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Chris Sawin (602 KP) rated The Legend of Hell House (1973) in Movies
Jun 19, 2019
Mr. Rudolph Deutsch has hired Lionel Barrett to investigate a haunted house. This isn't any normal haunted house though. It seems as though anyone who enters the house either leaves the house insane or winds up dead. In addition to Mr Barrett, his wife, Ann Barrett, a mental medium named Florence Tanner, and a physical medium who is also the only survivor of the last team of investigators to visit the house named Benjamin Fischer are all visiting Hell House to try and solve this phenomenon. $100,000 is theirs for the taking if they can do it within a week, but will they be able to survive what's caged inside Hell House? Emeric Belasco, a self-proclaimed genius ahead of his time, may have other plans.
The Legend of Hell House isn't your average horror film about paranormal activity. I'll be up front with you right now, I'm not a big fan of movies about ghosts. I'm just not. I've come across a few that were decent, but I didn't think they were anything special or I just wound up not liking them at all. I actually liked this a lot more than I thought I would. The film isn't heavy on blood, gore, or cheap scares. In fact, more often than not, the scares come from what you don't see rather than what you actually do.
The acting is definitely a strong point in the film. The entire cast has their moments of brilliance during the insanity Hell House is putting them through, but Roddy McDowall is the actor who stands out amonst the rest. His performance just seems to outshine everyone else and he steals just about every scene he's in. There's a scene in the film where he starts screaming and falls to the floor in a seizure like maneuver that reminded me a lot of some of the scenes with Bruce Campbell in Evil Dead. The explanation was that he was blocking himself off from the house since he had been there before. As a physical medium, he was basically putting up walls to defend himself from the house this time around. And in this scene, I guess he tried lowering his guard for a bit and...this happened. The speeches he gives though, his facial expressions and body language, and cold tone. It's weird, but a guy that you look at at the beginning of the film and say to yourself that you're going to hate him because he looks smarmy and only really cares about himself winds up being the highlight of the film.
Another aspect of the film I really enjoyed were the special effects of the film. There's no CGI or anything, but the effects in the film are done very well. There's a scene where Ms. Tanner looks into her bedroom and sees someone lying under the covers in her bed and when she lifts up the covers, you can't see anyone but the door opens and slams like someone was getting up and leaving. It was just done very well. The effects like that were done very well. There are a few that look cheesy(cat in the shower scene, anyone?), but overall they look very good given how old the film is.
The plot was surprising, as well. I wasn't expecting anything really original or anything, but the fact that science is involved so heavily in trying rid the house of its supernatural presence was not only interesting, but a breath of fresh air compared to other methods I would've expected based on other films.
I think it's safe to say that The Legend of Hell House is one of the best haunted house films ever made and the best one I've seen as of this review. It probably isn't the type of horror film for gorehounds or if you're looking for a bloodfest. It's more of a paranormal film with a slight psychological twist. The acting is top notch and the story is a bit more clever than you may give it credit for at first glance.
The Legend of Hell House isn't your average horror film about paranormal activity. I'll be up front with you right now, I'm not a big fan of movies about ghosts. I'm just not. I've come across a few that were decent, but I didn't think they were anything special or I just wound up not liking them at all. I actually liked this a lot more than I thought I would. The film isn't heavy on blood, gore, or cheap scares. In fact, more often than not, the scares come from what you don't see rather than what you actually do.
The acting is definitely a strong point in the film. The entire cast has their moments of brilliance during the insanity Hell House is putting them through, but Roddy McDowall is the actor who stands out amonst the rest. His performance just seems to outshine everyone else and he steals just about every scene he's in. There's a scene in the film where he starts screaming and falls to the floor in a seizure like maneuver that reminded me a lot of some of the scenes with Bruce Campbell in Evil Dead. The explanation was that he was blocking himself off from the house since he had been there before. As a physical medium, he was basically putting up walls to defend himself from the house this time around. And in this scene, I guess he tried lowering his guard for a bit and...this happened. The speeches he gives though, his facial expressions and body language, and cold tone. It's weird, but a guy that you look at at the beginning of the film and say to yourself that you're going to hate him because he looks smarmy and only really cares about himself winds up being the highlight of the film.
Another aspect of the film I really enjoyed were the special effects of the film. There's no CGI or anything, but the effects in the film are done very well. There's a scene where Ms. Tanner looks into her bedroom and sees someone lying under the covers in her bed and when she lifts up the covers, you can't see anyone but the door opens and slams like someone was getting up and leaving. It was just done very well. The effects like that were done very well. There are a few that look cheesy(cat in the shower scene, anyone?), but overall they look very good given how old the film is.
The plot was surprising, as well. I wasn't expecting anything really original or anything, but the fact that science is involved so heavily in trying rid the house of its supernatural presence was not only interesting, but a breath of fresh air compared to other methods I would've expected based on other films.
I think it's safe to say that The Legend of Hell House is one of the best haunted house films ever made and the best one I've seen as of this review. It probably isn't the type of horror film for gorehounds or if you're looking for a bloodfest. It's more of a paranormal film with a slight psychological twist. The acting is top notch and the story is a bit more clever than you may give it credit for at first glance.
Lucy Buglass (45 KP) rated Fighting with My Family (2019) in Movies
Jun 20, 2019
A biopic that’s not just for wrestling fans
Let me make something clear before I dive into my review: I don’t like wrestling. Actually, I hate wrestling. I could barely name another wrestler aside from The Rock and John Cena, so at a glance this film really isn’t marketed towards me. But when we go a little deeper, it becomes clear that this is an incredibly accessible film with a powerful message.
Fighting With My Family tells the story of Norwich-born Saraya “Paige” Bevis. Brought up in a family of wrestlers, Bevis spent her life wrestling alongside her parents, brother and the local community, drawing in small crowds on a regular basis. The family has dreams of making WWE and becoming professional wrestlers, even going as far as sending audition tapes to the company. When Saraya and her brother Zak “Zodiac” are called for an official audition, the family’s lives change for better and for worse.
With an all-star cast including The Rock (obviously), Vince Vaughn, Nick Frost, Lena Headey and Florence Pugh, it’s an incredibly appealing film. Everyone involved takes to their roles effortlessly, bringing all the charm and quirks of the characters to life. It’s so easy to like the Knight family, as they come across as a strange yet passionate family who’d do everything in their power to support the community around them. It’s refreshing to see a depiction of working-class life that doesn’t make the audience sneer or judge. I found myself rooting for the Knights all the way, and wishing them all the best. Pugh embodies Paige so well, to the point where it was easy to believe you were watching the woman herself. She’s so awkward, British and hugely likeable throughout.
