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Jon Savage recommended Rebel Without a Cause (1955) in Movies (curated)
Heather Cranmer (2721 KP) rated In a Dark, Dark Wood in Books
Jul 9, 2019
I've been a fan of Ruth Ware since I read The Death of Mrs. Westaway. Actually, what really made me love Ruth Ware was her book The Lying Game. When I came across In a Dark, Dark Wood, I was intrigued to say the least. I'm glad I decided to read this book because I believe it's Ruth Ware's best novel out of the four I've read.
Leonora, or Nora as she likes to be called, receives an email inviting her to Clare's hen do (bachelorette party). Nora and Clare used to be the best of friends, but that was 10 years ago. Nora is a bit wary of the invite, but when her friend Nina is invited and says she'll go if Nora goes, Nora agrees. Nora finds out who Clare is marrying, and it seems like things go from bad to worse including Nora being injured and others being hurt. Nora must find piece together what happened at Clare's hen do in order to figure out the mystery behind everything. There's only one problem. She can't remember what actually happened that night.
The plot really sucked me in right from the beginning. I was wondering why Nora would be invited to someone's hen do that she hasn't seen or spoken with in over 10 years. I also had to understand why Nora would even be interested in going considering it had been so long. I don't think I would have went. However, the whole plot fascinated me. I had to know the motives of everyone. I felt like everyone was a suspect, and I was scrutinizing every little detail. There are some plot twists, and a few of them are predictable, but I still loved In a Dark, Dark Wood. I also loved the fact that there were no cliff hangers, and all of my questions were answered by the end of the book. One thing that did feel a bit improbable but not impossible was how Nora and her ex-boyfriend James ended things when they were teenagers. I have a hard time believing that not one of them would have reached out to the other in the whole ten years they had not seen each other especially right after their break up with what happened. Like I said, I guess it is possible to go without speaking to each other after that, but when something that major happens between a couple (I don't want to give the major thing away due to spoilers), I would have thought there would be more talking at some point.
I felt the characters were well written and had enough depth to the them to feel realistic. I enjoyed the character of Nora. All I can say is with what goes wrong for her makes me glad that I've never been in her position. I admired her desire to find out the truth even if it meant getting herself in trouble. However, sometimes I couldn't understand her reasoning behind some things such as wanting to go to someone's hen do that she hasn't seen or spoken to in ten years! Perhaps other people would go out of curiosity, but I would have just noped out of that. Also, what I mentioned in the previous paragraph about her not speaking to her ex even though there was something major that happened in their relationship. However, I really did like Nora. I had a love/hate relationship with Nina. Sometimes I liked her but other times she came across as too mean. I know that was just meant to be her personality, but I just had a hard time figuring her out. Flo was definitely a character. It was as if she was in love with Clare! She was obsessed with Clare and very high strung. I felt like Flo had some mental problems going on and needed help with them ASAP. I never knew if I should trust Flo or not. Clare seemed like she had changed from her school days when she was manipulative and selfish. I wish Clare would have been more of a forefront character throughout the book, but she felt like a minor character. Tom was definitely an interesting character to say the least. I did really like him, but I also questioned his motives.
I very much enjoyed the pacing for In a Dark, Dark Wood. The pacing flowed smoothly from the very first page. I never once felt like it slowed down at all. I was left hanging on every word.
Trigger warnings for In a Dark, Dark Wood include drinking, smoking, drug use, profanity, mentions of sex although not graphic, violence, gun violence, and death.
All in all, In a Dark, Dark Wood was a fantastic read! I enjoyed every second of the book, and I felt so empty after it ended because it was over. It had all the makings of a great book such as an interesting plot and fantastic characters. I would definitely recommend In a Dark, Dark Wood by Ruth Ware to those aged 17+ that love psychological thrillers and those who want to be sucked into a book from the very first sentence.
Leonora, or Nora as she likes to be called, receives an email inviting her to Clare's hen do (bachelorette party). Nora and Clare used to be the best of friends, but that was 10 years ago. Nora is a bit wary of the invite, but when her friend Nina is invited and says she'll go if Nora goes, Nora agrees. Nora finds out who Clare is marrying, and it seems like things go from bad to worse including Nora being injured and others being hurt. Nora must find piece together what happened at Clare's hen do in order to figure out the mystery behind everything. There's only one problem. She can't remember what actually happened that night.
