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Bong Mines Entertainment (15 KP) rated VOLUME 1 by Tash in Music
Sep 2, 2019
Tash is a talented singer-songwriter and gifted musician from Australia. Not too long ago, she released a music video for her lovely single, entitled, “The Signs”.
“I wrote ‘The Signs’ in a similar headspace to the way I wrote ‘DREAMING’. It’s about feeling suspicious that omens exist and that maybe I’d done something to deserve my own misfortune. I don’t actually believe in any of that stuff, but at the time I’d probably had a weird week and started wondering if opening umbrellas indoors is the cause of it.” – Tash
The audiovisual, equipped with a classic ‘80s flare, opt for sprinkles of VHS frames and subtle animation.
Also, the music video follows a relaxed Tash as she travels sonically through the bustling city at nighttime.
‘The Signs’ is featured on Tash’s latest EP, entitled, “VOLUME 1”. The likable 5-track project contains her previously released tune, entitled, “What a Lovely Mess”.
“Tash is such a prolific songwriter and we feel that anyone who listens to the EP is going to have a very special listening experience” – producer of the EP, Mark J Feist (Beyoncé, Mary J. Blige, John Legend, Little Mix)
Tash was discovered by multi-platinum record producer and songwriter Mark J. Feist on Instagram.
She started by posting acoustic covers of popular songs and has since reached over 800K impressions a week.
Tash has quickly established herself as one of this year’s most exciting artists to watch.
She was born into a musical family to a guitar-teaching mother and bass-playing father.
At such a young age, she has sold out numerous shows including performances at Soho House NYC, Sayers Club Los Angeles, Peppermint Club, and Hotel Cafe.
So far, her music has amassed over 80M streams and garnered over 12M views online across various social media platforms.
“I’m questioning the way it works what did I do to deserve this change of rhythm so bitter, I’m getting butthurt about almost everything, it’s unsettling. Focus on better things. Stop, stop hiding in your euphemisms, believing your superstition, following your intuition ain’t always so good for you. I know if you bring bad, the bad will come to you. That doesn’t mean that all the black cat bullsh*t is actually true, nah. Don’t need my fortune told to tell me I’ve got unrequited love. I’ve got issues with my trust. I’ve got a conscience. That’s enough for me to think that’s enough for me.” – lyrics, “The Signs”
Tash is the first artist to ever perform on the roof at the Facebook Campus.
Her songs have been added to over 20+ Spotify, Amazon, and Apple playlists.
Also, she was placed on the Apple Music homepage in the USA as well as featured in their Swipe Up viral campaign.
“I wrote ‘The Signs’ in a similar headspace to the way I wrote ‘DREAMING’. It’s about feeling suspicious that omens exist and that maybe I’d done something to deserve my own misfortune. I don’t actually believe in any of that stuff, but at the time I’d probably had a weird week and started wondering if opening umbrellas indoors is the cause of it.” – Tash
The audiovisual, equipped with a classic ‘80s flare, opt for sprinkles of VHS frames and subtle animation.
Also, the music video follows a relaxed Tash as she travels sonically through the bustling city at nighttime.
‘The Signs’ is featured on Tash’s latest EP, entitled, “VOLUME 1”. The likable 5-track project contains her previously released tune, entitled, “What a Lovely Mess”.
“Tash is such a prolific songwriter and we feel that anyone who listens to the EP is going to have a very special listening experience” – producer of the EP, Mark J Feist (Beyoncé, Mary J. Blige, John Legend, Little Mix)
Tash was discovered by multi-platinum record producer and songwriter Mark J. Feist on Instagram.
She started by posting acoustic covers of popular songs and has since reached over 800K impressions a week.
Tash has quickly established herself as one of this year’s most exciting artists to watch.
She was born into a musical family to a guitar-teaching mother and bass-playing father.
At such a young age, she has sold out numerous shows including performances at Soho House NYC, Sayers Club Los Angeles, Peppermint Club, and Hotel Cafe.
So far, her music has amassed over 80M streams and garnered over 12M views online across various social media platforms.