I was also surprised to learn that Stephen Merchant (yes, that Stephen Merchant) was at the helm of this film. I adored his direction style and hilarious cameo, making this an unlikely project that worked like a charm. Based off the documentary of the same name, Merchant brings his own unique vision to the project, with the legendary Dwayne Johnson helping out as an an executive producer. It feels like an unlikely duo, but it seriously works.
Fighting With My Family has classic British humour and a familiar grittiness to it, reminding me why I adore British cinema so much. There are clear tonal shifts between the UK and US, emphasising the cultural differences and how out of her depth Bevis felt at first. This is where a lot of the humour comes into play too, as a pale, pierced Norwich girl sticks out like a sore thumb amongst blonde, bronzed models. As Saraya steps into the world of WWE with the ring name “Paige”, she has to face numerous obstacles that are both mentally and physically challenging. As it happens, her identity is one of them, and she soon becomes an outcast.
Yes, this film is about one girl’s rise to the top of the WWE ranks, but it’s also so much more than that. It’s about family, class divide, jealousy, among others. I particularly enjoyed the dynamic between Saraya and Zak, as there’s a clear case of sibling rivalry here. Whilst Saraya succeeds, Zak is dealing with a whole host of personal issues whilst wallowing in his own sadness. This is jealousy on a massive scale, causing a rift between the siblings, and in turn, the rest of the family.
I loved the overall message that the film delivers: that it’s important to always be true to yourself, and do what makes you great. Whether that’s big or small, you can make an impact. This is something that Zak eventually learns whilst he’s feeling jealous of his sister’s success. The familial bond is so strong in this film, and it’s a truly beautiful thing to witness. They might be slightly bonkers, dysfunctional and off the wall, but they’d do anything to support each other. Isn’t that wonderful?
https://lucygoestohollywood.com/2019/03/21/a-biopic-thats-not-just-for-wrestling-fans-my-thoughts-on-fighting-with-my-family/
Fighting With My Family tells the story of Norwich-born Saraya “Paige” Bevis. Brought up in a family of wrestlers, Bevis spent her life wrestling alongside her parents, brother and the local community, drawing in small crowds on a regular basis. The family has dreams of making WWE and becoming professional wrestlers, even going as far as sending audition tapes to the company. When Saraya and her brother Zak “Zodiac” are called for an official audition, the family’s lives change for better and for worse.
With an all-star cast including The Rock (obviously), Vince Vaughn, Nick Frost, Lena Headey and Florence Pugh, it’s an incredibly appealing film. Everyone involved takes to their roles effortlessly, bringing all the charm and quirks of the characters to life. It’s so easy to like the Knight family, as they come across as a strange yet passionate family who’d do everything in their power to support the community around them. It’s refreshing to see a depiction of working-class life that doesn’t make the audience sneer or judge. I found myself rooting for the Knights all the way, and wishing them all the best. Pugh embodies Paige so well, to the point where it was easy to believe you were watching the woman herself. She’s so awkward, British and hugely likeable throughout.
I was also surprised to learn that Stephen Merchant (yes, that Stephen Merchant) was at the helm of this film. I adored his direction style and hilarious cameo, making this an unlikely project that worked like a charm. Based off the documentary of the same name, Merchant brings his own unique vision to the project, with the legendary Dwayne Johnson helping out as an an executive producer. It feels like an unlikely duo, but it seriously works.
Fighting With My Family has classic British humour and a familiar grittiness to it, reminding me why I adore British cinema so much. There are clear tonal shifts between the UK and US, emphasising the cultural differences and how out of her depth Bevis felt at first. This is where a lot of the humour comes into play too, as a pale, pierced Norwich girl sticks out like a sore thumb amongst blonde, bronzed models. As Saraya steps into the world of WWE with the ring name “Paige”, she has to face numerous obstacles that are both mentally and physically challenging. As it happens, her identity is one of them, and she soon becomes an outcast.
Yes, this film is about one girl’s rise to the top of the WWE ranks, but it’s also so much more than that. It’s about family, class divide, jealousy, among others. I particularly enjoyed the dynamic between Saraya and Zak, as there’s a clear case of sibling rivalry here. Whilst Saraya succeeds, Zak is dealing with a whole host of personal issues whilst wallowing in his own sadness. This is jealousy on a massive scale, causing a rift between the siblings, and in turn, the rest of the family.
I loved the overall message that the film delivers: that it’s important to always be true to yourself, and do what makes you great. Whether that’s big or small, you can make an impact. This is something that Zak eventually learns whilst he’s feeling jealous of his sister’s success. The familial bond is so strong in this film, and it’s a truly beautiful thing to witness. They might be slightly bonkers, dysfunctional and off the wall, but they’d do anything to support each other. Isn’t that wonderful?
https://lucygoestohollywood.com/2019/03/21/a-biopic-thats-not-just-for-wrestling-fans-my-thoughts-on-fighting-with-my-family/
Hazel (1853 KP) rated The Care and Management of Lies in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
Gareth von Kallenbach (971 KP) rated The House with a Clock in Its Walls (2018) in Movies
Jul 2, 2019
The year is 1955 and a newly orphaned young man named Lewis (portrayed by the incredibly talented Owen Vaccaro) arrives in the small town of New Zebedee, Michigan to live with his estranged uncle Jonathan (Jack Black). Upon his arrival he discovers that his Uncle Jonathan and his neighbor/friend Florence (Cate Blanchet) are frantically attempting to find a mysterious clock in the wall of the house, with the clock’s dark purpose still a mystery.
The character of Lewis is your stereotypical weakly newcomer, who has no friends and has no athletic ability what-so-ever. This is portrayed in an extremely comical scene in the beginning of the film where his new classmates are picking basketball teams and would rather take a kid on crutches over Lewis. This one scene did an excellent job of making Lewis very endearing and the underdog you want to root for. Not only is Lewis having a hard time fitting in at school, but he is finding his home life is also a bit unsettling. Lewis and his uncle have a few odd interactions, and eventually he finds out his eccentric uncle is actually a warlock, or as Lewis lovingly likes to call him, a man-witch. After they finally have a heartfelt talk and realize they are both “black swans” in life, his uncle reluctantly agrees to train Lewis to become a warlock. The training sets in motion a series of events that not only grow Lewis as a more powerful warlock-in-training, but also as a person. Ultimately, Lewis must use his new-found magical gift and the power of his new family to prevent the clock from carrying out its devious plan.
Eli Roth, better known for his less kid friendly movies such as Hostel and Cabin Fever, did an astounding job of bringing the film to life. While there are certainly intense moments that may not be entirely suitable for younger viewers, it brought enough scares and creepy moments to entertain both young and old alike. The level of intensity is comparable to other kid friendly horror titles such as the Goosebumps series and this film does a good job of mixing up the lighter moments, jump scares and the use of creepy props to bring both a sense of terror and wonder to the screen at the same time. I do have to say, the scene where a bunch of spooky dolls come to life hit a bit too close to home considering my wife has a very large doll collection. After seeing this film, walking into her doll room will never be the same again.
