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Sarah (7798 KP) rated Crisis (2021) in Movies
Feb 19, 2021
Worth it just for Oldman
Crisis is a 2021 film from write, director and producer Nicholas Jarecki, who previously brought us 2012's Arbitrage starring Richard Gere. Crisis is a story about drugs, namely opioids, and follows three separate yet related narratives about opioids and their impact on US society. There's an undercover DEA agent posing as a drug trafficker arranging a Fentanyl smuggling operation between Canada and the US (Armie Hammer), a recovering addict architect determined to track down those responsible for her son's involvement in narcotics (Evangeline Lilly), and a university professor (Gary Oldman) who's research laboratory uncovers dangerous revelations about a new drug that they've been paid to research by a very influential drug company and their executives (Luke Evans).
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
Bob Mann (459 KP) rated Nocturnal Animals (2016) in Movies
Sep 29, 2021
Putting the crisis into mid-life crisis.
“Do you think your life has turned into something you never intended?” So asks Susan Morrow (Amy Adams) to her young assistant, who obviously looks baffled. “Of course, not – you’re still young”. Susan is in a mid-life crisis. While successful within the opulent Los Angeles art scene her personal life is crashing to the ground around her: her marriage (to Hutton (Armie Hammer, “The Man From Uncle”) ) appears to be cooling fast amid financial worries.
In the midst of this rudderless time a manuscript from her ex-husband, struggling writer Edward Sheffield (Jake Gyllenhaal), turns up out of the blue. As we see in flashback, Edward is a man let down on multiple levels by Susan in the past. His novel – “Nocturnal Animals”, dedicated to Susan – is a primal scream of twenty years worth of hurt, pain, regret and vengeance; a railing against a loss of love; a railing against a loss of life.
As Susan painfully turns the pages we live the book as a ‘film within a film’ – with characters casually modelled on Edward, Susan and Susan’s daughter, actually played by Gyllenhaal, Amy-Adams-lookalike Isla Fisher (“Grimsby”) and Ellie Bamber (“Pride and Prejudice and Zombies”) respectively. The insomniac Susan is seriously moved. She feels likes someone who’s fallen asleep on the train of life and doesn’t recognise any of the stations when she wakes up. How will Susan’s regrets translate into action? Should she take up Edwards offer to meet up for dinner?
This Tom Ford film – only his second after the wildly successful “A Single Man” in 2009 – is a challenging film to watch. The opening titles of naked overweight woman ‘twerkers’ is challenging enough (#wobble). After this shocking opening (that morphs into an art gallery installation) the LA scenes have a gloriously Hitchcockian/noir feel to them, being gorgeously filmed by cinematographer Seamus McGarvey (“The Accountant”, “The Avengers”) – an Oscar nomination I would suggest should be in the offing.
And then comes the start of the “book” segment: one of the most uncomfortably tense scenes I’ve seen this year. A Texan family horror film featuring a lonely highway and a trio of “deplorables” (to quote an unfortunate put-down by Hilary Clinton). As stark contrast to the sharp lines and glamour of LA, these scenes are reminiscent of “No Country for Old Men” with a searingly unpleasant performance from Aaron Taylor-Johnson (“Kick-Ass”) and an equally queasy turn by local law enforcer Bobby Andes (Michael Shannon, Zod in “Batman v Superman: Dawn of Justice”). Either or both of these gentlemen could be contenders for a Supporting Actor nomination. The tension is superbly notched up by a mesmerising cello/violin score by Polish composer Abel Korzeniowski.
Amy Adams is fantastic in the leading role (what with “Arrival” this month, this is quite a month for the actress) as is Jake Gyllenhaal, channelling so much emotion, angst and guilt at his own impotence. After “Nightcrawler” Gyllenhaal is building up a formidable reputation that must translate into an Oscar some time soon: possibly this is it. Some excellent cameos from Laura Linney (as Susan’s sad-eyed mother) and Michael Sheen (in a superb purple jacket) rounds off an excellent ensemble cast.
The concept of a “film within a film” is not new. The most memorable example (I realise with a shock – #midlifecrisis) was “The French Lieutenant’s Woman” with a young but striking Meryl Streep 35 years ago. Here the LA sequence, the book and the flashback scenes are beautifully merged into a seamless whole where you never seem to get lost or disorientated.
If there is a criticism to be made, the second half of the ‘book’ is not as satisfying as the first with some rather clunky plot points that fall a little too easily.
However, this is a nuanced film where every step and every scene feels sculpted and filled with meaning. It is a film that deserves repeat viewings, since it raises questions and thoughts that survive long after the lights have come up. Tom Ford’s output may be of a sparsity of Kubrick proportions, but like Kubrick his output is certainly worth waiting for.
Recommended, but go mentally prepared: this was a UK 15 certificate, but it felt like it should be more of a UK 18.
In the midst of this rudderless time a manuscript from her ex-husband, struggling writer Edward Sheffield (Jake Gyllenhaal), turns up out of the blue. As we see in flashback, Edward is a man let down on multiple levels by Susan in the past. His novel – “Nocturnal Animals”, dedicated to Susan – is a primal scream of twenty years worth of hurt, pain, regret and vengeance; a railing against a loss of love; a railing against a loss of life.
As Susan painfully turns the pages we live the book as a ‘film within a film’ – with characters casually modelled on Edward, Susan and Susan’s daughter, actually played by Gyllenhaal, Amy-Adams-lookalike Isla Fisher (“Grimsby”) and Ellie Bamber (“Pride and Prejudice and Zombies”) respectively. The insomniac Susan is seriously moved. She feels likes someone who’s fallen asleep on the train of life and doesn’t recognise any of the stations when she wakes up. How will Susan’s regrets translate into action? Should she take up Edwards offer to meet up for dinner?