“I’m questioning the way it works what did I do to deserve this change of rhythm so bitter, I’m getting butthurt about almost everything, it’s unsettling. Focus on better things. Stop, stop hiding in your euphemisms, believing your superstition, following your intuition ain’t always so good for you. I know if you bring bad, the bad will come to you. That doesn’t mean that all the black cat bullsh*t is actually true, nah. Don’t need my fortune told to tell me I’ve got unrequited love. I’ve got issues with my trust. I’ve got a conscience. That’s enough for me to think that’s enough for me.” – lyrics, “The Signs”
Tash is the first artist to ever perform on the roof at the Facebook Campus.
Her songs have been added to over 20+ Spotify, Amazon, and Apple playlists.
Also, she was placed on the Apple Music homepage in the USA as well as featured in their Swipe Up viral campaign.
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Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
Merissa (12069 KP) rated Gabriel (Legacy Ranch #2) in Books
Aug 17, 2017
Gabriel (Legacy Ranch #2) by R.J. Scott
Gabriel is the second book in the Legacy Ranch series, and we find out a bit more about the young man who cried at the trial that happened in book one. His life hasn't been a good one so far, but he is broken enough that he thinks it is just fine. He lives with his pimp, Stefan, who controls every aspect of his life, and makes Gabriel pay for any misdemeanours that Stefan thinks has happened, or that he has just made up because he's not having a good day. Stefan has managed to get into Gabriel's mind and twist things around so that Gabriel is actually thankful for all that Stefan does for him.
Cam, on the other hand, appears to have it all. He runs a successful hotel, has plenty of money, and even has a bodyguard. Things must be good, right? Wrong! Cam's family, with the odd exception, are a bunch of BEEP, condescending, BEEP, know-it-alls, who think that just because Cam is losing his sight, he must be losing all of his faculties too. His father, well, enough said about him!
Cam and Gabriel end up together on a purely business level. Cam needs someone to pretend to be with him, Gabriel wants the money. However, feelings quickly become involved, and then it's anyone's guess. Six tries to tell Cam not to get involved, but Cam pays no attention. Their road is anything but smooth, but luckily the folks at Legacy Ranch are there to help... once Gabriel lets them in.
This is a dark book, with dark topics and it's not a HEA situation full of rainbows and glitter. This is hard, and horrible, and may be a trigger book for some readers. There is light at the end of the tunnel for Gabriel though, and I really hope that he will feature in the next book, just so I can see what progress he's made.
Gabriel is extremely well written, with no editing or grammatical errors that disrupted my reading flow. Like I've already said, it's not an easy book to read, but it is definitely worth it. I would also say that it isn't fully necessary to have read book one in this series, or indeed the Texas series which is where we first meet Jack and Riley. This book does stand on it's own merit, but personally I would recommend reading Kyle at the minimum, just to give you a feeling of what the Legacy Ranch series is about.
If you like your M/M Romance with angst, then I can definitely recommend this book/series. Just remember the trigger warnings!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Cam, on the other hand, appears to have it all. He runs a successful hotel, has plenty of money, and even has a bodyguard. Things must be good, right? Wrong! Cam's family, with the odd exception, are a bunch of BEEP, condescending, BEEP, know-it-alls, who think that just because Cam is losing his sight, he must be losing all of his faculties too. His father, well, enough said about him!
Cam and Gabriel end up together on a purely business level. Cam needs someone to pretend to be with him, Gabriel wants the money. However, feelings quickly become involved, and then it's anyone's guess. Six tries to tell Cam not to get involved, but Cam pays no attention. Their road is anything but smooth, but luckily the folks at Legacy Ranch are there to help... once Gabriel lets them in.
This is a dark book, with dark topics and it's not a HEA situation full of rainbows and glitter. This is hard, and horrible, and may be a trigger book for some readers. There is light at the end of the tunnel for Gabriel though, and I really hope that he will feature in the next book, just so I can see what progress he's made.
