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Young Queens: Three Renaissance Women and the Price of Power
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Sixteenth-century Europe: Renaissance masters paint the ceilings of Florentine churches, kings...
Non-fiction France Spain Scotland England 16th Century Europe
The Ballad of Mary Kearney
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"I am dead, my Mary; the man who loved you body and soul lies in some dishonorable grave." In...
Historical Fiction Irish History Women's Fiction
Chris Sawin (602 KP) rated Martyrs (2008) in Movies
Jun 20, 2019 (Updated Jun 22, 2019)
As a young girl, Lucie was able to escape certain death as she was held captive and tortured onto the brink of death. Now, fifteen years later, she seeks revenge on those who hurt her emotionally, physically, and mentally. The only person she's ever been close to is, her friend, Anna. As Lucie leaves a path of destruction and mayhem on her quest for revenge, Anna is dragged along to help pick up the pieces. In an odd twist, Lucie is haunted by a woman whose sole purpose is to hurt her, but only shows up after Lucie unleashes all of her built up pain and anger. Anna begins to question Lucie's sanity as things take a turn for the worst. That is until Anna discovers the chained up woman in the basement...
Martyrs wasn't really what I was expecting at all. I was expecting something along the lines of Haute Tension and À l'intérieur since it's classified as a French horror film. I was left with something completely different as Martyrs tends to be on a level all on its own. It is extremely brutal. I've heard it is more along the lines of Irréversible, but since I haven't seen that I can't really elaborate on it. It left with me with the same feeling The Girl Next Door did. This uneasiness that made me question sitting through the movie again anytime soon. Yet, at the same time, not many horror films are capable of making me feel this way. So I'm not really sure if I should view this as a flaw or a virtue. It also reminded me of Hostel, at times, especially the closing act of the film. Before people grown or anything, let me explain. It reminds me of Hostel if it was done correctly and focused on young girls the entire time. For me, Hostel had an excellent idea but was executed the wrong way. Martyrs pretty much brought what I had in mind for that film to life and did it better. Martyrs is definitely its own film, but its influences and/or homages seem to stick out like a sore thumb to someone who watches a lot of films and/or reviews them.
On first viewing, I can't really say if I liked why this was being done to these girls. It is explained and as it makes sense on one hand, it seems a bit farfetched on the other. It may grow on me during repeat viewings, but it didn't really sit well with me this particular time. The brutality in the film isn't always what is shown on screen either. There's a scene where this bulky guy is beating the snot out of this girl; just punching her in the face repeatedly as hard as he can. You can't really see the damage he's doing to her, but you can hear it and you can tell he's giving her quite a beating. During one of the more gruesome parts, the sound almost completely fades away and the shot relies completely on the girl's facial expressions as you see her begin to shake. As disturbing as it was, it was interesting seeing anguish portrayed a bit differently as the film went on.
Martyrs definitely delivers in more than one department. Those who are looking for another sick, twisted, and brutal French horror film won't be disappointed and let's just say the film lives up to the meaning of its title. Be advised that this is on the same brutality level as High Tension and there are plenty of scenes to cringe to and scream at in this film.
Martyrs wasn't really what I was expecting at all. I was expecting something along the lines of Haute Tension and À l'intérieur since it's classified as a French horror film. I was left with something completely different as Martyrs tends to be on a level all on its own. It is extremely brutal. I've heard it is more along the lines of Irréversible, but since I haven't seen that I can't really elaborate on it. It left with me with the same feeling The Girl Next Door did. This uneasiness that made me question sitting through the movie again anytime soon. Yet, at the same time, not many horror films are capable of making me feel this way. So I'm not really sure if I should view this as a flaw or a virtue. It also reminded me of Hostel, at times, especially the closing act of the film. Before people grown or anything, let me explain. It reminds me of Hostel if it was done correctly and focused on young girls the entire time. For me, Hostel had an excellent idea but was executed the wrong way. Martyrs pretty much brought what I had in mind for that film to life and did it better. Martyrs is definitely its own film, but its influences and/or homages seem to stick out like a sore thumb to someone who watches a lot of films and/or reviews them.
On first viewing, I can't really say if I liked why this was being done to these girls. It is explained and as it makes sense on one hand, it seems a bit farfetched on the other. It may grow on me during repeat viewings, but it didn't really sit well with me this particular time. The brutality in the film isn't always what is shown on screen either. There's a scene where this bulky guy is beating the snot out of this girl; just punching her in the face repeatedly as hard as he can. You can't really see the damage he's doing to her, but you can hear it and you can tell he's giving her quite a beating. During one of the more gruesome parts, the sound almost completely fades away and the shot relies completely on the girl's facial expressions as you see her begin to shake. As disturbing as it was, it was interesting seeing anguish portrayed a bit differently as the film went on.
Martyrs definitely delivers in more than one department. Those who are looking for another sick, twisted, and brutal French horror film won't be disappointed and let's just say the film lives up to the meaning of its title. Be advised that this is on the same brutality level as High Tension and there are plenty of scenes to cringe to and scream at in this film.
Erika (17789 KP) rated Sophie: A Murder In West Cork in TV
Jul 31, 2021
Sophie: A Murder in West Cork, is one of Netflix’s newest true crime series offerings. Consisting of three episodes, the series examines the murder case of Sophie Toscan Du Plantier, a French National that was murdered at her rural holiday getaway home in Schull, Ireland in 1996. Du Plantier’s murder was the first in over 100 years in the small town and remains technically unsolved.