Owen Vaccaro does an extraordinary job in his role of the quirky and nerdy Lewis and Jack Black is his usual zany self in the role of Uncle Jonathan, but he also does a great job with the more serious moments as well. Cate Blanchet, however, was one of the biggest surprises. Her talents are usually seen in dramas and playing more serious characters, so it was nice to see her in a more fun and playful role. All the characters have an excellent chemistry from the moment we are introduced to them, and that captivating chemistry carries through to the very end.
The House with a Clock in Its Walls certainly kept me entertained throughout. The characters and story were interesting, and the suspense and thrills were scary enough to elicit the occasional jump. While I hesitate to say it’s fun for the whole family as once again, some of the scenes may be a little too frightening for younger audiences, it certainly is a great movie for kids who are a bit older or who are not easily spooked. If you are a fan of lighthearted Halloween movies and can overlook a few silly and unnecessary moments, then this film has the potential to be an instant family classic and one that you will likely want to watch every Halloween season. Hmm, suddenly, I have a craving for homemade chocolate chip cookies and when you see the film, you will completely understand why.
The character of Lewis is your stereotypical weakly newcomer, who has no friends and has no athletic ability what-so-ever. This is portrayed in an extremely comical scene in the beginning of the film where his new classmates are picking basketball teams and would rather take a kid on crutches over Lewis. This one scene did an excellent job of making Lewis very endearing and the underdog you want to root for. Not only is Lewis having a hard time fitting in at school, but he is finding his home life is also a bit unsettling. Lewis and his uncle have a few odd interactions, and eventually he finds out his eccentric uncle is actually a warlock, or as Lewis lovingly likes to call him, a man-witch. After they finally have a heartfelt talk and realize they are both “black swans” in life, his uncle reluctantly agrees to train Lewis to become a warlock. The training sets in motion a series of events that not only grow Lewis as a more powerful warlock-in-training, but also as a person. Ultimately, Lewis must use his new-found magical gift and the power of his new family to prevent the clock from carrying out its devious plan.
Eli Roth, better known for his less kid friendly movies such as Hostel and Cabin Fever, did an astounding job of bringing the film to life. While there are certainly intense moments that may not be entirely suitable for younger viewers, it brought enough scares and creepy moments to entertain both young and old alike. The level of intensity is comparable to other kid friendly horror titles such as the Goosebumps series and this film does a good job of mixing up the lighter moments, jump scares and the use of creepy props to bring both a sense of terror and wonder to the screen at the same time. I do have to say, the scene where a bunch of spooky dolls come to life hit a bit too close to home considering my wife has a very large doll collection. After seeing this film, walking into her doll room will never be the same again.
Owen Vaccaro does an extraordinary job in his role of the quirky and nerdy Lewis and Jack Black is his usual zany self in the role of Uncle Jonathan, but he also does a great job with the more serious moments as well. Cate Blanchet, however, was one of the biggest surprises. Her talents are usually seen in dramas and playing more serious characters, so it was nice to see her in a more fun and playful role. All the characters have an excellent chemistry from the moment we are introduced to them, and that captivating chemistry carries through to the very end.
The House with a Clock in Its Walls certainly kept me entertained throughout. The characters and story were interesting, and the suspense and thrills were scary enough to elicit the occasional jump. While I hesitate to say it’s fun for the whole family as once again, some of the scenes may be a little too frightening for younger audiences, it certainly is a great movie for kids who are a bit older or who are not easily spooked. If you are a fan of lighthearted Halloween movies and can overlook a few silly and unnecessary moments, then this film has the potential to be an instant family classic and one that you will likely want to watch every Halloween season. Hmm, suddenly, I have a craving for homemade chocolate chip cookies and when you see the film, you will completely understand why.
Andy K (10821 KP) rated Midsommar (2019) in Movies
Nov 15, 2019
Poor Dani!
Coming off the critical and box office success of Hereditary, would writer/director Ari Aster avoid the sophomore slump with his 2nd major feature, Midsommar, I would say that is a resounding YES!
Following a major immediate family heartbreak, delicately fragile Dani is an emotional basket case and leaning hard on her current boyfriend, Christian. Little does she know, the boyfriend has had enough of her baggage and constant nagging, and his friends have all but convinced him to ditch her. They are also planning a fun vacation to Sweden to meet the family of mutual friend Pelle. Unfortunately, the turmoil in Dani's life not only prevents the break up, but also compels Christian to invite her along on the guys' Scandinavian adventure much to the chagrin of the male brotherhood.
Once on the ground in Sweden, the troupe makes their way to the commune of Pelle's extended "family" where the group quickly enhances their experience with some mind altering substances. Dani is unsure she should partake along with the group, but doesn't want to ruin the fun so she goes along.
The group get introduced to the commune clan and wanders through some awkward initial meetings including having to deal with a language barrier. Everyone seems nice, but there also seems there may be some tension beneath the surface. The group is shown around the campus, through various buildings with unusual and often graphic paintings within, The group is also instructed where they cannot go as it is forbidden.
Initial curiosity soon turns to horror as the newcomers witness a ritual which has grim consequences. Some members of the newbies, especially Dani, want to leave before witnessing anything else, but others, including Christian play off the encounter as one of cultural differences. Situations become increasing violent, creepy and really strange as the trespassers struggle to fin in, make some faux pas and may have to pay the ultimate price.
As with Aster's Hereditary, the audience may be somewhat confused at times (or at least I was) as to some of the various happenings, but just go along for the ride. There were a few sections mid way through I was waiting and expecting something profound to happen and didn't. I also watched the director's cut with around 24 extra minutes of footage within which could have been part of the problem.
Once the creepy events start to unfold, you are truly immersed in the scenery and unusual characters to the point where you can't help but keep watching just to see the consequences. The obvious comparison to The Wicker Man is certainly justified as the other most famous movie about a cult, but the mood is completely different. To me, Wicker Man never really does a good job establishing the community there as normal as you suspect almost immediately things are "not right". Maybe also since that film runs barely over 90 minutes the depth wasn't felt as it is in this film. I'm not complaining about Wicker Man as I loved that movie as well, just felt different.
The sprawling European countrysides alongside the beautiful mountainous greenery provided juxtaposition to the sinister, cruel and horrible events transpiring upon them. The artwork within the village halls were interesting, beautiful and terrifying simultaneously. The villages costumes of whit and female floral headdresses helped gain them what you would picture in your head a vicious, but pretty cult would look like for sure.
