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Matthew Krueger (10051 KP) rated The Mummy (1932) in Movies

Oct 8, 2019 (Updated Mar 4, 2020)  
The Mummy (1932)
The Mummy (1932)
1932 | Classics, Horror
8
8.0 (12 Ratings)
Movie Rating
Boris Karloff
The Mummy- is spooky, horrorfying, excellent, creepy and more . Boris Karloff is terrorfying as Ardath Bey / Imhotep / The Mummy. He is so creepy in this film, you will have nightmares.

The Plot: A team of British archaeologists led by Sir Joseph Whemple (Arthur Byron) discover the mummified remains of the ancient Egyptian prince Imhotep (Boris Karloff), along with the legendary scroll of Thoth. When one of the archaeologists recites the scroll aloud, Imhotep returns to life, but escapes. Several years later, Imhotep has taken on the guise of a wealthy man, as he searches Egypt for his lost love, who he believes has been reincarnated as the lovely Helen Grosvenor (Zita Johann).

I would highly reccordmend this movie.
  
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Becs (244 KP) rated The Crucible in Books

Oct 2, 2019  
The Crucible
The Crucible
7
7.6 (26 Ratings)
Book Rating
I absolutely love Arthur Miller and anything regarding witches/ the Salem Trials. So, the crucible for me is a five-star novel. Can we just take a moment to admire the writers of the 50’s and older as they don’t seem to be getting much hype lately? Like, literary classics are deemed school reads and not your typical everyday read. THIS NEEDS TO CHANGE.

Reading these in school and then giving them a reread five years after graduating, has shown a new light onto these novels. And has made me appreciate them more as a whole compared to when I read them in high school. If you haven’t read many literary classics, I recommend starting with something by Arthur Miller or George Orwell. Yes, they may be a bit hard to get into at first, but give it time. That’s the key when reading any book!

The Crucible by Arthur Miller

Genre: Literary Classic, Historical Fiction, Plays, Drama

Synopsis: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history,” Arthur Miller wrote of his classic play about the witch-hunts and trials in seventeenth-century Salem, Massachusetts. Based on historical people and real events, Miller’s drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town’s most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence.

Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy’s “witch-hunts” in the United States. Within the text itself, Miller contemplates the parallels, writing, “Political opposition… is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence.”

WIth an introduction by Christopher Bigsby.

Audience/ Reading Level: High School +

Interests: Plays, Drama, Witches, the Salem Trials, Arthur Miller, Literary Classics.

Point of View: Third Person Omniscient

Difficulty Reading: With every literary classic, you run into the problem of the first 30% of the novel being a bore or hard to get into. The Crucible was only a bore in parts but taking the novel as a whole, it was a pretty easy read.

Promise: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history.”

Insights: The Crucible is based on true events and Arthur Miller has a way of explaining everything that was wrong with the way people lived. I.E. Woman did not have rights until the early 1920’s. This didn’t stop some countries/states to still not allow the woman to have rights. But taking The Crucible into perspective, the women that were charged with witchcraft were unable to explain themselves to the men. The men believed the accusers either because they were sleeping with them or because they were their family. Luckily, nowadays we don’t have this extreme of situations but it still does exist. The Crucible teaches all of its readers, young or old, many valuable lessons that are sometimes hard to witness. Plus, Miller correlates the events in the Crucible to the anti-communist McCarthyism of the 1950s.

Favorite Quotes: “I speak my own sins; I cannot judge another. I have no tongue for it.”

“Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!”

“You are pulling down heaven and raising up a whore”

What will you gain: A love for another literary classic and a love for Arthur Miller if you do not already love his writing. Plus, a great historical read.

Aesthetics: The witches, the trials, the way people take sides, I mean I can’t say much more without giving spoilers away. We wouldn’t want that, now would we?

“It is rare for people to be asked the question which puts them squarely in front of themselves”
  
Inception (2010)
Inception (2010)
2010 | Crime, Sci-Fi, Thriller
Masterful visuals, including many practical effects wonders (1 more)
Extraordinary score by Hans Zimmer
Relationships bud in the film, but feel forced (1 more)
A few plot-holes, albeit none thoroughly distracting
Contains spoilers, click to show
With two of the most scathing reviews I’ve written under my belt, I figured it was time to write about my favorite movie of all time, Christopher Nolan’s “Inception.”
“Inception” revolves around Dom Cobb (Leonardo DiCaprio), a spy who uses military-grade technology and shared dreams to extract information from his marks. He and his team are unwittingly tested by their latest target, Mr. Saito (Ken Watanabe) for recruitment into a different kind of job: Inception, a type of job using the same skills and technology to implant an idea. In particular, Saito calls on Cobb to plant an idea on his business competitor, Robert Fischer (Cillian Murphy). In spite of his reluctancy about this type of job, Saito’s offer to clear Cobb of a murder charge sways Cobb in favor of taking the job.
Cobb gathers new help, including Ariadne (Ellen Page), an architect he finds capable of creating complex labyrinths. With the help of a deep sedative, the team is able to make Fischer have dreams within dreams within dreams, a method that makes the mark more receptive to the implanted idea. It comes with a cost, though: The dreams become more unstable as they continue going deeper into the dream world, and the sedative itself creates the risk of actual death within the dream.
First of all, let’s talk cast. Already, we’ve got four top-grade talents named, but we also have Joseph Gordon-Levitt as Arthur, Cobb’s point man, Tom Hardy as Eames, a forger, and additional roles filled by Marion Cotillard and Michael Caine. Nolan did not lack for talent in this one, and by gosh it shows.
Visually, “Inception” excels most with making the impossible as real as cinema can make it. Throughout the film, characters are able to manipulate the rules of the dream world, making for moments where fruit explodes, cities bend, and stairwells become endless. Beyond portraying the impossible, though, the film has to show the real world, too. In those scenes, an aesthetic that can’t exactly be placed takes over. The technology has a slightly retro-futuristic feel to it, while the fashion and settings rely on classic tastes. Even Hans Zimmer’s score, which samples from the work of vocalist Edith Piaf, contributes to the chronological ambiguity of the movie. By not being able to place the film’s setting in any particular year or even decade, it seems prepackaged to become a classic film.
Speaking of Zimmer, he’s is at his best with this score. The complexity of the film reflects in a layered score, and listening to it on its own is its own sort of treat. It’s one of those symphonic recordings that the listener will pick out something they never noticed before every time.
But even above the stellar cast and visuals that have inspired reality-bending sequences in films since, this film’s biggest success is its use of approachable themes and concepts to tell a story within a story. Nearly a decade after its initial release, fans have widely circulated the idea that “Inception” is a film about storytelling. Concepts as basic as nesting stories within stories play out many ways across the plot. It also plays with common experiences in dreams, turning experiences like the feeling of falling into tools for Cobb’s team to exploit. Essentially, if you can dream, you already have a primer in this film’s core principles.
It’s not without flaws, as no film is. Certain moments fail to hold up upon closer inspection. For instance, the relationship between Ariadne and Arthur comes across forced. Those moments aside, from its foreshadowing opening to its meaningfully open-ended ending, “Inception” is an absolute marvel.
  