Gabriel is extremely well written, with no editing or grammatical errors that disrupted my reading flow. Like I've already said, it's not an easy book to read, but it is definitely worth it. I would also say that it isn't fully necessary to have read book one in this series, or indeed the Texas series which is where we first meet Jack and Riley. This book does stand on it's own merit, but personally I would recommend reading Kyle at the minimum, just to give you a feeling of what the Legacy Ranch series is about.
If you like your M/M Romance with angst, then I can definitely recommend this book/series. Just remember the trigger warnings!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Phillip McSween (751 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 13, 2019
Great Mystery
A strange mystery unfolds at a seedy motel that resides on the border of California and Nevada.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The cinematics of Bad Times At the El Royale are both vibrant and dark at the same time. The El Royale hotel itself is captured in a nostalgic sense where you get the feel that it’s full of history and not all good history either. There is a seedy undertone that’s unshakeable throughout. I love how director Drew Goddard plays with different elements like rain and close spaces. The two-way mirror scenes definitely increase the intensity of the film. There is so much to appreciate here, I will probably have to watch this again to get the full grasp.
Conflict: 7
While the film definitely could have used more action, the scenes that do exist are pretty solid. It leaves you guessing as you have no idea how things are going to play out. Who will die next? Will this person find what they’re looking for? The conflict is not always driven through direct action, but tension as well. There is one scene in particular involving Jeff Bridges, Cynthia Erivo, and Dakota Johnson that is easily my favorite in the entire movie.
Genre: 9
The characters really contribute in making this a strong mystery. Most times, it’s hard to tell up from down and you get just a little bit closer as you learn the backstory of each of the motel residents. From beginning to end, you wonder how things will ultimately play out amongst the group. Clever twists and turns along the way help to give the film life.
Memorability: 8
Never quite seen anything like it which makes Bad Times memorable in and of itself. It all goes back to the one scene I mentioned above, a scene that paralyzed me and had me on the edge of my seat. It was masterfully crafted and I can think of about three other scenes (at least) that come almost as close. Much discussion was had on the drive home.
Pace: 7
Although the twists keep things interesting the movie does get slow in some spots. It’s almost like it’s lulling you to sleep before picking up the pace yet again, like a car shifting gears. Some may have balked at the singing interludes, but I welcomed them. Erivo’s voice is captivating and heartwarming.
Plot: 10
Great storytelling here filled with intrigue and misdirection. From beginning to end, I felt pretty entertained for the most part. Watching everything unfold and all the stories collide was a definite treat.
Resolution: 10
Overall: 91
Great beginning that hooks you immediately. A shady cast of characters. Solid performances from the likes of Bridges and Chris Hemsworth. Solid ending. Bad Times At the El Royale is an awesome movie that is well worth your time.
Acting: 10
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The cinematics of Bad Times At the El Royale are both vibrant and dark at the same time. The El Royale hotel itself is captured in a nostalgic sense where you get the feel that it’s full of history and not all good history either. There is a seedy undertone that’s unshakeable throughout. I love how director Drew Goddard plays with different elements like rain and close spaces. The two-way mirror scenes definitely increase the intensity of the film. There is so much to appreciate here, I will probably have to watch this again to get the full grasp.
Conflict: 7
While the film definitely could have used more action, the scenes that do exist are pretty solid. It leaves you guessing as you have no idea how things are going to play out. Who will die next? Will this person find what they’re looking for? The conflict is not always driven through direct action, but tension as well. There is one scene in particular involving Jeff Bridges, Cynthia Erivo, and Dakota Johnson that is easily my favorite in the entire movie.
Genre: 9
The characters really contribute in making this a strong mystery. Most times, it’s hard to tell up from down and you get just a little bit closer as you learn the backstory of each of the motel residents. From beginning to end, you wonder how things will ultimately play out amongst the group. Clever twists and turns along the way help to give the film life.
Memorability: 8
Never quite seen anything like it which makes Bad Times memorable in and of itself. It all goes back to the one scene I mentioned above, a scene that paralyzed me and had me on the edge of my seat. It was masterfully crafted and I can think of about three other scenes (at least) that come almost as close. Much discussion was had on the drive home.