This Tom Ford film – only his second after the wildly successful “A Single Man” in 2009 – is a challenging film to watch. The opening titles of naked overweight woman ‘twerkers’ is challenging enough (#wobble). After this shocking opening (that morphs into an art gallery installation) the LA scenes have a gloriously Hitchcockian/noir feel to them, being gorgeously filmed by cinematographer Seamus McGarvey (“The Accountant”, “The Avengers”) – an Oscar nomination I would suggest should be in the offing.
And then comes the start of the “book” segment: one of the most uncomfortably tense scenes I’ve seen this year. A Texan family horror film featuring a lonely highway and a trio of “deplorables” (to quote an unfortunate put-down by Hilary Clinton). As stark contrast to the sharp lines and glamour of LA, these scenes are reminiscent of “No Country for Old Men” with a searingly unpleasant performance from Aaron Taylor-Johnson (“Kick-Ass”) and an equally queasy turn by local law enforcer Bobby Andes (Michael Shannon, Zod in “Batman v Superman: Dawn of Justice”). Either or both of these gentlemen could be contenders for a Supporting Actor nomination. The tension is superbly notched up by a mesmerising cello/violin score by Polish composer Abel Korzeniowski.
Amy Adams is fantastic in the leading role (what with “Arrival” this month, this is quite a month for the actress) as is Jake Gyllenhaal, channelling so much emotion, angst and guilt at his own impotence. After “Nightcrawler” Gyllenhaal is building up a formidable reputation that must translate into an Oscar some time soon: possibly this is it. Some excellent cameos from Laura Linney (as Susan’s sad-eyed mother) and Michael Sheen (in a superb purple jacket) rounds off an excellent ensemble cast.
The concept of a “film within a film” is not new. The most memorable example (I realise with a shock – #midlifecrisis) was “The French Lieutenant’s Woman” with a young but striking Meryl Streep 35 years ago. Here the LA sequence, the book and the flashback scenes are beautifully merged into a seamless whole where you never seem to get lost or disorientated.
If there is a criticism to be made, the second half of the ‘book’ is not as satisfying as the first with some rather clunky plot points that fall a little too easily.
However, this is a nuanced film where every step and every scene feels sculpted and filled with meaning. It is a film that deserves repeat viewings, since it raises questions and thoughts that survive long after the lights have come up. Tom Ford’s output may be of a sparsity of Kubrick proportions, but like Kubrick his output is certainly worth waiting for.
Recommended, but go mentally prepared: this was a UK 15 certificate, but it felt like it should be more of a UK 18.
The Texas Chain Saw Massacre (1974)
8.3
Rate It
Movie Watch
The film opens by revealing that a cemetery in rural Texas has been vandalized; several gravesites...
horror
Heather Cranmer (2721 KP) rated Rot & Ruin (Rot & Ruin, #1) in Books
Jun 7, 2018
(This review can also be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
I don't know what makes zombies so cool, but they are. I love reading zombie books, so when I heard about Rot & Ruin by Jonathan Maberry, I knew I had to read this book. This has definitely become my favourite zombie book...EVER!
Benny has grown up in a world where zombies have always existed. His brother, Tom, has been around before the zombies. Everyone thinks Tom is a hero, but Benny has his doubts. Tom left their mother to the mercy of the zombies. Benny doesn't want to spend time with Tom killing zombies, but at 15 year old, he must get a job or have his rations cut in half. With no job satisfying him, Benny begrudgingly agrees to help kill zombies with his brother Tom. Along the way, Benny learns that Tom isn't the person he thought he was. Benny also gets a lesson in compassion. Will Benny be satisfied with killing zombies or will Benny become a zombie himself?
The cover for Rot & Ruin is alright. I've got the cover where the actual cover is not a full cover. The top cover is what is shown in the photo above, but when you open the top cover, the next cover shows the face of a zombie. It gets points for having a zombie cover, but it's nothing special. However, I do like the quote on the cover: "This book is full of heart...They just don't beat anymore." That made me chuckle!
Rot & Ruin is definitely a great title for this book. The Rot & Ruin is where all the zombies exist. I thought it was a fantastic choice.
I was amazed with the world building in this book. From the very first page, I was transported into this zombie apocalypse wasteland. I've never been in a zombie apocalypse, but the author does a good job making me feel like I was living in one each time I started reading his book. The description of the wasteland gives the reader a vivid mental picture of what a zombie apocalypse might entail.
As for the pacing, I never wanted to put this book down. In fact, there was one day where we had company, and I didn't get to read this book at all that day. I was in a bad mood because of it! This is definitely a fast paced, action packed, thrilling book that will leave you hungry for more. Not once while I was reading this book did I become bored with it. I was hooked from the very first page.
The dialogue/wording was fantastic. Through the dialogue, the author portrays the emotions of the characters quite well. I especially enjoyed the dialogue between Benny and his brother Tom. There are a few big words that I didn't understand, but perhaps that's just my limited vocabulary. Do be aware that there is some swearing in this book.
I felt that the characters were well developed. My favourite character was Tom. He came off as being very wise and just as an all around nice person. Benny was a great character as well. I liked how I was able to watch him grow as a character. He starts off being a typical 14 year old teenager, but after witnessing what he is forced to witness, he starts growing up. He starts maturing, and I feel that the author did a fantastic job showing us how Benny was forced to grow up. Charlie and the Hammer were well written as baddies. I hated them throughout the book. Not because they weren't written well but because the author makes us see how horrible these two really are.
