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BankofMarquis (1832 KP) rated Edward Scissorhands (1990) in Movies
Apr 23, 2020
Has more heart than later Burton/Depp collaborations
There have been many actor/director long term collaborations through the years - John Ford/John Wayne, Martin Scorcese/Robert DeNiro and Alfred Hitchock/Jimmy Stewart all come to mind. Another interesting collaboration is the unique one between Tim Burton and Johnny Depp. The films these 2 have made have shown an "outsider" being introduced into an environment - usually in a quirky and gothic dark manner. So it was interesting to go back to the film that started it all - 1990's EDWARD SCISSORHANDS.
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Sarah (7798 KP) rated Rebecca (2020) in Movies
Nov 1, 2020
A dull adaptation
Rebecca is an adaptation of Daphne Du Maurier’s 1938 novel of the same name, following a young woman’s whirlwind romance and her battle to rid her new marriage and home of the shadow of her husband’s first wife.
Rebecca as a novel is a classic and a book I very much enjoyed, and whilst I’ve never seen the Hitchcock adaptation, it’s often referred to as a fairly legendary classic too. However I’m afraid to say the same cannot be said about this new version. The basic plot and story is present, although rather frustratingly the ending has been extended unnecessarily, but it has not been executed very well.
The trailer made this look quite sinister and spooky, which is quite right when the original novel is a gothic horror with aspects of a ghost story thrown in. However this film turns out to be nothing of the sort. It’s more of a romantic drama with a hint of thriller thrown in – the gothic horror ghost story is nowhere to be seen and neither is any form of intrigue or suspense. In fact I’d be so bold as to say this is just outright dull, and even the campy over the top sinister vibes from Kristin Scott Thomas’s housekeeper Mrs Danvers are laughable at best. The most interesting part of this was the opening scene with it’s sinister score but this just didn’t carry through to the rest of the film.
Sadly the cast don’t fare very well in this either. Lily James is a great actor, but her version of the new wife is too mousy and timid and you wonder what on earth Maxim ever sees in her. The character herself is very frustrating and irksome as she’s far too naïve and sweet. And Armie Hammer is miscast as Maxim De Winter himself. He looks the part, dashing and handsome, but he’s lacking in the intrigue, charm and secrecy that you’d expect this character to have. He’s also missing the age gap that is rather notable in the book.
The cinematography in this is rather concerning. The scenes in Monte Carlo are far too colourful and garish and they just look out of place, even more so for something that is meant to be a gothic horror. I’m unsure of why this has been done, other than to show a striking difference between Monte Carlo and Maxim’s Cornish home of Manderley. In fact what is most concerning about this film is why Ben Wheatley wanted to direct it. By far the biggest shock of this film was finding out Wheatley, of Kill List and Sightseers fame, had directed it. Wheatley is known for psychological dark (and often funny) thrillers and there is nothing of his style to be seen in this film at all. Which is a shame, as I think a little more of his dark style would’ve propelled this film into more than just a sub-par drama.
Overall this a very disappointing and long winded adaptation of a classic novel. Whilst there are a few decent scenes and a good, if not out of character, performance from Lily James, these are nowhere near enough to save this from being a bit of a bore.
Rebecca as a novel is a classic and a book I very much enjoyed, and whilst I’ve never seen the Hitchcock adaptation, it’s often referred to as a fairly legendary classic too. However I’m afraid to say the same cannot be said about this new version. The basic plot and story is present, although rather frustratingly the ending has been extended unnecessarily, but it has not been executed very well.
The trailer made this look quite sinister and spooky, which is quite right when the original novel is a gothic horror with aspects of a ghost story thrown in. However this film turns out to be nothing of the sort. It’s more of a romantic drama with a hint of thriller thrown in – the gothic horror ghost story is nowhere to be seen and neither is any form of intrigue or suspense. In fact I’d be so bold as to say this is just outright dull, and even the campy over the top sinister vibes from Kristin Scott Thomas’s housekeeper Mrs Danvers are laughable at best. The most interesting part of this was the opening scene with it’s sinister score but this just didn’t carry through to the rest of the film.
Sadly the cast don’t fare very well in this either. Lily James is a great actor, but her version of the new wife is too mousy and timid and you wonder what on earth Maxim ever sees in her. The character herself is very frustrating and irksome as she’s far too naïve and sweet. And Armie Hammer is miscast as Maxim De Winter himself. He looks the part, dashing and handsome, but he’s lacking in the intrigue, charm and secrecy that you’d expect this character to have. He’s also missing the age gap that is rather notable in the book.
The cinematography in this is rather concerning. The scenes in Monte Carlo are far too colourful and garish and they just look out of place, even more so for something that is meant to be a gothic horror. I’m unsure of why this has been done, other than to show a striking difference between Monte Carlo and Maxim’s Cornish home of Manderley. In fact what is most concerning about this film is why Ben Wheatley wanted to direct it. By far the biggest shock of this film was finding out Wheatley, of Kill List and Sightseers fame, had directed it. Wheatley is known for psychological dark (and often funny) thrillers and there is nothing of his style to be seen in this film at all. Which is a shame, as I think a little more of his dark style would’ve propelled this film into more than just a sub-par drama.
