joking. We'll leave it at that. Moving on!
Then there was her Ex. He was hot stuff, and I could see how the two of them could make it work (their personalities played off each other) but I just didn't like him. He was totally ignorant of the mistakes he'd made, at the halfway through point where we finally learn the back-story of her and him I seriously wanted to beat him over the head with a baseball bat--or a Bible--and give him a lecture about what marriage meant because the guy didn't get it. I didn't want the two to get back together, because it would be a recipe for disaster all over again. By the looks of it, neither of them had learned from their mistakes!
Second, I knew what was going to happen. She broke up with her boyfriend, she was going to fall for Nick again, and they were going to get married. Again. And because I didn't give a rat's poo about the characters, I didn't really care what happened to them.
Third, there were editorial mistakes. Now I know it's rude to point those out because when you read something dozens of times, you miss stuff like that. I understand that. I'm a writer. But I'm also a Professional Writing major and an editor, and I proofread stuff and I write promotional material and I edit things. It's what I do. It's my job. When I read a published book and I find things like "/= in the middle of the paragraph, or a grammatical error that is definitely not dialect or part of the character's personality, it makes me angry.
Fourth: I don't remember Kristin Higgins being a poor writer, but this book was poorly written and full of fragments. Sentences go like this: Subject, Verb, Direct Object. Or, Actor, Action, Description. Rearranging this causes passive voice, which is never fun to read, even though it does raise the word count. Ellipses should be used sparingly. Two or three per book: not per page or per paragraph.
And, no offense, but the dog was retarded. I know I shouldn't complain about the dog because now I'm just being whiney. But really? Maybe I'm biased about dogs, but I can't stand anything that bounces when it barks, even when it is in a book.
So those are five reasons why I stopped halfway through the book. This one is going to PBS. Don't get me wrong, I will continue to read Kristin's books. I've got a few more of hers that I hope will be as great as All I Ever Wanted, but this book was not her best work.
Recommended: Ages 18+ (Please note I don't know what sort of content was in the second half of the book.)
Acanthea Grimscythe (300 KP) rated Strange Weather in Books
May 16, 2018
Strange Weather is the first bit of fiction I’ve managed to snare by Joe Hill. I heard some pretty great things about his work, but it’s possible I took those praises a little too much to heart. Rating this book doesn’t come easily. To quote what I told a friend on Twitter, reading Strange Weather felt like an attempt at chewing the gristle on steak. That is, wrong and uncomfortable, but not in a good way. I’ve decided to divvy my review up based on each storry.
SNAPSHOT
“Snapshot,” though a bit lacking in style, is one of two stories in this small collection that I found myself capable of tolerating. I figure it’s because this short tale embodies a sort of Twilight Zone and Night Gallery feel. It read the quickest out of the four stories and I found myself nearly in tears at its conclusion, so the best I can say about it is that I either felt something, or my emotions went bonkers again.
LOADED
The second shorty story in Hill’s collection, “Loaded,” is a bunch of driveling bullshit, for lack of a better word. I’m all about our Second Amendment Rights; I even have a cup that says “Don’t ban guns, ban idiots,” but this story encompasses the stereotypical idea that every gun owner or enthusiast is a batshit crazy blowhard that’s just looking for a reason to go off. I have friends and family that appreciate this machinery, that agree people should under go background and mental wellness checks prior to purchase of a fire arm, but this? This story just adds fuel to a fire that seeks kindling via blame on inanimate objects, rather than the person behind them. The main guy of “Loaded” shows us exactly how restricting gun ownership will fail so hey, better hurry and make it entirely illegal right? Oh, and let’s not get started with the over-saturation of Social Justice Warriorness in this piece. I’m all for equality, but this? This just reeks of extremism in a way that I almost abandoned the book as a whole.
ALOFT
“Aloft” is by far the best in this collection of short stories. An embodiment of the collections title, the main character encounters something unusual while fulfilling a dead friend’s promise and from there, things really take a turn for the bizarre. While I feel Hill gives us a bit too much exposition in this tale, there are many things about it that I feel should be appreciated. For instance, the next time anyone asks me what it’s like to have ulcerative colitis, I’ll probably ask them if they’ve read “Aloft”‘ by Joe Hill, because let’s face it: the torment Aubrey goes through gastrically (is that even a word?) in this story is a pretty damned accurate depiction of the suffering people with Crohn’s and Colitis endure.
RAIN
The final story in Hill’s collection seemed like it could have had a loft of potential. “Rain” further supports the title of the collection when a torrent of crystal nails fall from the sky to impale poor, unexpecting citizens. So what’s the problem then? “Rain” is so fundamentally flawed that it’s just… no. First, Hill is more obsessed with making fun of Trump in this story than the events that occur. This isn’t a bad thing – I absolutely loathe Trump, especially considering his policies may very well shorten my lifespan significantly. “Rain” is more a mockery than the story it could be. At least the twist at the end was fairly amusing, but by that point all I could do is roll my eyes in frustration.