I definitely enjoyed this whole book from start to finish. I read it in record time and had even bought the next book in the series before I even finished with Rot & Ruin. I loved the different spin this book put on zombies. It sort of humanizes them and makes us really think about how zombies were once human and how they were somebody's mother, father, son, daughter, sister, brother, etc. It really does make you think. Because of this, Rot & Ruin is much different then any zombie book I've ever read, and I really appreciated that. I also enjoyed that this book just wasn't focused on killing zombies. There's a lot more to the story then just zombie killing.
Although the book says it's for ages 12 and up, I'd recommend it to ages 14+ due to the violence, language, and themes.
I don't know what makes zombies so cool, but they are. I love reading zombie books, so when I heard about Rot & Ruin by Jonathan Maberry, I knew I had to read this book. This has definitely become my favourite zombie book...EVER!
Benny has grown up in a world where zombies have always existed. His brother, Tom, has been around before the zombies. Everyone thinks Tom is a hero, but Benny has his doubts. Tom left their mother to the mercy of the zombies. Benny doesn't want to spend time with Tom killing zombies, but at 15 year old, he must get a job or have his rations cut in half. With no job satisfying him, Benny begrudgingly agrees to help kill zombies with his brother Tom. Along the way, Benny learns that Tom isn't the person he thought he was. Benny also gets a lesson in compassion. Will Benny be satisfied with killing zombies or will Benny become a zombie himself?
The cover for Rot & Ruin is alright. I've got the cover where the actual cover is not a full cover. The top cover is what is shown in the photo above, but when you open the top cover, the next cover shows the face of a zombie. It gets points for having a zombie cover, but it's nothing special. However, I do like the quote on the cover: "This book is full of heart...They just don't beat anymore." That made me chuckle!
Rot & Ruin is definitely a great title for this book. The Rot & Ruin is where all the zombies exist. I thought it was a fantastic choice.
I was amazed with the world building in this book. From the very first page, I was transported into this zombie apocalypse wasteland. I've never been in a zombie apocalypse, but the author does a good job making me feel like I was living in one each time I started reading his book. The description of the wasteland gives the reader a vivid mental picture of what a zombie apocalypse might entail.
As for the pacing, I never wanted to put this book down. In fact, there was one day where we had company, and I didn't get to read this book at all that day. I was in a bad mood because of it! This is definitely a fast paced, action packed, thrilling book that will leave you hungry for more. Not once while I was reading this book did I become bored with it. I was hooked from the very first page.
The dialogue/wording was fantastic. Through the dialogue, the author portrays the emotions of the characters quite well. I especially enjoyed the dialogue between Benny and his brother Tom. There are a few big words that I didn't understand, but perhaps that's just my limited vocabulary. Do be aware that there is some swearing in this book.
I felt that the characters were well developed. My favourite character was Tom. He came off as being very wise and just as an all around nice person. Benny was a great character as well. I liked how I was able to watch him grow as a character. He starts off being a typical 14 year old teenager, but after witnessing what he is forced to witness, he starts growing up. He starts maturing, and I feel that the author did a fantastic job showing us how Benny was forced to grow up. Charlie and the Hammer were well written as baddies. I hated them throughout the book. Not because they weren't written well but because the author makes us see how horrible these two really are.
I definitely enjoyed this whole book from start to finish. I read it in record time and had even bought the next book in the series before I even finished with Rot & Ruin. I loved the different spin this book put on zombies. It sort of humanizes them and makes us really think about how zombies were once human and how they were somebody's mother, father, son, daughter, sister, brother, etc. It really does make you think. Because of this, Rot & Ruin is much different then any zombie book I've ever read, and I really appreciated that. I also enjoyed that this book just wasn't focused on killing zombies. There's a lot more to the story then just zombie killing.
Although the book says it's for ages 12 and up, I'd recommend it to ages 14+ due to the violence, language, and themes.
The Crowning of the Fire King by Sorcerer
Album Watch
Sorcerer was formed in Stockholm, Sweden in 1988 by Johnny Hagel (Tiamat, Sundown, Lithium), Tommy...
metal
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
Kirk Bage (1775 KP) rated BlacKkKlansman (2018) in Movies
Jan 22, 2021
I have had my issues with Spike Lee as a filmmaker over the years. It always seemed like his next film was the most “important” one, and that he didn’t make a film if it didn’t have something to say about race and the oppression of African Americans. Which in itself is not a problem, as long as that point isn’t laboured to the detriment of all other aspects of the film. My problem wasn’t the message, it was that a lot of the films were dull or just not that great.
I like Malcolm X to a point, but it is overlong and uneven. I think Do the Right Thing is a fine example of indie bravura, but also has faults. Of the rest, I really only rate 25th Hour and Inside Man, both of which are entertaining movies that move tentatively away from full on politics and therefore avoid the trap of being bombastic. In short, I’ve always wanted to like him as a director a lot more than I do.
The thing that drew me to BlacKkKlansman more than Lee, or the yet little known John David Washington, was the 100% dependable Adam Driver. I have yet to see a performance of his I didn’t like, and I’d heard that he was the standout of this film too, so it went on my list of must sees. And, yes, he is excellent, of course he is – there’s something about how easy and relaxed he can be within a character that is very rare. I’d suggest he is one of the very best male actors of that age group working today.
Now, obviously, it is entirely intentional that the two leads and eventual partners in the film are black and white… but the idea that this is a problem, or a thing at all, is not addressed as the only issue; in BlacKkKlansman it isn’t being black or white or anything else that defines you, it is what you do, what you say and what you stand for. And that idea is so crystal clear and well achieved that as an entertainment the film can then go anywhere it wants around that framework. Which it revels in doing.