Overall this a very disappointing and long winded adaptation of a classic novel. Whilst there are a few decent scenes and a good, if not out of character, performance from Lily James, these are nowhere near enough to save this from being a bit of a bore.
BankofMarquis (1832 KP) rated The Pale Blue Eye (2022) in Movies
Jan 15, 2023
Haunting and Intriguing
An eerie, gothic murder mystery pairing an ingenious Detective with a young Edgar Allan Poe is now streaming on Netflix and is the perfect way to shut out the January winds and hibernate on your couch and get involved in the mystery while sitting in front of a warm, roaring fire (or heat lamp) and your favorite warm (possibly adult) beverage).
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Pretty in Black: Pretty in Black Book 1
Book
On the day of her death, a seventeen year old cheerleader meets a vampire in the cemetery who saves...
fantasy young adult
Connor Sheffield (293 KP) created a post
May 24, 2017
Modern Calligraphy and Hand Lettering by Lisa Engelbrecht
Genre: Calligraphy and craft
ISBN: 9781592536443
Published: September 1st 2010 by Quarry Books
Rating: 5
This book was absolutely amazing. I have loved calligraphy since I was eleven.
This book had everything: information on supplies and tools and instructions on how to build your own tools. There are chapters on different calligraphy styles, like classic calligraphy, vintage styled alphabets, raw dry-brush techniques, funky fun letters, calligraphy on fabric, urban-styled graffiti, flourishes, gothic, and mixed media pieces. Every chapter is exciting and inspiring, and each chapter will speak to a different person and hit on their personal style. I have to say the fabric section really made me want to dance and get out my sewing machine. There were example pieces, full alphabets, photographs, stroke-by-stroke instructions on certain alphabets, and ideas beyond belief. This book is enough to keep me busy for at least the next two decades…
I recommend this book to anyone interested in calligraphy, collage, mixed media, or anyone who loves hand-writing pieces of art (Yes there are still some of us who love hand-writing letters and love poems and posters. We're awesome.).
Genre: Calligraphy and craft
ISBN: 9781592536443
Published: September 1st 2010 by Quarry Books
Rating: 5
This book was absolutely amazing. I have loved calligraphy since I was eleven.
This book had everything: information on supplies and tools and instructions on how to build your own tools. There are chapters on different calligraphy styles, like classic calligraphy, vintage styled alphabets, raw dry-brush techniques, funky fun letters, calligraphy on fabric, urban-styled graffiti, flourishes, gothic, and mixed media pieces. Every chapter is exciting and inspiring, and each chapter will speak to a different person and hit on their personal style. I have to say the fabric section really made me want to dance and get out my sewing machine. There were example pieces, full alphabets, photographs, stroke-by-stroke instructions on certain alphabets, and ideas beyond belief. This book is enough to keep me busy for at least the next two decades…
I recommend this book to anyone interested in calligraphy, collage, mixed media, or anyone who loves hand-writing pieces of art (Yes there are still some of us who love hand-writing letters and love poems and posters. We're awesome.).
Roxanne (13 KP) rated The Daughter's Secret in Books
Nov 14, 2018
__ <b>2 Snail Paced Stars</b>
After reading some really positive reviews I must admit that I'm disappointed that I didn't enjoy this book more. The blurb sounded interesting and different to what I would usually go for but I'm very open minded when it comes to books.
What got to me the most about this book was that it was so very slow, my eyes would start to glaze over after every couple of pages, it would repeat itself and the jumping forwards and backwards in time got a bit confusing. The main characters were unique but others got swept under the rug and many questions were left unanswered. I would of liked to know more about Stephie's dad and why he was...well...the way he was.
If the mother wasn't so anxious and didn't question everything in life then I feel that we may not have had much of a story.
The prejudice towards tattooed people and the gothic subculture left a bit of a sour taste in my mouth...because they're just as bad as paedophiles right? <I>*Grumble*</I>
I didn't hate it but I didn't love it.
After reading some really positive reviews I must admit that I'm disappointed that I didn't enjoy this book more. The blurb sounded interesting and different to what I would usually go for but I'm very open minded when it comes to books.
What got to me the most about this book was that it was so very slow, my eyes would start to glaze over after every couple of pages, it would repeat itself and the jumping forwards and backwards in time got a bit confusing. The main characters were unique but others got swept under the rug and many questions were left unanswered. I would of liked to know more about Stephie's dad and why he was...well...the way he was.
If the mother wasn't so anxious and didn't question everything in life then I feel that we may not have had much of a story.
The prejudice towards tattooed people and the gothic subculture left a bit of a sour taste in my mouth...because they're just as bad as paedophiles right? <I>*Grumble*</I>
I didn't hate it but I didn't love it.