Pace: 7
Although the twists keep things interesting the movie does get slow in some spots. It’s almost like it’s lulling you to sleep before picking up the pace yet again, like a car shifting gears. Some may have balked at the singing interludes, but I welcomed them. Erivo’s voice is captivating and heartwarming.
Plot: 10
Great storytelling here filled with intrigue and misdirection. From beginning to end, I felt pretty entertained for the most part. Watching everything unfold and all the stories collide was a definite treat.
Resolution: 10
Overall: 91
Great beginning that hooks you immediately. A shady cast of characters. Solid performances from the likes of Bridges and Chris Hemsworth. Solid ending. Bad Times At the El Royale is an awesome movie that is well worth your time.
Darren (1599 KP) rated Goldfinger (1964) in Movies
Nov 7, 2019
Characters – James Bond is the guy we know, he breaks into hotel rooms to sleep with women, uses his charm to seduce others. This time he starts his own investigation into a mysterious smuggler, getting up close and personal to him hoping to let the rest of team to follow the trails he leaves. Goldfinger is a competitive gold smuggler who has grabbed the attention of the governments across the globe, we learn early on that he will kill the people that cross him including leaving his trademark gold paint behind, his latest job will see him take on the world’s biggest gold reserve. Pussy Galore is a pilot that is instrumentally to Goldfinger’s plans which will includes her skill set. Oddjob is the henchman for Goldfinger, he uses his hat to kill people, making him one of the first and most memorable of all of the henchmen.
Performances –Sean Connery in the leading role once again is good for the most part, he has the charm needed for the whole film. Gert Frobe brings us a different type of villain to the franchise, he makes the character seem likable on the outside while having his motive kept below a smile. Honor Blackman does a solid job even if for some reason we get a total of three bond girls in this film. Harold Sakata brings us the first truly memorable henchman which soon became the key to the success of the Bond franchise.
Story – The story here puts James Bond on his latest mission, this time there isn’t a connection to the previous two like the last two and this is refreshing because this being a solo story we get to see how James operates. The negatives in the story come from seeing him so close to the villain for most of the film with most of the film being him trying to get a message out about where he is. It is strange though because I did enjoy this one more than the last two because this is one that can be picked up without needing to see anything in the franchise before. Simply put this is one that can be enjoyed as a casual viewer because of how simple the story unfolds.
Action/Adventure – The action in this film does feel toned down from the previous films, simple enough action related material, while the adventure does take Bond around the world next to the Goldfinger.
Settings – We get plenty of settings which all relate to the idea of where you would find gold, this is perfect for the idea the film is needed.
Scene of the Movie – Oddjob.
That Moment That Annoyed Me – The final twist
Final Thoughts – This is one of the fun James Bond movies, it isn’t connected to the rest of the franchise which does help make it enjoyable.
Overall: Fun Bond movie.
Performances –Sean Connery in the leading role once again is good for the most part, he has the charm needed for the whole film. Gert Frobe brings us a different type of villain to the franchise, he makes the character seem likable on the outside while having his motive kept below a smile. Honor Blackman does a solid job even if for some reason we get a total of three bond girls in this film. Harold Sakata brings us the first truly memorable henchman which soon became the key to the success of the Bond franchise.
Story – The story here puts James Bond on his latest mission, this time there isn’t a connection to the previous two like the last two and this is refreshing because this being a solo story we get to see how James operates. The negatives in the story come from seeing him so close to the villain for most of the film with most of the film being him trying to get a message out about where he is. It is strange though because I did enjoy this one more than the last two because this is one that can be picked up without needing to see anything in the franchise before. Simply put this is one that can be enjoyed as a casual viewer because of how simple the story unfolds.
Action/Adventure – The action in this film does feel toned down from the previous films, simple enough action related material, while the adventure does take Bond around the world next to the Goldfinger.
Settings – We get plenty of settings which all relate to the idea of where you would find gold, this is perfect for the idea the film is needed.
Scene of the Movie – Oddjob.
That Moment That Annoyed Me – The final twist
Final Thoughts – This is one of the fun James Bond movies, it isn’t connected to the rest of the franchise which does help make it enjoyable.
Overall: Fun Bond movie.