It is both a good looking film and an exciting one; funny when it wants to be, smart all the time, and razor serious when it needs to be. A balancing act not to be sniffed at! And one that Lee has struggled with in the past. Here he nails the tone so well that it feels like his entire back catalogue was just a training exercise to get him to this point. I wouldn’t say it’s a masterpiece, but it is a damn fine work of art on many levels.
Washington as the focus of the tale, which also functions perfectly as an undercover cop movie of basic intent, i.e. infiltrate the bad guys and take them down, is perfectly cast and believable from minute one. His chemistry with the insanely gorgeous and talented Laura Harrier is a highlight, especially watching them dance and move with absolute cool in those 70s clothes and hairstyles. This movie has serious style that leaves you in no doubt that the black sub-culture is where it’s at, and the stupid bigoted klansmen are shown up as ridiculous as much as dangerous.
Every trope and icon of the Blacksploitation era is referenced and reclaimed as cool. Perhaps to a degree I am not aware of, as I’ve only seen one or two obvious examples in my time. We are given the tease to follow the notion that racism of this kind was a thing of the past, specifically related to the 70s and now it’s better in many ways. Before we are hit with the hammer blow of realisation at the very end of the film, where a juxtaposition of fantasy and horrific reality collide to magnificently shocking and depressing effect.
I felt after seeing it that I had been cleverly schooled. As in, I’m glad you enjoyed this, now go away and really think about it… and it worked, because I have tried to think about it more than I have before. And feel just that little bit more educated to a problem that is worldwide, but has never really felt directly part of my world.
Discussing anything related to the BLM movement in 2020 feels important and complicated in so many ways. It is an emotive subject that I’d feel I mostly want to avoid for fear of saying the wrong thing. Even though the basic idea of human rights and basic rights for all people has always been a no brainer; prejudice and hate crimes and fear are wrong, and we collectively must do whatever we can to educate ourselves and others not to make the mistakes of the past. Can a movie do that? No of course not, but it can open the door to dialogue that might not have happened otherwise.
Lee isn’t scared of what you think of this film, or any argument you may have against it. He knows his subject, and you feel that confidence in every scene. He doesn’t want to lecture you, or scream at you in despair, he wants to tell you an entertaining story that comes with a whole side discussion if you want it. Which is so much more powerful than any tactic he has tried before. And I think it works. I’d recommend anyone watch this, without hesitation.
I like Malcolm X to a point, but it is overlong and uneven. I think Do the Right Thing is a fine example of indie bravura, but also has faults. Of the rest, I really only rate 25th Hour and Inside Man, both of which are entertaining movies that move tentatively away from full on politics and therefore avoid the trap of being bombastic. In short, I’ve always wanted to like him as a director a lot more than I do.
The thing that drew me to BlacKkKlansman more than Lee, or the yet little known John David Washington, was the 100% dependable Adam Driver. I have yet to see a performance of his I didn’t like, and I’d heard that he was the standout of this film too, so it went on my list of must sees. And, yes, he is excellent, of course he is – there’s something about how easy and relaxed he can be within a character that is very rare. I’d suggest he is one of the very best male actors of that age group working today.
Now, obviously, it is entirely intentional that the two leads and eventual partners in the film are black and white… but the idea that this is a problem, or a thing at all, is not addressed as the only issue; in BlacKkKlansman it isn’t being black or white or anything else that defines you, it is what you do, what you say and what you stand for. And that idea is so crystal clear and well achieved that as an entertainment the film can then go anywhere it wants around that framework. Which it revels in doing.
It is both a good looking film and an exciting one; funny when it wants to be, smart all the time, and razor serious when it needs to be. A balancing act not to be sniffed at! And one that Lee has struggled with in the past. Here he nails the tone so well that it feels like his entire back catalogue was just a training exercise to get him to this point. I wouldn’t say it’s a masterpiece, but it is a damn fine work of art on many levels.
Washington as the focus of the tale, which also functions perfectly as an undercover cop movie of basic intent, i.e. infiltrate the bad guys and take them down, is perfectly cast and believable from minute one. His chemistry with the insanely gorgeous and talented Laura Harrier is a highlight, especially watching them dance and move with absolute cool in those 70s clothes and hairstyles. This movie has serious style that leaves you in no doubt that the black sub-culture is where it’s at, and the stupid bigoted klansmen are shown up as ridiculous as much as dangerous.
Every trope and icon of the Blacksploitation era is referenced and reclaimed as cool. Perhaps to a degree I am not aware of, as I’ve only seen one or two obvious examples in my time. We are given the tease to follow the notion that racism of this kind was a thing of the past, specifically related to the 70s and now it’s better in many ways. Before we are hit with the hammer blow of realisation at the very end of the film, where a juxtaposition of fantasy and horrific reality collide to magnificently shocking and depressing effect.
I felt after seeing it that I had been cleverly schooled. As in, I’m glad you enjoyed this, now go away and really think about it… and it worked, because I have tried to think about it more than I have before. And feel just that little bit more educated to a problem that is worldwide, but has never really felt directly part of my world.
Discussing anything related to the BLM movement in 2020 feels important and complicated in so many ways. It is an emotive subject that I’d feel I mostly want to avoid for fear of saying the wrong thing. Even though the basic idea of human rights and basic rights for all people has always been a no brainer; prejudice and hate crimes and fear are wrong, and we collectively must do whatever we can to educate ourselves and others not to make the mistakes of the past. Can a movie do that? No of course not, but it can open the door to dialogue that might not have happened otherwise.