The plot really sucked me in right from the beginning. I was wondering why Nora would be invited to someone's hen do that she hasn't seen or spoken with in over 10 years. I also had to understand why Nora would even be interested in going considering it had been so long. I don't think I would have went. However, the whole plot fascinated me. I had to know the motives of everyone. I felt like everyone was a suspect, and I was scrutinizing every little detail. There are some plot twists, and a few of them are predictable, but I still loved In a Dark, Dark Wood. I also loved the fact that there were no cliff hangers, and all of my questions were answered by the end of the book. One thing that did feel a bit improbable but not impossible was how Nora and her ex-boyfriend James ended things when they were teenagers. I have a hard time believing that not one of them would have reached out to the other in the whole ten years they had not seen each other especially right after their break up with what happened. Like I said, I guess it is possible to go without speaking to each other after that, but when something that major happens between a couple (I don't want to give the major thing away due to spoilers), I would have thought there would be more talking at some point.
I felt the characters were well written and had enough depth to the them to feel realistic. I enjoyed the character of Nora. All I can say is with what goes wrong for her makes me glad that I've never been in her position. I admired her desire to find out the truth even if it meant getting herself in trouble. However, sometimes I couldn't understand her reasoning behind some things such as wanting to go to someone's hen do that she hasn't seen or spoken to in ten years! Perhaps other people would go out of curiosity, but I would have just noped out of that. Also, what I mentioned in the previous paragraph about her not speaking to her ex even though there was something major that happened in their relationship. However, I really did like Nora. I had a love/hate relationship with Nina. Sometimes I liked her but other times she came across as too mean. I know that was just meant to be her personality, but I just had a hard time figuring her out. Flo was definitely a character. It was as if she was in love with Clare! She was obsessed with Clare and very high strung. I felt like Flo had some mental problems going on and needed help with them ASAP. I never knew if I should trust Flo or not. Clare seemed like she had changed from her school days when she was manipulative and selfish. I wish Clare would have been more of a forefront character throughout the book, but she felt like a minor character. Tom was definitely an interesting character to say the least. I did really like him, but I also questioned his motives.
I very much enjoyed the pacing for In a Dark, Dark Wood. The pacing flowed smoothly from the very first page. I never once felt like it slowed down at all. I was left hanging on every word.
Trigger warnings for In a Dark, Dark Wood include drinking, smoking, drug use, profanity, mentions of sex although not graphic, violence, gun violence, and death.
All in all, In a Dark, Dark Wood was a fantastic read! I enjoyed every second of the book, and I felt so empty after it ended because it was over. It had all the makings of a great book such as an interesting plot and fantastic characters. I would definitely recommend In a Dark, Dark Wood by Ruth Ware to those aged 17+ that love psychological thrillers and those who want to be sucked into a book from the very first sentence.
Bob Mann (459 KP) rated Guardians of the Galaxy Vol. 2 (2017) in Movies
Sep 29, 2021
Groot Expectations.
James Gunn is back writing and directing the sequel to his surprise 2014 summer hit. And it might be a fresh mix tape slammed into the Walkman, but it’s much of the same again. Not that that’s necessarily a bad thing.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.
In terms of the story, it’s almost a remake of the worst Star Trek film ever made! However, this time its all done for ‘laffs’ and so works much, much better. We join Quill (Chris Pratt, “Jurassic World“), Gamora (Zoe Saldana, “Star Trek Beyond“), Drax (Dave Bautista, “Spectre“) and Rocket (the voice of Bradley Cooper) ‘ever ready’ (LOL) to save the priceless Anulax batteries of their current employees, the Sovereigns, from the ravages of some multi-dimensional being. ‘Helping’ them is Baby Groot, a twig off the old branch from the first film, again voiced (in what must be the easiest money in Hollywood) by Vin Diesel (“Fast and Furious 8“).
The Sovereign’s High Priestess (Elizabeth Debicki, “The Man From U.N.C.L.E.“) provides payment to Gamora in the form of her chained-up evil sister Nebula (a deliciously sulky Karen Gillen, “Dr Who”, “Oculus”) but is then less than impressed when the mercenary Rocket pockets a knapsack full of the batteries. So starts a chase across the galaxy leading Quill to meet Ego (Kurt Russell, “The Hateful 8“) on the planet Ego (LOL) at the very base of his family tree.