I was happy to see relative newcomer Florence Pugh looks to have a fledgling acting career as she has already wrapped Greta Gerwig's Little Women and is also starring alongside Scarlett Johansson in Black Widow coming May 2020. She provides Dani with vulnerability, strength, annoyance, trepidation, melancholy, veracity and emotional turmoil as a well rounded young adult. Her character has a truly remarkable arc within the film which is fun to watch and you root for her to succeed.
Midsommar's tone, subject matter and graphic brutality is not for everyone;; however, I found it a true delight.
Following a major immediate family heartbreak, delicately fragile Dani is an emotional basket case and leaning hard on her current boyfriend, Christian. Little does she know, the boyfriend has had enough of her baggage and constant nagging, and his friends have all but convinced him to ditch her. They are also planning a fun vacation to Sweden to meet the family of mutual friend Pelle. Unfortunately, the turmoil in Dani's life not only prevents the break up, but also compels Christian to invite her along on the guys' Scandinavian adventure much to the chagrin of the male brotherhood.
Once on the ground in Sweden, the troupe makes their way to the commune of Pelle's extended "family" where the group quickly enhances their experience with some mind altering substances. Dani is unsure she should partake along with the group, but doesn't want to ruin the fun so she goes along.
The group get introduced to the commune clan and wanders through some awkward initial meetings including having to deal with a language barrier. Everyone seems nice, but there also seems there may be some tension beneath the surface. The group is shown around the campus, through various buildings with unusual and often graphic paintings within, The group is also instructed where they cannot go as it is forbidden.
Initial curiosity soon turns to horror as the newcomers witness a ritual which has grim consequences. Some members of the newbies, especially Dani, want to leave before witnessing anything else, but others, including Christian play off the encounter as one of cultural differences. Situations become increasing violent, creepy and really strange as the trespassers struggle to fin in, make some faux pas and may have to pay the ultimate price.
As with Aster's Hereditary, the audience may be somewhat confused at times (or at least I was) as to some of the various happenings, but just go along for the ride. There were a few sections mid way through I was waiting and expecting something profound to happen and didn't. I also watched the director's cut with around 24 extra minutes of footage within which could have been part of the problem.
Once the creepy events start to unfold, you are truly immersed in the scenery and unusual characters to the point where you can't help but keep watching just to see the consequences. The obvious comparison to The Wicker Man is certainly justified as the other most famous movie about a cult, but the mood is completely different. To me, Wicker Man never really does a good job establishing the community there as normal as you suspect almost immediately things are "not right". Maybe also since that film runs barely over 90 minutes the depth wasn't felt as it is in this film. I'm not complaining about Wicker Man as I loved that movie as well, just felt different.
The sprawling European countrysides alongside the beautiful mountainous greenery provided juxtaposition to the sinister, cruel and horrible events transpiring upon them. The artwork within the village halls were interesting, beautiful and terrifying simultaneously. The villages costumes of whit and female floral headdresses helped gain them what you would picture in your head a vicious, but pretty cult would look like for sure.
I was happy to see relative newcomer Florence Pugh looks to have a fledgling acting career as she has already wrapped Greta Gerwig's Little Women and is also starring alongside Scarlett Johansson in Black Widow coming May 2020. She provides Dani with vulnerability, strength, annoyance, trepidation, melancholy, veracity and emotional turmoil as a well rounded young adult. Her character has a truly remarkable arc within the film which is fun to watch and you root for her to succeed.
Midsommar's tone, subject matter and graphic brutality is not for everyone;; however, I found it a true delight.
Bob Mann (459 KP) rated Black Widow (2021) in Movies
Jul 8, 2021
An entertaining pose-struck by Johansson and Pugh
A long time in the waiting (again) but "Black Widow" is an excellent addition to the Marvel canon: almost a "Rogue One" in the series, taking us back to fill in some gaps after "Captain America: Civil War". It's just great to have ANY Marvel back in the cinema.... that Michael Giacchino Marvel tune set the hairs going on the back of my neck!
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Positives:
- Loving the heart in this Marvel! There's more sense of "family" than in F9! Johansson and Pugh, in particular, have a great on-screen relationship, and nice sisterly bickering goes on. There's a fabulous scene in a petrol (gas) station between the pair that really shows what class acting is available in this outing.
- David Harbour adds some fine comedy as the "Red Guardian", complete with action figure! Seeing him squeezing into his old uniform reminded me strongly of Mr Incredible! And the relationship with Rachel Weisz's Melina is also great fun.
- Completing the strong acting complement is Ray Winstone as villain Dreykov. It's a role he's played so many times before that he could probably do it in his sleep: but still great to watch. A shout-out too to the lovely Olga Kurylenko, looking decidedly unlovely here! (She isn't given very much to do as Taskmaster though.)
- There were some genuinely laugh-out-loud moments for me: both through witty dialogue and visual gags. A helicopter 'landing' was particularly snort-worthy!
- Lorne Balfe delivers another stonking soundtrack, full of Russian undertones. Also great is a twisted version of Nirvana's "Teen Spirit" over the opening titles.
Negatives:
- Now I KNOW you need to suspend belief during Marvel films, but the "Red Room" location (no spoilers, and no - not the "50 Shades" type) stretches that too far. It leads to an over-blown, free-falling finale that somewhat lessened the impact for me of the rather more realistic flow of the movie to that point.
- Tonally the movie is rather inconsistent. As an example, the start of the movie is played 'straight', as is the role of Alexei. But when he reappears later in the film - and it took me a long time to appreciate the jailbird character was in fact him - then he suddenly becomes the comic heart of the movie.
- I loved the way the film built the relationships between the characters. So this is NOT a negative from me. But I *suspect* some Marvel action fans may find the narrative portions of the movie too slow for their liking.
Summary Thoughts on "Black Widow": Black Widow has always struck me as an odd and slightly second-rate member of The Avengers. After all, she has no specific "superpowers", so how has she survived all of the physical abuse to date? So, given what we know happened to her in "Endgame", I questioned whether this was an origin story that would hold much interest with me. But the knack here is that it really isn't an "origin story" at all. It covers her early life, pre-titles, but then skips all the intermediate biopic stuff to drill into this specific adventure in her life. And the quality of the acting and the relationships that are built up delivered something that I greatly enjoyed.
Cate Shortland seems an odd choice to front a huge movie like this (she has a very short movie CV) but I think she's done a great job here. I'd put it in the top quartile of Marvel movies for me.
And BTW, as it's Marvel so as you might expect there is an end credits scene. You have to wait until the very end of the credits for it (so you can appreciate Lorne Balfe's score some more). But it is worth waiting for, re-introducing a character from one of the Phase 4 TV series.
(For the full graphical version, please check out One Mann's Movies on the web here - https://bob-the-movie-man.com/2021/07/07/black-widow-a-posers-guide-to-the-incredibles-3/. One Mann's Movies is also on Facebook and Tiktok (@onemannsmovies).)