Lee isn’t scared of what you think of this film, or any argument you may have against it. He knows his subject, and you feel that confidence in every scene. He doesn’t want to lecture you, or scream at you in despair, he wants to tell you an entertaining story that comes with a whole side discussion if you want it. Which is so much more powerful than any tactic he has tried before. And I think it works. I’d recommend anyone watch this, without hesitation.
Bob Mann (459 KP) rated Life (2017) in Movies
Sep 29, 2021
Life after Gravity.
Mankind is on the verge of a major milestone. The “Pilgrim” probe is returning from Mars containing soil samples that might spell the discovery of the first palpable evidence of life beyond earth. Proving that earth scientists are not completely incompetent, the probe is being returned not to earth but to a lab on the International Space Station where strict quarantine can be maintained. This key mission requirement is the responsibility of Miranda North (Rebecca Ferguson, “Mission Impossible: Rogue Nation”). Supporting her is an international crew including fellow doctor David Harris (Jake Gyllenhaal, “Source Code”), professional astronaut Rory Adams (Ryan Reynolds, “Deadpool”) and Hugh Derry (Ariyon Bakare), the lead scientist studying the samples. Needless to say, the soil samples yield more promise than Derry could have ever hoped for (or North could have feared). A crisis of growth and death ensues in a manner that fans of “Alien” will be suitably familiar with. Can the crew survive against all the odds?
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
Jake Gyllenhaal is one of my favourite actors with a raft of quality films in his CV such as “Nightcrawler” and last year’s hugely underrated (and almost Oscar-ignored) “Nocturnal Animals”. Rebecca Ferguson is also a class act and one of my favourite actresses of the moment. Here they are starring together for the first time and they don’t disappoint. Whilst neither gets enough quality screentime to really hammer their roles home, both connect to the audience in different ways: Harris is heading for an ISS endurance record, and starting to mentally disconnect from earthly connections as his body also starts to atrophy. North, with a clear attraction to him, tries to hold both him and everything together with steely determination, while carrying more knowledge of the mission directives than anyone else has.
The supporting ensemble cast also work well, portraying a real mixture of nationalities from the cock-sure American played by Reynolds to the sultry Russian commander Golovkina, played by the lovely Olga Dihovichnaya. A special note should also be added in the margin for one of the most surprising portrayals of a disabled character in a recent film.
Unfortunately the material the actors get to deliver, by Rhett Reese and Paul Wernick (co-writers of “Deadpool” and “Zombieland”) doesn’t match their ability. The first 30 minutes or so of the film I found to be totally gripping, but even here some of the dialogue is sufficiently clunky to distract you from the ongoing narrative. Some of the rest of the dialogue becomes head-in-the-hands awful in places: a scene during a de-pressurization episode being particularly painful.
Some dodgy dialogue might be forgivable in an action movie if supported by a strong story. Unfortunately, while the premise of the film is sound (if not original), the story leaps from inconsistency to inconsistency from beginning to end. The writers never seem to settle on whether the ‘being’ needs oxygen, likes oxygen, likes hot, likes cold, etc. and this lack of credibility distracts from the whole film. While the screenplay delivers some seriously suspenseful moments, and some decent jump scares, this is not satisfactory enough to serve up a cohesive movie meal.
This is not helped by ‘bad science’. As I have commented upon before, I’m a physicist by training and unscientific scenes annoy me to distraction. I’ve had to learn to live with the basics of explosions and other ‘noise’ in space (something “Star Wars” started 40 years ago, damn those TIE fighters). But there is a scene in “Life” involving an airlock breach that just completely beggers belief, acted out as if it’s a stiff breeze on the front at Skegness! It’s almost – (almost) – as bonkers as the ‘reactor venting’ scene with Chris Pratt in “Passengers“.
However, the film has its strong points too. Like “Gravity”, this is another special effects triumph with the scenes outside the ISS being gorgeously rendered. “Gravity” was a clear 10/10; this is probably at least a 7, and a reason for seeing the film on the big screen. A key question though is why there wasn’t a 3D version of the film released? Heaven knows I’m no fan of 3D, but “Gravity” was one of the few films that was genuinely enhanced by the format: in fact it is currently the only 3D Blu-ray that I own!
In general, the whole film seems a little half-cocked and lacking in its own conviction. You wonder whether the production company (Skydance) got rather cold-feet about the film in releasing it when it did. Yes, “Deadpool” did very well with its February release, but this is a much more suitable film for a summer audience than a release in this post-Oscars doldrums.
In summary, its a moderately entertaining watch, but at heart just another retelling of the old ‘something nasty in the woodshed’ yarn that we’ve seen played out countless times before. Here though the swanky setting and special effects are diminished by a lack of credibility and consistency in the storytelling. Redemption was on hand though, for while it was heading for a middling 3-Fad rating, it managed to salvage another half Fad in the final 60 seconds: a memorable movie ending that might prove hard to beat during 2017.
BookblogbyCari (345 KP) rated The Naked Future in Books
Aug 5, 2018
Book Review by Cari Mayhew. Rating 7.5/10
This is a book about how the digital footprint we leave behind us can be used to make predictions about our future in all aspects of our lives. But are we seeing the coming to being of a dystopian science fiction, or are we tapping into a new superpower?
Every app on every device we use leaves a digital trail about us, and this has implications in the fields of medicine and the spread of infections, education and learning, and crime prediction, through to movie preference and dating.