The great thing about these films is that they don’t even TRY to be realistic. Characters get towed behind crashing spaceships and – literally- dragged through a wood backwards; others fall hundreds of feet to certain death… no, sorry, a “superhero landing”; and planets and characters are painted with a garishness never ever to be found in nature. You’ll even believe Kurt Russell is 18 again – oh that these effects were available on the NHS!
But the other saving grace for this film is the soundtrack, put together by Tyler Bates as an ode to the 80’s, with wonderful tracks by ELO, Fleetwood Mac, Cat Stevens and a host of others. The film matches the music with the action superbly.
I won’t bother commenting on the acting… who cares with this sort of film! But everyone seems to have fun with Michael Rooker (“Cliffhanger”) being particularly good in reprising his role of Yondu. There are also a wealth of memorable cameos, some of them being laugh out loud moments. While some of the pop culture references might go over a younger audience’s heads, there are still enough great one-liners and comic moments to provide general appeal. Bad guys silhouetted against the moon, ET style, was particularly memorable.
One criticism I would have though is that it’s just too darn long for an “action comedy”. The original film just about scraped into my good books by coming in under the two hour curfew. The sequel however adds another 15 minutes, which should have found its way either onto the cutting room floor or onto the “Blu Ray collector’s edition”. In particular, the final never-ending showdown of CGI manicness went on too long for my liking.
Looking back at the original 2014 review, I gave it a rather stingy FFF rating, which in retrospect I think was a bit mean given its novelty. This time the novelty has worn off, but if anything this is an even more enjoyable romp that the first outing.
James Gunn be warned though: I am unlikely to be so generous with “Guardians of the Galaxy Vol 3” (as threatened) which in my view might be a trip too far for this franchise. My advice would be to take a leaf out of Peter Kay’s “Car Share” book and quit while you’re ahead.
By the way, for those who are interested, the film had a reported budget of $200 million (an impressive “BvS quotient” of 80%!) and the end titles have four “monkeys“, with a humorous reprise of Stan Lee’s astronaut.
Eilidh G Clark (177 KP) rated Dirt Road in Books
May 13, 2017
Kelman is an expert in understanding people
Kelman’s new novel Dirt Road is story that takes both characters and reader on a journey right from the outset, but the journey is more than it seems. The novel begins in the West coast of Scotland where we learn that Murdo - a sixteen-year-old boy - and his father Tom are mourning the death of their mother/wife and sister/daughter. Searching for solace, they embark on a journey to Alabama, U.S.A to spend time with Uncle John and Aunt Maureen. For Murdo, family is just a happy memory, a moment in time captured in a photograph, ‘The family was four and not just him and Dad’, whilst for Tom, family is the bond that holds them together. Throughout the journey, Tom strives to guide his son and keep him on ‘the right path’, yet Murdo, as we will learn, has a path of his own to find. Stifled by the fathers influence, the boy has a tendency to stray, thus when they reach Allentown Mississippi, Murdo stumbles upon a family of musicians led by Zydeco performer Queen Monzee-ay. Murdo is as drawn to music as his father is to family, the boy himself is an accomplished accordion player, and when he is offered an opportunity to play a set with Queen Monzee-ay in two weeks’ time, we watch as the road between father and son diverges and choice and risk becomes the key plot in the story.
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
Chris Sawin (602 KP) rated John Carpenter's Vampires (1998) in Movies
Jun 22, 2019
A group of eccentric vampire hunters lead by the rugged and cold-hearted Jack Crow (James Woods) never really stop working. Taking great pride in the fruits of their labor, they work hard and play even harder as their celebrations after a job well done consist of alcohol flowing freely and plenty of women to take their minds off of work. But this particular job didn't go exactly as planned and it's weighing heavily on the mind of Jack Crow. Even after killing what's referred to as a "nest" of nine vampires, the master was no where to be found. Hardly a reason to celebrate in Jack's eyes. Unfortunately, his gut instinct was right as things get a hell of a lot worse for Jack's team when the master shows up to their little shindig. But this master is different from the others; stronger, more powerful, and why does he know Jack's name? There's something more elaborate going on and Jack Crow is going to find out exactly what it is while eradicating as many vampires as he possibly can along the way.