Bob Mann (459 KP) rated Stan & Ollie (2018) in Movies
Sep 28, 2021
When the laughter has to end.
The problem with any comedy double act is that if illness or death get in the way (think Dustin Gee and Les Dennis; or Morecambe and Wise) the wheels can come off for the other partner. “Stan and Ollie” tells the story of the comic duo starting in 1937 when they reached their peak of global popularity, albeit when Laurel was hardly on speaking terms with their long-term producer Hal Roach (Danny Huston).
As you might guess from this, the emotional direction for the film is downwards, but not necessarily in a totally depressing way. The film depicts the duo’s tour of Laurel’s native country (he was born in Lancashire) and this has its ups as well as its downs.
Not knowing their life story, this is one where when the trailer came on I shut my eyes and plugged my ears so as to avoid spoilers: as such I will say nothing further on the details of the plot.
My wife and I were reminiscing after seeing this flick about how our parents used to crack up over the film antics of Laurel and Hardy. And they were, in their own slapstick way, very funny indeed. The film manages to recreate (impecably) some of their more famous routines and parodies others: their travel trunk gallops to the bottom of the station steps, mimicking the famous scenes with a piano from 1932’s “The Music Box”. “Do we really need that trunk” Hardy deadpans to Laurel.
The turns
There are four star turns at the heart of the film and they are John C. Reilly as Ollie; Steve Coogan as Stan; Shirley Henderson (forever to be referenced as “Moaning Myrtle”) as Ollie’s wife Lucille and Nina Arianda (so memorable as the ‘pointer outer’ in the ‘Emperor’s New Clothes’ segment of “Florence Foster Jenkins“) as Stan’s latest wife Ida.
Coogan and Reilly do an outstanding job of impersonating the comic duo. Both are simply brilliant, playing up to their public personas when visible but subtly delivering similar traits in private. Of the two, John C. Reilly’s performance is the most memorable: he IS Oliver Hardy. Not taking too much away from the other performance, but there are a few times when Coogan poked through the illusion (like a Partridge sticking its head out from a Pear Tree you might say).
Henderson and Arianda also add tremendous heart to the drama, and Arianda’s Ida in particular is hilarious. Also delivering a fabulous supporting role is Rufus Jones as the famous impressario Bernard Delfont: all smarm and Machiavellian chicanery that adds a different shape of comedy to the film.
Another Fine Mess?
Actually, no: it’s one of those pleasant and untaxing cinema experiences that older audiences in particular will really enjoy. However, the film’s far from perfect in my view: the flash-forwards/flash-backs I felt made the story bitty and disjointed; and ultimately the life story of the duo doesn’t have a huge depth of drama in it to amaze or excite, the way that 2004’s “Beyond the Sea” (the biopic of Bobby Darin) did for example. But the film never gets boring or disappoints.
I’d like to say that the script by Jeff Pope (“Philomena“) is historically accurate, but a look at the wikipedia entries for the pair show that it was far from that. Yes, the tours of the UK and Europe did happen, but over multiple years and the actual events in their lives are telescoped into a single trip for dramatic purposes. But I think the essence of the pair comes across nicely. Laurel’s wikipedia entry records a nice death-bed scene that sums up the guy:
“Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. “I’m not,” said Laurel, “I’d rather be doing that than this!” A few minutes later, the nurse looked in on him again and found that he had died quietly in his armchair.”
“Stan and Ollie” has a few preview screenings before the New Year, but goes on UK general release on January 11th. Recommended.
As you might guess from this, the emotional direction for the film is downwards, but not necessarily in a totally depressing way. The film depicts the duo’s tour of Laurel’s native country (he was born in Lancashire) and this has its ups as well as its downs.
Not knowing their life story, this is one where when the trailer came on I shut my eyes and plugged my ears so as to avoid spoilers: as such I will say nothing further on the details of the plot.
My wife and I were reminiscing after seeing this flick about how our parents used to crack up over the film antics of Laurel and Hardy. And they were, in their own slapstick way, very funny indeed. The film manages to recreate (impecably) some of their more famous routines and parodies others: their travel trunk gallops to the bottom of the station steps, mimicking the famous scenes with a piano from 1932’s “The Music Box”. “Do we really need that trunk” Hardy deadpans to Laurel.
The turns
There are four star turns at the heart of the film and they are John C. Reilly as Ollie; Steve Coogan as Stan; Shirley Henderson (forever to be referenced as “Moaning Myrtle”) as Ollie’s wife Lucille and Nina Arianda (so memorable as the ‘pointer outer’ in the ‘Emperor’s New Clothes’ segment of “Florence Foster Jenkins“) as Stan’s latest wife Ida.
Coogan and Reilly do an outstanding job of impersonating the comic duo. Both are simply brilliant, playing up to their public personas when visible but subtly delivering similar traits in private. Of the two, John C. Reilly’s performance is the most memorable: he IS Oliver Hardy. Not taking too much away from the other performance, but there are a few times when Coogan poked through the illusion (like a Partridge sticking its head out from a Pear Tree you might say).
Henderson and Arianda also add tremendous heart to the drama, and Arianda’s Ida in particular is hilarious. Also delivering a fabulous supporting role is Rufus Jones as the famous impressario Bernard Delfont: all smarm and Machiavellian chicanery that adds a different shape of comedy to the film.
Another Fine Mess?
Actually, no: it’s one of those pleasant and untaxing cinema experiences that older audiences in particular will really enjoy. However, the film’s far from perfect in my view: the flash-forwards/flash-backs I felt made the story bitty and disjointed; and ultimately the life story of the duo doesn’t have a huge depth of drama in it to amaze or excite, the way that 2004’s “Beyond the Sea” (the biopic of Bobby Darin) did for example. But the film never gets boring or disappoints.
I’d like to say that the script by Jeff Pope (“Philomena“) is historically accurate, but a look at the wikipedia entries for the pair show that it was far from that. Yes, the tours of the UK and Europe did happen, but over multiple years and the actual events in their lives are telescoped into a single trip for dramatic purposes. But I think the essence of the pair comes across nicely. Laurel’s wikipedia entry records a nice death-bed scene that sums up the guy:
“Minutes before his death, he told his nurse that he would not mind going skiing, and she replied that she was not aware that he was a skier. “I’m not,” said Laurel, “I’d rather be doing that than this!” A few minutes later, the nurse looked in on him again and found that he had died quietly in his armchair.”
“Stan and Ollie” has a few preview screenings before the New Year, but goes on UK general release on January 11th. Recommended.
Bob Mann (459 KP) rated Paddington 2 (2017) in Movies
Sep 29, 2021
Bear faced brilliance.