The book predominantly examines the value to society in general but also looks at the benefits to the individual. Of course, these benefits come at a cost to our privacy, which the book also briefly addresses. Each chapter is centered on its own topic. I will mention each but in the interests of brevity won’t go into detail on each topic.
Chapter 1 begins by describing how certain apps can be extremely useful warning providers, but by the end of the chapter, we are looking at how your smartphone apps can be used to locate you, even when your GPS is turned off and you’re not geo-tagging posts or tweets. With modern statistical models and enough data points, it’s possible to predict where you will be down to the hour and within a square block one and a half years from now. Turning off your GPS doesn't actually make you less predictable, it just makes your predictability level harder to detect - your future remains naked.
Similarly, in Chapter 2 which examines deliberate self-tracking, Tucker notes that Fitbit users who are confused or ignorant of the device’s privacy settings are inadvertently sharing the data details of their sexual activity.
This seems like frightening stuff, but then the conversation turns to more benevolent uses of such technology. Chapter 3, by way of an imagined story, examines how such technology can be used to predict the spread of dangerous infections, including the identification of new strains of virus as new mutations occur.
Chapter 4 looks at the use of such technology in weather forecasting, and how it’s been used to make way for insurance against the effects of the weather for affected businesses. Chapter 5 explores how movie/book choice and ratings can be used to predict what makes a good movie/book.
We go back to the frightening stuff in Chapter 6. Here Tucker talks about how the smartphone has become the ultimate shopping accessory. Knowing what habitual time an individual wants a coffee, cig, or beer, is ideal for online advertisers, who will be able to send you a voucher/coupon or a mere suggestion right there on the spot. There could also be surveillance systems examining what you pick up and consider buying but don't put into basket /trolley. Tucker goes on to describe how data brokers such as Acxiom have begun selling on to advertisers access to not only your data to also to your future decisions.
Chapter 7 looks at education and learning, and makes the following good points: “What telemetric education offers is the chance for all students to raise their hands and be heard, without fear of confirming some unflattering, broadly held perception about their social group.” And “Imagine for a moment the power of knowing beforehand how well you would perform on a test but how disempowered you would feel if that same future was naked to your competition, or to your future potential employers.”
I like the title of chapter 8 “When Your Phone Says You’re In Love”. Here Tucker tells how online dating sites have become a living social science lab. Again here your personal details can be sold on. In the future, you could be rating your actual get-togethers on the app. Already invented is a “sociometer” which detects unconscious biological signals which show what role you’re taking in a conversation, and can then produce predictions on how the rest of the conversation will go.
Chapters 9 and 10 look at predictions in the where, when and who of acts of crime. He discusses where it has worked so far. But on this Tucker says “Predictive policing in the wrong hands looks less like a boon to public safety and more like a totalitarian hammer.”
The book concludes with Chapter 11, titled “The World That Anticipates Your Every Move”. Here one interviewee said as “Privacy is a blip on the radar of history.” Indeed the chapter ends with an obituary to privacy, where Tucker says “we will feel increasingly powerless against the tide of transparency rendering this planet in a new form as surely as the movement of glaciers carved our canyons and valleys.”
I’ve highlighted here the more worrisome aspects of the topics, but it’s important to note that Tucker does aim to offer a prescription for the situation, though it’s spread out in occasional paragraphs here and there rather than as a useful reference at the end. That said I found the actionable advice was rather brief and unoriginal.
Tucker presents a fair and balanced view of this important and highly relevant topic of our times, and the book is clearly well-researched. Some chapters show a little humor which was fun, but although the book is aimed at the layman, I often felt like I was reading a science textbook. The book is a real eye-opener, especially if it’s something you hadn’t given much thought to. The overall message of the book is clear: our data is already out there, but it’s ours first and foremost, and we can be savvy and use it to our advantage.
This is a book about how the digital footprint we leave behind us can be used to make predictions about our future in all aspects of our lives. But are we seeing the coming to being of a dystopian science fiction, or are we tapping into a new superpower?
Every app on every device we use leaves a digital trail about us, and this has implications in the fields of medicine and the spread of infections, education and learning, and crime prediction, through to movie preference and dating.
The book predominantly examines the value to society in general but also looks at the benefits to the individual. Of course, these benefits come at a cost to our privacy, which the book also briefly addresses. Each chapter is centered on its own topic. I will mention each but in the interests of brevity won’t go into detail on each topic.
Chapter 1 begins by describing how certain apps can be extremely useful warning providers, but by the end of the chapter, we are looking at how your smartphone apps can be used to locate you, even when your GPS is turned off and you’re not geo-tagging posts or tweets. With modern statistical models and enough data points, it’s possible to predict where you will be down to the hour and within a square block one and a half years from now. Turning off your GPS doesn't actually make you less predictable, it just makes your predictability level harder to detect - your future remains naked.
Similarly, in Chapter 2 which examines deliberate self-tracking, Tucker notes that Fitbit users who are confused or ignorant of the device’s privacy settings are inadvertently sharing the data details of their sexual activity.
This seems like frightening stuff, but then the conversation turns to more benevolent uses of such technology. Chapter 3, by way of an imagined story, examines how such technology can be used to predict the spread of dangerous infections, including the identification of new strains of virus as new mutations occur.
Chapter 4 looks at the use of such technology in weather forecasting, and how it’s been used to make way for insurance against the effects of the weather for affected businesses. Chapter 5 explores how movie/book choice and ratings can be used to predict what makes a good movie/book.