The documentary series had a wide variety of talking heads, from Du Planier’s family, friends, locals, various members of the Garda, and surprisingly, the main suspect. Du Planier’s private life seemed complicated, and it was definitely going to be utilized against her throughout the entire thing.
The case was interesting, Du Planier was found in a bramble bush a few days before Christmas. With seemingly no leads, and a haphazard investigation, I didn’t know how they would end up with a suspect. The first episode set everything up, establishing what the town was like by interviewing the locals. There was even a little spookiness brought in. A few days before her death, Du Planier had visited some ruins, and saw a white lady, which was an omen of death. Pretty interesting, and you wouldn’t think it was pertinent, however, Du Planier took it seriously.
If you watch enough true crime documentaries, you know normally what a killer would do, revisit the scene, be overly helpful, etc. It was clear as soon as they introduced the journalist that he was indeed the suspect. However, when the second episode started, the series was taken over by the main suspect, journalist and ‘poet’, Ian Bailey. As one of Du Planier’s family members quipped, he loves to be interviewed.
Somehow, Bailey had all of this insider knowledge, and wrote somewhat salacious articles about Du Planier, painting her as this woman that entertained all sorts of men. He was also very adamant that the murder was French, and probably her partner or another intimate partner. Bailey was somewhat charismatic, but a complete weirdo. It is common for law enforcement to go after the ‘others’ in society, so was he targeted because he was eccentric? Who knows?
It was clear that the Garda in this area had no idea as to what to do. They may have also had a little tunnel vision because the village creep was poking around the crime scene.
I’m all for presenting all sides to a case, but having the suspect take over in a very charismatic way is not the best approach. The Garda in the area, inexperienced in investigating murders, was obviously not equipped to deal with the investigation. It was clear from the beginning that it was the primary reason the case hasn’t been officially prosecuted in Ireland.
Whenever your documentary begins to get overtaken by the number one suspect, rather than the victim, I begin to have issues. It was also interesting that at the end of the series, there was actually a statement that Du Planier had been forgotten throughout the entire event, and while she was present, she wasn’t the center of the story.
Bailey seems to be the most likely culprit, though, the Garda couldn’t have convinced me beyond a reasonable doubt. It was interesting that somehow in France, the evidence was considered solid enough for a conviction.
I did generally enjoy the documentary series, but again, I have an issue with the main suspect overshadowing the victim. Also, I didn’t feel like enough evidence was presented, and the majority of it was slightly repetitive. I’m interested to see if the case is ever resolved. Based upon the series, probably not.
The documentary series had a wide variety of talking heads, from Du Planier’s family, friends, locals, various members of the Garda, and surprisingly, the main suspect. Du Planier’s private life seemed complicated, and it was definitely going to be utilized against her throughout the entire thing.
The case was interesting, Du Planier was found in a bramble bush a few days before Christmas. With seemingly no leads, and a haphazard investigation, I didn’t know how they would end up with a suspect. The first episode set everything up, establishing what the town was like by interviewing the locals. There was even a little spookiness brought in. A few days before her death, Du Planier had visited some ruins, and saw a white lady, which was an omen of death. Pretty interesting, and you wouldn’t think it was pertinent, however, Du Planier took it seriously.
If you watch enough true crime documentaries, you know normally what a killer would do, revisit the scene, be overly helpful, etc. It was clear as soon as they introduced the journalist that he was indeed the suspect. However, when the second episode started, the series was taken over by the main suspect, journalist and ‘poet’, Ian Bailey. As one of Du Planier’s family members quipped, he loves to be interviewed.
Somehow, Bailey had all of this insider knowledge, and wrote somewhat salacious articles about Du Planier, painting her as this woman that entertained all sorts of men. He was also very adamant that the murder was French, and probably her partner or another intimate partner. Bailey was somewhat charismatic, but a complete weirdo. It is common for law enforcement to go after the ‘others’ in society, so was he targeted because he was eccentric? Who knows?
It was clear that the Garda in this area had no idea as to what to do. They may have also had a little tunnel vision because the village creep was poking around the crime scene.
I’m all for presenting all sides to a case, but having the suspect take over in a very charismatic way is not the best approach. The Garda in the area, inexperienced in investigating murders, was obviously not equipped to deal with the investigation. It was clear from the beginning that it was the primary reason the case hasn’t been officially prosecuted in Ireland.
Whenever your documentary begins to get overtaken by the number one suspect, rather than the victim, I begin to have issues. It was also interesting that at the end of the series, there was actually a statement that Du Planier had been forgotten throughout the entire event, and while she was present, she wasn’t the center of the story.
Bailey seems to be the most likely culprit, though, the Garda couldn’t have convinced me beyond a reasonable doubt. It was interesting that somehow in France, the evidence was considered solid enough for a conviction.
I did generally enjoy the documentary series, but again, I have an issue with the main suspect overshadowing the victim. Also, I didn’t feel like enough evidence was presented, and the majority of it was slightly repetitive. I’m interested to see if the case is ever resolved. Based upon the series, probably not.
Gareth von Kallenbach (980 KP) rated Dunkirk (2017) in Movies
Jul 11, 2019
In May 1940, as Germany advanced into France, Allied troops found themselves surrounded at the town of Dunkirk with little time to escape. In the distance, the Germans sought to capture or kill each of the nearly 400,000 men. French and British soldiers began the slow process to evacuate using every naval or civilian ship available. Dunkirk examines the heroism involved by everyone on the land, sea, and air in their attempt to get their countrymen home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
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