Judging by the ratings this film has (34% fresh on Rotten Tomatoes, 5.8/10 on IMDb), I guess it's safe to say that this could be a guilty pleasure of mine. I love most of John Carpenter's work and I really enjoyed his take on vampires. Jack Crow is certainly reason alone to sit through this and although the character originated in John Steakley's novel, I feel Crow is just as strong of a character in Carpenter's world as Snake Plissken from Escape From New York. Even though he's basically a mean spirited SOB, you can't help but sympathize with the character as the film moves on. Considering all that's happened to him in his lifetime, he seems to be a decent guy deep down underneath that extremely thick and rough exterior. His dialogue was also a lot of fun. Gems such as him asking Father Adam Guiteau if he had wood after the fight they just had or when he's explaining the true mythos behind vampires and to "forget whatever you've seen in the movies" was just classic.
Other than Jack Crow, I actually really enjoyed the storyline which seemed to be a breaking point for a lot of people. A vampire seeking a black cross to finish a reverse exorcism, so he can walk in daylight without turning to dust. Only Carpenter could pull something like that off. Their methods of killing vampires were also a bit more original and unorthodox compared to other vampire films of the past. Jack Crow would shoot an arrow from a crossbow, which would be attached to a wire on the bottom of a jeep that would be reeled in by Daniel Baldwin's Anthony Montoya that would drag the vampire into the sunlight where their body would burst into flames. Maybe it's considered cheesy to some, but it was refreshing to see something different for a change. As big of a horror fan that I am, I don't really think of myself as a fan of vampires. I'm not sure if it's because I'm picky or because it seems like everything is being recycled when it comes to storylines in horror films these days, but I like to think when a vampire film does make an impact on me that it says more than the average horror film containing vampires.
John Carpenter, the master of horror, delivers a refreshing and interesting take on vampires with the aptly named Vampires. It also dawns another strong lead character in a Carpenter film in the form of Jack Crow and contains some of the most witty and enjoyable dialogue of any horror film from the late '90s. The storyline is also magnificently peculiar, which is a definite plus in my book. This would definitely make my list of favorite vampire films, if I ever decided to make one. If you're a fan of John Carpenter and haven't seen this gem, I highly recommend doing so. Or if you have, maybe it's time to dust it off and give it another watch.
Judging by the ratings this film has (34% fresh on Rotten Tomatoes, 5.8/10 on IMDb), I guess it's safe to say that this could be a guilty pleasure of mine. I love most of John Carpenter's work and I really enjoyed his take on vampires. Jack Crow is certainly reason alone to sit through this and although the character originated in John Steakley's novel, I feel Crow is just as strong of a character in Carpenter's world as Snake Plissken from Escape From New York. Even though he's basically a mean spirited SOB, you can't help but sympathize with the character as the film moves on. Considering all that's happened to him in his lifetime, he seems to be a decent guy deep down underneath that extremely thick and rough exterior. His dialogue was also a lot of fun. Gems such as him asking Father Adam Guiteau if he had wood after the fight they just had or when he's explaining the true mythos behind vampires and to "forget whatever you've seen in the movies" was just classic.
Other than Jack Crow, I actually really enjoyed the storyline which seemed to be a breaking point for a lot of people. A vampire seeking a black cross to finish a reverse exorcism, so he can walk in daylight without turning to dust. Only Carpenter could pull something like that off. Their methods of killing vampires were also a bit more original and unorthodox compared to other vampire films of the past. Jack Crow would shoot an arrow from a crossbow, which would be attached to a wire on the bottom of a jeep that would be reeled in by Daniel Baldwin's Anthony Montoya that would drag the vampire into the sunlight where their body would burst into flames. Maybe it's considered cheesy to some, but it was refreshing to see something different for a change. As big of a horror fan that I am, I don't really think of myself as a fan of vampires. I'm not sure if it's because I'm picky or because it seems like everything is being recycled when it comes to storylines in horror films these days, but I like to think when a vampire film does make an impact on me that it says more than the average horror film containing vampires.
John Carpenter, the master of horror, delivers a refreshing and interesting take on vampires with the aptly named Vampires. It also dawns another strong lead character in a Carpenter film in the form of Jack Crow and contains some of the most witty and enjoyable dialogue of any horror film from the late '90s. The storyline is also magnificently peculiar, which is a definite plus in my book. This would definitely make my list of favorite vampire films, if I ever decided to make one. If you're a fan of John Carpenter and haven't seen this gem, I highly recommend doing so. Or if you have, maybe it's time to dust it off and give it another watch.
Bob Mann (459 KP) rated If Beale Street Could Talk (2018) in Movies
Sep 28, 2021
Love and Rage against the machine.
The baby asked,
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.