We go back to the frightening stuff in Chapter 6. Here Tucker talks about how the smartphone has become the ultimate shopping accessory. Knowing what habitual time an individual wants a coffee, cig, or beer, is ideal for online advertisers, who will be able to send you a voucher/coupon or a mere suggestion right there on the spot. There could also be surveillance systems examining what you pick up and consider buying but don't put into basket /trolley. Tucker goes on to describe how data brokers such as Acxiom have begun selling on to advertisers access to not only your data to also to your future decisions.
Chapter 7 looks at education and learning, and makes the following good points: “What telemetric education offers is the chance for all students to raise their hands and be heard, without fear of confirming some unflattering, broadly held perception about their social group.” And “Imagine for a moment the power of knowing beforehand how well you would perform on a test but how disempowered you would feel if that same future was naked to your competition, or to your future potential employers.”
I like the title of chapter 8 “When Your Phone Says You’re In Love”. Here Tucker tells how online dating sites have become a living social science lab. Again here your personal details can be sold on. In the future, you could be rating your actual get-togethers on the app. Already invented is a “sociometer” which detects unconscious biological signals which show what role you’re taking in a conversation, and can then produce predictions on how the rest of the conversation will go.
Chapters 9 and 10 look at predictions in the where, when and who of acts of crime. He discusses where it has worked so far. But on this Tucker says “Predictive policing in the wrong hands looks less like a boon to public safety and more like a totalitarian hammer.”
The book concludes with Chapter 11, titled “The World That Anticipates Your Every Move”. Here one interviewee said as “Privacy is a blip on the radar of history.” Indeed the chapter ends with an obituary to privacy, where Tucker says “we will feel increasingly powerless against the tide of transparency rendering this planet in a new form as surely as the movement of glaciers carved our canyons and valleys.”
I’ve highlighted here the more worrisome aspects of the topics, but it’s important to note that Tucker does aim to offer a prescription for the situation, though it’s spread out in occasional paragraphs here and there rather than as a useful reference at the end. That said I found the actionable advice was rather brief and unoriginal.
Tucker presents a fair and balanced view of this important and highly relevant topic of our times, and the book is clearly well-researched. Some chapters show a little humor which was fun, but although the book is aimed at the layman, I often felt like I was reading a science textbook. The book is a real eye-opener, especially if it’s something you hadn’t given much thought to. The overall message of the book is clear: our data is already out there, but it’s ours first and foremost, and we can be savvy and use it to our advantage.
Chris Sawin (602 KP) rated Texas Chainsaw Massacre (2022) in Movies
Feb 19, 2022 (Updated Feb 19, 2022)
Wasted backstories that go nowhere. (3 more)
Rehashes and recreates the original film while not offering much of its own material.
New characters fall flat.
Feels like a half-cocked attempt at a new "film. "
Tearing the Face Off of a Horror Franchise
Texas Chainsaw Massacre is a direct sequel to the original 1974 film nearly 50 years later. Directed by David Blue Garcia with a screenplay by Chris Thomas Devlin and a story by Fede Alvarez (co-writer and director of the 2013 Evil Dead remake) and Rodo Sayagues (Don’t Breathe 1 & 2), Texas Chainsaw Massacre follows a group of young 20-somethings as they venture from Austin to Harlow, TX; a seven hour drive.
Dante (Jacob Latimore, Detroit) and Melody (Sarah Yarkin, Happy Death Day 2U) are business partners with somewhat of an impressive internet following. Dante is a chef who is looking to expand and Harlow is just the type of remote town to do it in. Melody’s teenage sister Lila (Elsie Fisher, Eighth Grade) and Dante’s fiancé Ruth (Nell Hudson) have tagged along mostly for emotional support.
With bank investors on the way to scout the location, the young foursome discovers a dilapidated orphanage with an old woman (Alice Krige, Gretel & Hansel) still living inside along with the last of what she refers to as, “her boys.” Dante and his friends awaken the mostly dormant monster known as Leatherface. Sally Hardesty (Olwen Fouéré) has been searching for Leatherface since he killed her friends all those years ago and now she can finally have the vengeful closure that she deserves.
The Texas Chainsaw Massacre franchise is mostly trash. Leatherface has gotten the manure treatment outside of the original film, the 2003 remake, and maybe the 1986 sequel. The timeline is as messy and inconsistent as Halloween as whatever takes place behind the scenes between sequels, remakes, and reboots all seems to result in lackluster or sometimes atrocious outings for one of the most recognizable horror movie icons.
This new film can’t seem to decide what it wants to be. Sally is brought back for a half-hearted cameo as she does nothing but wear a cowboy hat, stare at a picture, cock a shotgun, and gut a pig. She’s meant to be the connection between this film and the original and it just doesn’t work. Texas Chainsaw Massacre also just seems to lift aspects from the original film as well as other non-genre films without ever offering its audience anything original or actually worthwhile.
The ending is basically lifted directly from the original as is the aspect of a group of young people running into trouble on a road trip far away from home. It’s young, city outsiders versus born-and-bred country veterans. The film also has a weird amount of homage to Terminator 2 (Melody’s leg wound and the shotgun blasts to Leatherface by the water being similar to Sarah Connor’s showdown with the T-1000 near the end of T2). It also feels like it’s trying to capitalize on the success Halloween has had since it follows a similar format (making a direct sequel to the original film decades later).
On the bright side, the kills and the gore are mostly satisfying. The wrist breaking scene followed by being stabbed in the neck with the broken bone is gnarly. There’s a brutal head smashing scene with a hammer and the bus sequence is essentially horror movie fan heaven even if the setup and dialogue in said sequence is awful. The swinging door kill feels like it could have been better than it was since it covers up more than it reveals. You can either leave the brutality to the audience’s imagination or show everything in its nasty and gruesome glory; trying to do both in the same sequence just results in disappointment.