I first read Dracula as part of a film and fiction course at University: read the book; watch the film. It is, of course, the most famous of all vampire stories.
Unlike the movie version, the story is told from the point of view of the various secondary characters (who are all writing in their diaries or memoirs): Dracula, himself, is never at the forefront. Rather, he is an ominous shadowy presence in the background throughout. This is actually quite effective: by disassociating the reader from the villain, Stoker manages to both convey the deadly mysteriousness of the Count, and side-steps the danger of the reader sympathizing too much with Dracula, while that character is also able to be abroad during the day-time; just not with the powers he has at night.
Finally, and unlike the film version which bears the same name, in the book Dracula is not given the same back-story: Mina, for instance, is never described as being his long-lost love! In this sense, the film is much more of a Gothic love-story than the original source material!
Unlike the movie version, the story is told from the point of view of the various secondary characters (who are all writing in their diaries or memoirs): Dracula, himself, is never at the forefront. Rather, he is an ominous shadowy presence in the background throughout. This is actually quite effective: by disassociating the reader from the villain, Stoker manages to both convey the deadly mysteriousness of the Count, and side-steps the danger of the reader sympathizing too much with Dracula, while that character is also able to be abroad during the day-time; just not with the powers he has at night.
Finally, and unlike the film version which bears the same name, in the book Dracula is not given the same back-story: Mina, for instance, is never described as being his long-lost love! In this sense, the film is much more of a Gothic love-story than the original source material!
Acanthea Grimscythe (300 KP) rated Teeth Marks in Books
Jan 31, 2019
Teeth Marks is a chilling collection of southern gothic horror. In fact, it’s because of its setting in the south that I read it–I’m rather partial to my home. With several stories ranging from normal, every day people to monsters and ghosts, there’s a story in Teeth Marks for just about every horror fan.
There are twelve stories total in this collection, each one with a different theme. My favorites were “Suburban Facebreaker”, “Cookies”, “The Red Card”, and “Waist Deep”–which is particularly gory. “Suburban Facebreaker” deals with badly behaving parent figures. “Cookies” reminds readers in the reality of karmic justice. “The Red Card” has a decidedly Twilight Zone feel to it, and “Waist Deep” deals with the effects of gossip. All of these are really great tales.
My only complaint with this collection is that it was surprisingly void of colloquialism. There were places where popular Southern phrases would have fit better. Alas, this is not enough for me to take a star away from the collection, as it was amazing.
I’d like to thank the author for providing me with a copy of this book for the purpose of unbiased review.
There are twelve stories total in this collection, each one with a different theme. My favorites were “Suburban Facebreaker”, “Cookies”, “The Red Card”, and “Waist Deep”–which is particularly gory. “Suburban Facebreaker” deals with badly behaving parent figures. “Cookies” reminds readers in the reality of karmic justice. “The Red Card” has a decidedly Twilight Zone feel to it, and “Waist Deep” deals with the effects of gossip. All of these are really great tales.
My only complaint with this collection is that it was surprisingly void of colloquialism. There were places where popular Southern phrases would have fit better. Alas, this is not enough for me to take a star away from the collection, as it was amazing.
I’d like to thank the author for providing me with a copy of this book for the purpose of unbiased review.
LeftSideCut (3778 KP) rated Castlevania - Season 1 in TV
Mar 20, 2020
The first season of Castlevania could be more accurately described as a 'teaser-season'. It's four episodes acts as a set up for what is to come, introducing us to the key players in the war between man and vampire.
The episodes run for around 25 minutes, meaning that the season has a limited time to establish what it needs to, and it does this pretty effectively. A decent script ensures that the three main protagonists Trevor Belmont (Richard Armitage), Sypha (Alejandra Reynoso) and Alucard (James Callis) are all immediately likable, and even gives an incredibly sympathetic villain in Dracula. There's also a nice sense of humour running underneath all of the dramatics.
The animation style shows signs of budget restriction on occasion, but for the most part is easy to take in. A lot of close ups on characters show off some nice detail, long shots of locations look great, as do the combat scenes. To darker colour choices work well with the gothic setting, and the frequent strong violence.
Above all, this short but sweet season leaves the viewer wanting more, which was surely the aim in the first place!
The episodes run for around 25 minutes, meaning that the season has a limited time to establish what it needs to, and it does this pretty effectively. A decent script ensures that the three main protagonists Trevor Belmont (Richard Armitage), Sypha (Alejandra Reynoso) and Alucard (James Callis) are all immediately likable, and even gives an incredibly sympathetic villain in Dracula. There's also a nice sense of humour running underneath all of the dramatics.
The animation style shows signs of budget restriction on occasion, but for the most part is easy to take in. A lot of close ups on characters show off some nice detail, long shots of locations look great, as do the combat scenes. To darker colour choices work well with the gothic setting, and the frequent strong violence.
Above all, this short but sweet season leaves the viewer wanting more, which was surely the aim in the first place!