I never went to see “Paddington 2” at the cinema when it came out. Well, it’s a kids film isn’t it? And my grandkids I thought… well, their probably a bit too young for the long haul on this one. But – after catching up with it recently on a transatlantic flight – I’m sorry I missed it. For it is brilliant in its own way.
Having not seen the first “Paddington”, also directed by Paul King, there is a useful little flashback to the Peruvian origins of the little chap before we pitch into the plot proper. Paddington (voiced by Ben Wishaw, “Spectre“) has nicely settled down to life with The Brown’s in their London home and is a well-loved member of the community (well, well loved that is by everyone except the cranky Mr Curry (Peter Capaldi, “Dr Who“, “World War Z“). But he longs to buy his Aunt Lucy (Imelda Staunton, “Finding Your Feet“) a special birthday present – a pop-up book of London scenes that he’s seen in a local antique shop. But for that he needs a lot of cash, and so proceeds to earn it through a variety of different jobs.
However, fading actor Phoenix Buchanan (Hugh Grant, “Florence Foster Jenkins“, “The Man From U.N.C.L.E.“) also shows an unhealty interest in the book and, after it disappears from the shop with Paddington’s paw prints all over the scene, the poor bear finds himself on the wrong side of the law.
This is a continually inventive movie, which rockets along with truly impressive verve and panache from scene to scene. As a particular example of this, an animated walk through the pop-up book is marvellously done: a tribute to the 2D retro nature (even in those days!) of the TV animation of the 70’s that will go over the heads of younger viewers. There are plenty of slapstick scenes – notably of Paddington trying window cleaning, and his job in a barber’s shop – which will not only delight younger children but also made this 57 year old laugh out loud too! The prison sequence also delights, with a laundry blunder by the bear leading into a comical showdown with the prison’s chief poisoner, sorry, head chef played by Brendan Gleeson (“Alone in Berlin“, “Live By Night“).
Vision AND sound! Paddington with incarcerated friends, including Brendan Gleeson (centre).
The cast all seem to revel in their parts, with Hugh Bonneville (“Viceroy’s House“, “The Monuments Men“) energetic as Mr Brown and Oscar runner-up (surely!) Sally Hawkins (“The Shape of Water“) very chirpy as Mrs Brown. All of the residents of Windsor Gardens are a who’s who of UK film and TV, and each cameo has a lovely little tale behind it: Julie Walters (“Brooklyn“) as Mrs Bird, the Brown’s help; Sanjeev Bhaskar as Dr Jafri, forever nearly locking himself out; Miss Kitts (Jessica Hynes) and the crusty Colonel Lancaster (Ben Miller) in a ‘will they/won’t they’ potential romance. Elsewhere, Jim Broadbent (“Bridget Jones Baby“, “Eddie the Eagle“) is great as the antique store owner; Tom Conti adds both gravitas and humour as Judge Biggleswade and Richard Ayoade (“The Double“) is very funny as a forensic expert.
The Brown family: from left; Mr Brown (Hugh Bonneville); Jonathan (Samuel Joslin); Mrs Brown (Sally Hawkins); Mrs Bird (Julie Walters); and Judy Brown (Madeleine Harris).
Head and shoulders above all of them though is Hugh Grant who is just outstandingly good as the puffed-up and self-important ham-actor. His Best Supporting Actor nomination for a BAFTA was surprising, but having seen the film so very much deserved. Hang around in the end credits for his last words of the film which are cornily hilarious! One can only hope that Phoenix Buchanen returns for Paddington 3.
A career best… Hugh Grant as the devilishly slippery Phoenix Buchanan.
I would have thought that some of the scenes towards the end of the film, particularly one where Paddington seems doomed to a watery end, might be a little frightening for younger viewers. Thank heavens Sally Hawkins has gills! 🙂
Overall, this is a movie I would gladly watch again, with or without kids. In a movie landscape that is pretty devoid of good comedy, here is a movie that really did make me laugh out loud.
Having not seen the first “Paddington”, also directed by Paul King, there is a useful little flashback to the Peruvian origins of the little chap before we pitch into the plot proper. Paddington (voiced by Ben Wishaw, “Spectre“) has nicely settled down to life with The Brown’s in their London home and is a well-loved member of the community (well, well loved that is by everyone except the cranky Mr Curry (Peter Capaldi, “Dr Who“, “World War Z“). But he longs to buy his Aunt Lucy (Imelda Staunton, “Finding Your Feet“) a special birthday present – a pop-up book of London scenes that he’s seen in a local antique shop. But for that he needs a lot of cash, and so proceeds to earn it through a variety of different jobs.
However, fading actor Phoenix Buchanan (Hugh Grant, “Florence Foster Jenkins“, “The Man From U.N.C.L.E.“) also shows an unhealty interest in the book and, after it disappears from the shop with Paddington’s paw prints all over the scene, the poor bear finds himself on the wrong side of the law.
This is a continually inventive movie, which rockets along with truly impressive verve and panache from scene to scene. As a particular example of this, an animated walk through the pop-up book is marvellously done: a tribute to the 2D retro nature (even in those days!) of the TV animation of the 70’s that will go over the heads of younger viewers. There are plenty of slapstick scenes – notably of Paddington trying window cleaning, and his job in a barber’s shop – which will not only delight younger children but also made this 57 year old laugh out loud too! The prison sequence also delights, with a laundry blunder by the bear leading into a comical showdown with the prison’s chief poisoner, sorry, head chef played by Brendan Gleeson (“Alone in Berlin“, “Live By Night“).
Vision AND sound! Paddington with incarcerated friends, including Brendan Gleeson (centre).
The cast all seem to revel in their parts, with Hugh Bonneville (“Viceroy’s House“, “The Monuments Men“) energetic as Mr Brown and Oscar runner-up (surely!) Sally Hawkins (“The Shape of Water“) very chirpy as Mrs Brown. All of the residents of Windsor Gardens are a who’s who of UK film and TV, and each cameo has a lovely little tale behind it: Julie Walters (“Brooklyn“) as Mrs Bird, the Brown’s help; Sanjeev Bhaskar as Dr Jafri, forever nearly locking himself out; Miss Kitts (Jessica Hynes) and the crusty Colonel Lancaster (Ben Miller) in a ‘will they/won’t they’ potential romance. Elsewhere, Jim Broadbent (“Bridget Jones Baby“, “Eddie the Eagle“) is great as the antique store owner; Tom Conti adds both gravitas and humour as Judge Biggleswade and Richard Ayoade (“The Double“) is very funny as a forensic expert.
The Brown family: from left; Mr Brown (Hugh Bonneville); Jonathan (Samuel Joslin); Mrs Brown (Sally Hawkins); Mrs Bird (Julie Walters); and Judy Brown (Madeleine Harris).