Piper (13 KP) rated Doctor Sleep (2019) in Movies
Nov 27, 2019
Impressive Casting (2 more)
Excellent Ending
Beautifully Shot
Ridiculous Running Time (1 more)
Low On Scares
Doctor Sleep: The Long Haul
Contains spoilers, click to show
Watch enough horror movies, and you develop a certain tolerance: that said, I don't think you'd have to watch many to see this film and still not be scared. There are a couple of grisly moments, and Flanagan does an excellent job of building tension, but I had the feeling coming out of this film that I hadn't just seen a horror film at all. And I think that might have been the point: this was more about the story than the scares.
The story, overall, was well-adapted. About two-thirds of the way in the film really starts to veer off the path the book had laid out, but what it does with that last third is probably the best part of the movie. Spoilers follow: the end of Kubrick's "The Shining" left the Overlook Hotel intact (if a little sad) rather than burning it down as in the novel. Mike Flanagan does two things with this film, both adapting the novel and following on from Kubrick's film, and the Overlook features heavily in this ending and wraps up the Shining story quite nicely. In fact it seems the main purpose of the ending was to do justice to Stephen King's original vision, and in honesty it's a better ending than that of the novel.
Where "The Shining" largely ignored character's motivations and development and treated them essentially as set-pieces, "Doctor Sleep" spends far too long bringing them together. The characters are expertly cast, and Ewan McGregor almost takes a back-seat to let Kyleigh Curran's Abra shine (pun intended). Interactions are played off nicely and there's a self-referential cameo from Flanagan's other King adaptation that doesn't feel too shoe-horned in. The characters that are obviously just there to die die rather obviously, and one in particular serves purely as motivation for another to keep on fightin'. The acting itself excels, with a star turn by Rebecca Ferguson. The issue is that it simply could have been half an hour shorter, with half an hour less build-up. By the end of the movie I was just glad we had finally returned to the Overlook and things were starting to really happen.
The film is shot beautifully, and where scenes or characters from "The Shining" are re-created or referenced it's done with a great amount of care. I might have been the only one that found Rose flying above the clouds a little naff, but I still have to admit it was at least shot nicely. Overall, this was a brilliant film that could just have benefitted from a little trimming down, but Flanagan clearly cared about these characters and wanted us to feel for them and I think he certainly achieved that - and I have to stress again how ridiculously impressed I was with the ending.
The story, overall, was well-adapted. About two-thirds of the way in the film really starts to veer off the path the book had laid out, but what it does with that last third is probably the best part of the movie. Spoilers follow: the end of Kubrick's "The Shining" left the Overlook Hotel intact (if a little sad) rather than burning it down as in the novel. Mike Flanagan does two things with this film, both adapting the novel and following on from Kubrick's film, and the Overlook features heavily in this ending and wraps up the Shining story quite nicely. In fact it seems the main purpose of the ending was to do justice to Stephen King's original vision, and in honesty it's a better ending than that of the novel.
Where "The Shining" largely ignored character's motivations and development and treated them essentially as set-pieces, "Doctor Sleep" spends far too long bringing them together. The characters are expertly cast, and Ewan McGregor almost takes a back-seat to let Kyleigh Curran's Abra shine (pun intended). Interactions are played off nicely and there's a self-referential cameo from Flanagan's other King adaptation that doesn't feel too shoe-horned in. The characters that are obviously just there to die die rather obviously, and one in particular serves purely as motivation for another to keep on fightin'. The acting itself excels, with a star turn by Rebecca Ferguson. The issue is that it simply could have been half an hour shorter, with half an hour less build-up. By the end of the movie I was just glad we had finally returned to the Overlook and things were starting to really happen.
The film is shot beautifully, and where scenes or characters from "The Shining" are re-created or referenced it's done with a great amount of care. I might have been the only one that found Rose flying above the clouds a little naff, but I still have to admit it was at least shot nicely. Overall, this was a brilliant film that could just have benefitted from a little trimming down, but Flanagan clearly cared about these characters and wanted us to feel for them and I think he certainly achieved that - and I have to stress again how ridiculously impressed I was with the ending.