CONCLUSION
Joe Hill’s Strange Weather is probably a poor choice for first time introduction to his work. In fact, it’s almost a deterrent considering it’s the first book by him that I read and I was ecstatic about receiving a review copy. It is with a bit of a heavy heart for the sake of disappointment that I am forced to conclude my review with a largely poor rating. Part of my compliance with FTC guidelines as a reviewer requires that I disclose when I read a free book in exchange for an honest, unbiased review. In this case, I’d like to thank Edelweiss and HarperCollins/William Morrow for this opportunity.
SNAPSHOT
“Snapshot,” though a bit lacking in style, is one of two stories in this small collection that I found myself capable of tolerating. I figure it’s because this short tale embodies a sort of Twilight Zone and Night Gallery feel. It read the quickest out of the four stories and I found myself nearly in tears at its conclusion, so the best I can say about it is that I either felt something, or my emotions went bonkers again.
LOADED
The second shorty story in Hill’s collection, “Loaded,” is a bunch of driveling bullshit, for lack of a better word. I’m all about our Second Amendment Rights; I even have a cup that says “Don’t ban guns, ban idiots,” but this story encompasses the stereotypical idea that every gun owner or enthusiast is a batshit crazy blowhard that’s just looking for a reason to go off. I have friends and family that appreciate this machinery, that agree people should under go background and mental wellness checks prior to purchase of a fire arm, but this? This story just adds fuel to a fire that seeks kindling via blame on inanimate objects, rather than the person behind them. The main guy of “Loaded” shows us exactly how restricting gun ownership will fail so hey, better hurry and make it entirely illegal right? Oh, and let’s not get started with the over-saturation of Social Justice Warriorness in this piece. I’m all for equality, but this? This just reeks of extremism in a way that I almost abandoned the book as a whole.
ALOFT
“Aloft” is by far the best in this collection of short stories. An embodiment of the collections title, the main character encounters something unusual while fulfilling a dead friend’s promise and from there, things really take a turn for the bizarre. While I feel Hill gives us a bit too much exposition in this tale, there are many things about it that I feel should be appreciated. For instance, the next time anyone asks me what it’s like to have ulcerative colitis, I’ll probably ask them if they’ve read “Aloft”‘ by Joe Hill, because let’s face it: the torment Aubrey goes through gastrically (is that even a word?) in this story is a pretty damned accurate depiction of the suffering people with Crohn’s and Colitis endure.
RAIN
The final story in Hill’s collection seemed like it could have had a loft of potential. “Rain” further supports the title of the collection when a torrent of crystal nails fall from the sky to impale poor, unexpecting citizens. So what’s the problem then? “Rain” is so fundamentally flawed that it’s just… no. First, Hill is more obsessed with making fun of Trump in this story than the events that occur. This isn’t a bad thing – I absolutely loathe Trump, especially considering his policies may very well shorten my lifespan significantly. “Rain” is more a mockery than the story it could be. At least the twist at the end was fairly amusing, but by that point all I could do is roll my eyes in frustration.
CONCLUSION
Joe Hill’s Strange Weather is probably a poor choice for first time introduction to his work. In fact, it’s almost a deterrent considering it’s the first book by him that I read and I was ecstatic about receiving a review copy. It is with a bit of a heavy heart for the sake of disappointment that I am forced to conclude my review with a largely poor rating. Part of my compliance with FTC guidelines as a reviewer requires that I disclose when I read a free book in exchange for an honest, unbiased review. In this case, I’d like to thank Edelweiss and HarperCollins/William Morrow for this opportunity.
Gareth von Kallenbach (980 KP) rated Annabelle (2014) in Movies
Aug 6, 2019
Annabelle is the newest demon-based spooky fright film produced by James Wan (producer Saw II-IV & director Insidious 1&2). The trailers would have you believe that it is a prequel to the Conjuring. Well I suppose it is, although a very loose prequel.
Annabelle, the possessed doll, is mentioned a few times in “The Conjuring,” but it doesn’t contain any of the cast from the original . The film takes place in the 1970s and focuses on a married couple who have just moved in to a new house and the wife, Mia (Annabelle Wallis) is pregnant. Her husband (played extremely woodenly by actor Ward Horton) buys her a long sought after custom doll named Annabelle. Shortly after, the couple is attacked by their neighbors who we find are satanic cult members. Mia is stabbed in her belly (threatening the life of her child); the female Satanist neighbor dies clutching the Annabelle doll, her blood dripping and seemingly sucked into the eye socket of the doll, ushering in the demonic reign of Annabelle.
You’d assume that this is a standard “killer doll” horror flick, you’d also be a bit misled, and that’s a good thing in my opinion. This isn’t Chucky. You won’t see Annabelle speaking or running around the house brandishing a knife. That isn’t to say that the movie doesn’t have its share of genre tropes, it has plenty of those.