Head and shoulders above all of them though is Hugh Grant who is just outstandingly good as the puffed-up and self-important ham-actor. His Best Supporting Actor nomination for a BAFTA was surprising, but having seen the film so very much deserved. Hang around in the end credits for his last words of the film which are cornily hilarious! One can only hope that Phoenix Buchanen returns for Paddington 3.
A career best… Hugh Grant as the devilishly slippery Phoenix Buchanan.
I would have thought that some of the scenes towards the end of the film, particularly one where Paddington seems doomed to a watery end, might be a little frightening for younger viewers. Thank heavens Sally Hawkins has gills! 🙂
Overall, this is a movie I would gladly watch again, with or without kids. In a movie landscape that is pretty devoid of good comedy, here is a movie that really did make me laugh out loud.
Bob Mann (459 KP) rated Finding your feet (2018) in Movies
Sep 29, 2021
Foot tapping and Tear Jerking.
There are some films whose trailers really don’t properly represent their contents. The trailer for the new ‘grey-pound’ film “Finding Your Feet” promised a light hearted and witty foray into an elderly dance-club. And, yes, you get some laughs. But it’s very much a bitter sweet comedy, and the bitterness is ladled on by the bucketload leading to more tears than smiles through the majority of the running time.
Sandra (Imelda Staunton, “Pride“) – now Lady Sandra, after her husband’s latest knighthood – is in a predictable, sex-free but reasonably happy marriage to legal beagle Mike (John Sessions, “Denial“, “Florence Foster Jenkins“) when her world is shaken to its core on discovering that Mike has been having a five-year affair with her best friend Pamela (Josie Lawrence). Moving in with her Bohemian sister Bif (Celia Imrie, “Bridget Jones Baby“), she struggles to integrate into her decidedly lower class lifestyle and find common ground with Bif’s dance club friends Charlie (Timothy Spall, “Denial“, “Mr Turner”), Ted (David Hayman) and Jackie (Joanna Lumley, “The Wolf of Wall Street“).
Can Sandra turn her downward spiral around and find love and happiness again? Well, the posters scream “The Feel Good Film of the Year” so you don’t need to be a rocket scientist to know the answer to that! But it’s a bumpy journey for sure.
Getting all the acting honours is Timothy Spall, who is far too good to be buried away in this small British rom com. To watch him do “ordinary bloke doing ordinary things” is an absolute delight. He adds class and distinction to every scene he’s in, especially for those concerned with his truly tragic and upsetting back-story. Running a close second is Celia Imrie who has a wicked smile off to perfection and adds a lot of emotional depth to her performance: and she needs the range, since she too is on a pretty emotional journey through the second half of the film.
John Sessions and Josie Lawrence – old compatriots of course from the original version of TV’s “Whose Line Is It Anyway” – also deliver marvellous cameo performances, as does Phoebe Nicholls (“The Elephant Man”, “Downton Abbey”) as the tennis playing friend Janet.
Less convincing for me was Imelda Staunton, particularly in the first half of the film: for me she never quite pulls off the icy cold emotional wreck of Sandra, but is much better once the thaw has set in.
The film is written by Meg Leonard (in a debut script) and Nick Moorcroft (who did the “St Trinians” scripts). And there are some funny lines in there, although it has to be said that there are not enough of them. The majority of the best ones in fact are in the trailer, never bettered by Joanna Lumley’s zinger…. “My last marriage ended for religious reasons…. he thought he was God and I didn’t”! There’s not much more room for comic lines, since the rest of the script is stuffed with the dramatic outcomes from various flavours of old-age malady. Fortunately I was one of the younger members of the generally grey-haired audience, but for those further up the scale it must have been like staring into the void!
The film will win no awards for choreography, since the dance scenes are gloriously inept and out of sync. But this all rather adds to the charm of the piece.
Directed by Richard Loncraine, director of the equally forgettable Brit-flick “Wimbledon” and the rather more memorable “Brimstone and Treacle”, this is as Douglas Adams would have said “Mostly Harmless”: a film that most over-50’s will find a pleasant way to spend two hours. But go in expecting a drama with comic moments, rather than the hilarious comedy predicted by the trailer, and you will be better prepared.
(I should comment that the rating below is my view: my illustrious wife declared it a triumphant chick-flick and gave it FFFFf).
Sandra (Imelda Staunton, “Pride“) – now Lady Sandra, after her husband’s latest knighthood – is in a predictable, sex-free but reasonably happy marriage to legal beagle Mike (John Sessions, “Denial“, “Florence Foster Jenkins“) when her world is shaken to its core on discovering that Mike has been having a five-year affair with her best friend Pamela (Josie Lawrence). Moving in with her Bohemian sister Bif (Celia Imrie, “Bridget Jones Baby“), she struggles to integrate into her decidedly lower class lifestyle and find common ground with Bif’s dance club friends Charlie (Timothy Spall, “Denial“, “Mr Turner”), Ted (David Hayman) and Jackie (Joanna Lumley, “The Wolf of Wall Street“).
Can Sandra turn her downward spiral around and find love and happiness again? Well, the posters scream “The Feel Good Film of the Year” so you don’t need to be a rocket scientist to know the answer to that! But it’s a bumpy journey for sure.
Getting all the acting honours is Timothy Spall, who is far too good to be buried away in this small British rom com. To watch him do “ordinary bloke doing ordinary things” is an absolute delight. He adds class and distinction to every scene he’s in, especially for those concerned with his truly tragic and upsetting back-story. Running a close second is Celia Imrie who has a wicked smile off to perfection and adds a lot of emotional depth to her performance: and she needs the range, since she too is on a pretty emotional journey through the second half of the film.
John Sessions and Josie Lawrence – old compatriots of course from the original version of TV’s “Whose Line Is It Anyway” – also deliver marvellous cameo performances, as does Phoebe Nicholls (“The Elephant Man”, “Downton Abbey”) as the tennis playing friend Janet.
Less convincing for me was Imelda Staunton, particularly in the first half of the film: for me she never quite pulls off the icy cold emotional wreck of Sandra, but is much better once the thaw has set in.
The film is written by Meg Leonard (in a debut script) and Nick Moorcroft (who did the “St Trinians” scripts). And there are some funny lines in there, although it has to be said that there are not enough of them. The majority of the best ones in fact are in the trailer, never bettered by Joanna Lumley’s zinger…. “My last marriage ended for religious reasons…. he thought he was God and I didn’t”! There’s not much more room for comic lines, since the rest of the script is stuffed with the dramatic outcomes from various flavours of old-age malady. Fortunately I was one of the younger members of the generally grey-haired audience, but for those further up the scale it must have been like staring into the void!
The film will win no awards for choreography, since the dance scenes are gloriously inept and out of sync. But this all rather adds to the charm of the piece.