You can make the argument that you watch a film like this for the gore and not the story anyway, but that isn’t the point. When there’s this much of a wait between new entries fans deserve better. The frustrating aspect is that Fede Alvarez and Rodo Sayagues are capable of providing a worthwhile story along with the blood and guts because they gave it to us with Evil Dead. There’s nothing here worth the nine year gap between this and the last Texas Chainsaw film (Texas Chainsaw 3D) or the five year gap between this and Leatherface. When it’s not recycling gags from the original film or borrowing from other franchises, it’s just young people being dumb for the sake of a cheap scare or kill.
Texas Chainsaw Massacre isn’t as unwatchable as some reviews are making it out to be, but it’s not a good film by any stretch of the imagination. It’s barely 80-minutes long, so it has a relatively quick pace and the kills are solid. But the story is seriously lacking as there are elements that literally go nowhere; Lila’s backstory about why she’s so quiet doesn’t add much of anything other than a reason for her to never leave a padded cell when and if a sequel to this is ever made.
The problem now is that the successful film formula revolves around nostalgia, rehashing familiar sequences and storylines, and bringing back survivors for one final confrontation. This has all proven to crush the box office, especially during the pandemic. This results in there being no originality or creativity anymore; it’s just a repetition of what we’ve already seen. Until Leatherface can get a fresh face to wear, the Texas Chainsaw Massacre franchise is doomed to run in circles with a sputtering chainsaw on a mostly deserted road no one wants to travel down.
Dante (Jacob Latimore, Detroit) and Melody (Sarah Yarkin, Happy Death Day 2U) are business partners with somewhat of an impressive internet following. Dante is a chef who is looking to expand and Harlow is just the type of remote town to do it in. Melody’s teenage sister Lila (Elsie Fisher, Eighth Grade) and Dante’s fiancé Ruth (Nell Hudson) have tagged along mostly for emotional support.
With bank investors on the way to scout the location, the young foursome discovers a dilapidated orphanage with an old woman (Alice Krige, Gretel & Hansel) still living inside along with the last of what she refers to as, “her boys.” Dante and his friends awaken the mostly dormant monster known as Leatherface. Sally Hardesty (Olwen Fouéré) has been searching for Leatherface since he killed her friends all those years ago and now she can finally have the vengeful closure that she deserves.
The Texas Chainsaw Massacre franchise is mostly trash. Leatherface has gotten the manure treatment outside of the original film, the 2003 remake, and maybe the 1986 sequel. The timeline is as messy and inconsistent as Halloween as whatever takes place behind the scenes between sequels, remakes, and reboots all seems to result in lackluster or sometimes atrocious outings for one of the most recognizable horror movie icons.
This new film can’t seem to decide what it wants to be. Sally is brought back for a half-hearted cameo as she does nothing but wear a cowboy hat, stare at a picture, cock a shotgun, and gut a pig. She’s meant to be the connection between this film and the original and it just doesn’t work. Texas Chainsaw Massacre also just seems to lift aspects from the original film as well as other non-genre films without ever offering its audience anything original or actually worthwhile.
The ending is basically lifted directly from the original as is the aspect of a group of young people running into trouble on a road trip far away from home. It’s young, city outsiders versus born-and-bred country veterans. The film also has a weird amount of homage to Terminator 2 (Melody’s leg wound and the shotgun blasts to Leatherface by the water being similar to Sarah Connor’s showdown with the T-1000 near the end of T2). It also feels like it’s trying to capitalize on the success Halloween has had since it follows a similar format (making a direct sequel to the original film decades later).
On the bright side, the kills and the gore are mostly satisfying. The wrist breaking scene followed by being stabbed in the neck with the broken bone is gnarly. There’s a brutal head smashing scene with a hammer and the bus sequence is essentially horror movie fan heaven even if the setup and dialogue in said sequence is awful. The swinging door kill feels like it could have been better than it was since it covers up more than it reveals. You can either leave the brutality to the audience’s imagination or show everything in its nasty and gruesome glory; trying to do both in the same sequence just results in disappointment.
You can make the argument that you watch a film like this for the gore and not the story anyway, but that isn’t the point. When there’s this much of a wait between new entries fans deserve better. The frustrating aspect is that Fede Alvarez and Rodo Sayagues are capable of providing a worthwhile story along with the blood and guts because they gave it to us with Evil Dead. There’s nothing here worth the nine year gap between this and the last Texas Chainsaw film (Texas Chainsaw 3D) or the five year gap between this and Leatherface. When it’s not recycling gags from the original film or borrowing from other franchises, it’s just young people being dumb for the sake of a cheap scare or kill.
Texas Chainsaw Massacre isn’t as unwatchable as some reviews are making it out to be, but it’s not a good film by any stretch of the imagination. It’s barely 80-minutes long, so it has a relatively quick pace and the kills are solid. But the story is seriously lacking as there are elements that literally go nowhere; Lila’s backstory about why she’s so quiet doesn’t add much of anything other than a reason for her to never leave a padded cell when and if a sequel to this is ever made.
The problem now is that the successful film formula revolves around nostalgia, rehashing familiar sequences and storylines, and bringing back survivors for one final confrontation. This has all proven to crush the box office, especially during the pandemic. This results in there being no originality or creativity anymore; it’s just a repetition of what we’ve already seen. Until Leatherface can get a fresh face to wear, the Texas Chainsaw Massacre franchise is doomed to run in circles with a sputtering chainsaw on a mostly deserted road no one wants to travel down.