As so many other possession/haunting movies involving a couple, for the most part the lonely wife is preyed upon while the husband is away at work. Throughout the film the writers find multiple ways of keeping Mia at home alone with the demon. John is called away on a business trip on one of the more traumatic encounters Mia has with Annabelle, resulting in Mia being placed on bed rest, giving her a reason to stay at home in the demons clutches. Later John is placed on the night shift, once again placing him out of the way so the demon can terrorize Mia at night where things are scary. It is inevitable that a scene takes place where her husband doesn’t believe her and thinks she’s going crazy. I can think of so many films that go this same route. The prerequisite priest comes along to help the family figure out their demonic happenings and oh yes, let’s not forget the sagely African American that needs to help Mia find her way and lead her both in knowledge of the demon and its demise. The story manages to throw in some mysterious children to once scene just to make sure that the trope is checked off the list. The remainder of the movie after the introductory attack by the satanic neighbors has Mia and later her child being threatened by the demon possessing Annabelle, the search for what it is, and what it wants and then its climax and disposal. Nothing new to this genre found here.
Annabelle does come with its share of scares (most of these can be seen in the previews), however the pacing is bad. I found myself bored out of my mind by the plot between the scares. So bored and disinterested that once the scary scenes occurred which seemed to be paced almost on a timer there wasn’t enough scare to raise the adrenaline needed to make it to the next fright. I will say that having a child endangered and threatened by the demonic spirit does bump up the tension and nerves and was a necessary inclusion to raise the stakes and pull out some reason to care about the victims by the audience.
Mia and John are so one-imensional that one would be hard-pressed to care about what happens to either of them. The demon effects are about as scary as a guy in a rubber suit lurking around a two-bit horror house, I mean pretty bad. I’ve seen a scarier demon on a TV episode of “Unsolved Mysteries” from 1988. Annabelle is good for a fright or two, and a reason to grab some popcorn and pig-out, but just be prepared to take a siesta three or four times in-between bouts of popcorn binge.
Annabelle, the possessed doll, is mentioned a few times in “The Conjuring,” but it doesn’t contain any of the cast from the original . The film takes place in the 1970s and focuses on a married couple who have just moved in to a new house and the wife, Mia (Annabelle Wallis) is pregnant. Her husband (played extremely woodenly by actor Ward Horton) buys her a long sought after custom doll named Annabelle. Shortly after, the couple is attacked by their neighbors who we find are satanic cult members. Mia is stabbed in her belly (threatening the life of her child); the female Satanist neighbor dies clutching the Annabelle doll, her blood dripping and seemingly sucked into the eye socket of the doll, ushering in the demonic reign of Annabelle.
You’d assume that this is a standard “killer doll” horror flick, you’d also be a bit misled, and that’s a good thing in my opinion. This isn’t Chucky. You won’t see Annabelle speaking or running around the house brandishing a knife. That isn’t to say that the movie doesn’t have its share of genre tropes, it has plenty of those.
As so many other possession/haunting movies involving a couple, for the most part the lonely wife is preyed upon while the husband is away at work. Throughout the film the writers find multiple ways of keeping Mia at home alone with the demon. John is called away on a business trip on one of the more traumatic encounters Mia has with Annabelle, resulting in Mia being placed on bed rest, giving her a reason to stay at home in the demons clutches. Later John is placed on the night shift, once again placing him out of the way so the demon can terrorize Mia at night where things are scary. It is inevitable that a scene takes place where her husband doesn’t believe her and thinks she’s going crazy. I can think of so many films that go this same route. The prerequisite priest comes along to help the family figure out their demonic happenings and oh yes, let’s not forget the sagely African American that needs to help Mia find her way and lead her both in knowledge of the demon and its demise. The story manages to throw in some mysterious children to once scene just to make sure that the trope is checked off the list. The remainder of the movie after the introductory attack by the satanic neighbors has Mia and later her child being threatened by the demon possessing Annabelle, the search for what it is, and what it wants and then its climax and disposal. Nothing new to this genre found here.
Annabelle does come with its share of scares (most of these can be seen in the previews), however the pacing is bad. I found myself bored out of my mind by the plot between the scares. So bored and disinterested that once the scary scenes occurred which seemed to be paced almost on a timer there wasn’t enough scare to raise the adrenaline needed to make it to the next fright. I will say that having a child endangered and threatened by the demonic spirit does bump up the tension and nerves and was a necessary inclusion to raise the stakes and pull out some reason to care about the victims by the audience.
Mia and John are so one-imensional that one would be hard-pressed to care about what happens to either of them. The demon effects are about as scary as a guy in a rubber suit lurking around a two-bit horror house, I mean pretty bad. I’ve seen a scarier demon on a TV episode of “Unsolved Mysteries” from 1988. Annabelle is good for a fright or two, and a reason to grab some popcorn and pig-out, but just be prepared to take a siesta three or four times in-between bouts of popcorn binge.