Directed by Richard Loncraine, director of the equally forgettable Brit-flick “Wimbledon” and the rather more memorable “Brimstone and Treacle”, this is as Douglas Adams would have said “Mostly Harmless”: a film that most over-50’s will find a pleasant way to spend two hours. But go in expecting a drama with comic moments, rather than the hilarious comedy predicted by the trailer, and you will be better prepared.
(I should comment that the rating below is my view: my illustrious wife declared it a triumphant chick-flick and gave it FFFFf).
Emma @ The Movies (1786 KP) rated Black Widow (2021) in Movies
Jul 11, 2021
After the MCU rounded up with Endgame I was having Marvel fatigue, I had my issues with the Spider-man movie, and I haven't been thrilled by the TV series that we've been getting on Disney+. I had managed to avoid most of the Black Widow coverage until getting back to the cinema, but even seeing the trailer on the big screen didn't get me pumped for it.
Natasha Romanoff is on the run... rewind the MCU a bit... Black Widow is on the run after the incident with the Sokovia accords. While she's on the move (and somehow invisible to detection despite being an Avenger... on the run) her past catches up with her, and after an awkward family reunion, they have to work together to rectify the mistakes of the past.
So how did this next outing in the MCU go down?
I wasn't mad about, or at, it. It nicely aligned itself with its position in the universe in a way that didn't feel too forced, and finally getting the history that the previous films alluded to... well, it was about time. I was surprised how well it managed to condense her story down and still manage to give enough to help it flow. I'm not sure it's the story I was expecting, or necessarily hoped for, but it was good. (I had assumed that we would be getting more about the inside of the Red Room, and not the results of it on the older recruits.)
Johansson gave a solid performance as you'd expect, she's perfected the role over the years and this performance sat well within the character she'd already developed. But what about the other cast members?
MVP for me was Florence Pugh as Yelena. A little frustrating for me to say, but I said it. The sisterly bond with Natasha was there in spades and she managed to grasp the emotion of the family moments so well. And her comedic timing with the sharp script was magnificent. I was delighted every time I saw her on the screen.
Playing Natasha and Yelena's parents are David Harbour and Rachel Weisz. An amusing pairing, with a very opposites attract kind of vibe. Alexie (Harbour) seems to change a lot from the historical points, and he also gets the comical treatment too, but in a more over the top way than Yelena. He had his moments, though I'm not sure it all landed. Weisz plays Melina, a straight-laced scientist/spy. Together they make an interesting team, but I'm not convinced that Melina would have stood up without Alexie.
My only problem with the case? Sometimes I found it a little jarring hearing those accents. Sure, it's nice to have a big recognisable cast, but listening to those accents from people you know really well from other things was continually off-putting.
I was thankful when the story started to pick up a bit. The beginning felt like a bit of a slog, and I was starting to lose hope. Looking back on it, 2 hours 13 minutes is a lot for what happened. It could easily have tightened up a bit and come in at around 2 hours. (And on the other end of the film, though completely separate to the run time... why put the credit scene right at the end?!)
The benefit of this film when it came to effects is that there was very little out of the ordinary that needed to be done. That meant that everything looked good on screen. I honestly didn't spot anything that stuck out like a sore thumb... or a Thanos henchman... that seems more appropriate given the film's universe. The studio have got CGI down to a fine art at this point.
As I said above, Black Widow gave a nice story to the character, and I can't help but think that they could have given her this before now, and not kicked her out into the sidelines behind the male superheroes. (Well, apart from Hawkeye, poor bugger.) I'm not bothered about seeing this again, which is odd for me as I will usually try and see a Marvel in 3D too. Even odder, because it's basically all that's on at my cinema right now. But I don't feel like I need to go back to try and spot things to link to other films. It feels very inconsequential at this point and, while I enjoyed it, a bit of a letdown.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/black-widow-movie-review.html
Natasha Romanoff is on the run... rewind the MCU a bit... Black Widow is on the run after the incident with the Sokovia accords. While she's on the move (and somehow invisible to detection despite being an Avenger... on the run) her past catches up with her, and after an awkward family reunion, they have to work together to rectify the mistakes of the past.
So how did this next outing in the MCU go down?
I wasn't mad about, or at, it. It nicely aligned itself with its position in the universe in a way that didn't feel too forced, and finally getting the history that the previous films alluded to... well, it was about time. I was surprised how well it managed to condense her story down and still manage to give enough to help it flow. I'm not sure it's the story I was expecting, or necessarily hoped for, but it was good. (I had assumed that we would be getting more about the inside of the Red Room, and not the results of it on the older recruits.)
Johansson gave a solid performance as you'd expect, she's perfected the role over the years and this performance sat well within the character she'd already developed. But what about the other cast members?
MVP for me was Florence Pugh as Yelena. A little frustrating for me to say, but I said it. The sisterly bond with Natasha was there in spades and she managed to grasp the emotion of the family moments so well. And her comedic timing with the sharp script was magnificent. I was delighted every time I saw her on the screen.
Playing Natasha and Yelena's parents are David Harbour and Rachel Weisz. An amusing pairing, with a very opposites attract kind of vibe. Alexie (Harbour) seems to change a lot from the historical points, and he also gets the comical treatment too, but in a more over the top way than Yelena. He had his moments, though I'm not sure it all landed. Weisz plays Melina, a straight-laced scientist/spy. Together they make an interesting team, but I'm not convinced that Melina would have stood up without Alexie.
My only problem with the case? Sometimes I found it a little jarring hearing those accents. Sure, it's nice to have a big recognisable cast, but listening to those accents from people you know really well from other things was continually off-putting.
I was thankful when the story started to pick up a bit. The beginning felt like a bit of a slog, and I was starting to lose hope. Looking back on it, 2 hours 13 minutes is a lot for what happened. It could easily have tightened up a bit and come in at around 2 hours. (And on the other end of the film, though completely separate to the run time... why put the credit scene right at the end?!)
The benefit of this film when it came to effects is that there was very little out of the ordinary that needed to be done. That meant that everything looked good on screen. I honestly didn't spot anything that stuck out like a sore thumb... or a Thanos henchman... that seems more appropriate given the film's universe. The studio have got CGI down to a fine art at this point.
As I said above, Black Widow gave a nice story to the character, and I can't help but think that they could have given her this before now, and not kicked her out into the sidelines behind the male superheroes. (Well, apart from Hawkeye, poor bugger.) I'm not bothered about seeing this again, which is odd for me as I will usually try and see a Marvel in 3D too. Even odder, because it's basically all that's on at my cinema right now. But I don't feel like I need to go back to try and spot things to link to other films. It feels very inconsequential at this point and, while I enjoyed it, a bit of a letdown.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/black-widow-movie-review.html