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Sarah (7798 KP) created a post in Bookworms

Apr 3, 2018  
A couple of years ago Goodreads posted a list of their 100 Books to Read in a Lifetime, as voted by users. We may have moved on a little, but personally I think this list still stands.

What do you think? How many have you read?


1. To Kill a Mockingbird - Harper Lee
2. Pride and Prejudice - Jane Austen
3. The Diary of Anne Frank - Anne Frank
4. 1984 - George Orwell
5. Harry Potter and the Philosopher's Stone - JK Rowling
6. The Lord of the Rings - JRR Tolkien
7. The Great Gatsby- F Scott Fitzgerald
8. Charlotte's Web - EB White
9. The Hobbit- JRR Tolkien
10. Little Women - Louisa May Alcott
11. Fahrenheit 451 - Ray Bradbury
12. Jane Eyre- Jane Austen
13. Animal Farm - George Orwell
14. Gone with the Wind - Margaret Mitchell
15. The Catcher in the Rye - JD Salinger
16. The Book Thief - Markus Zusak
17. The Adventures of Huckleberry Finn - Mark Twain
18. The Hunger Games - Suzanne Collins
19. The Help - Kathryn Stockett
20. The Lion, the Witch and the Wardrobe - CS Lewis
21. The Grapes of Wrath - John Steinbeck
22. The Lord of the Flies - William Golding
23. The Kite Runner - Khaled Hosseini
24. Night - Elie Wiesel
25. Hamlet - William Shakespeare
26. A Wrinkle in Time - Madeleine L'Engle
27. Of Mice and Men - John Steinbeck
28. A Tale of Two Cities - Charles Dickens
29. Romeo and Juliet - William Shakespeare
30. The Hitchhiker's Guide to the Galaxy - Douglas Adams
31. The Secret Garden - Frances Hodgson Burnett
32. A Christmas Carol - Charles Dickens
33. The Little Prince - Antoine de Saint-Exupery
34. Brave New World - Aldous Huxley
35. Harry Potter and the Deathly Hallows - JK Rowling
36. The Giver - Lois Lowry
37. The Handmaid's Tale - Margaret Atwood
38. Where the Sidewalk Ends - Shel Silverstein
39. Wuthering Heights - Emily Bronte
40. The Fault in Our Stars - John Green
41. Anne of Green Gables - LM Montgomery
42. The Adventures of Tom Sawyer - Mark Twain
43. Macbeth - William Shakespeare
44. The Girl with a Dragon Tattoo - Stieg Larsson
45. Frankenstein - Mary Shelley
46. The Holy Bible: King James version
47. The Color Purple - Alice Walker
48. The Count of Monte Cristo - Alexandre Dumas
49. A Tree Grows in Brooklyn - Betty Smith
50. East of Eden - John Steinbeck
51. Alice in Wonderland - Lewis Carroll
52. In Cold Blood - Truman Capote
53. Catch-22 - Joseph Heller
54. The Stand - Stephen King
55. Outlander - Diana Gabaldon
56. Harry Potter and the Prisoner of Azkaban - JK Rowling
57. Enders Game - Orson Scott Card
58. Anna Karenina - Leo Tolstoy
59. Watership Down - Richard Adams
60. Memoirs of a Geisha - Arthur Golden
61. Rebecca - Daphne du Maurier
62. A Game of Thrones - George RR Martin
63. Great Expectations - Charles Dickens
64. The Old Man and the Sea - Ernest Hemingway
65. The Adventures of Sherlock Holmes - Arthur Conan Doyle
66. Les Miserables - Victor Hugo
67. Harry Potter and the Half Blood Prince - JK Rowling
68. Life of Pi - Yann Martel
69. The Scarlet Letter - Nathaniel Hawthorne
70. Celebrating Silence: Excerpts from Five Years of Weekly Knowledge - Sri Sri Ravi Shankar
71. The Chronicles of Narnia - CS Lewis
72. The Pillars of the Earth - Ken Follett
73. Catching Fire - Suzanne Collins
74. Charlie and the Chocolate Factory - Roald Dahl
75. Dracula - Bram Stoker
76. The Princess Bride - William Goldman
77. Water for Elephants - Sara Gruen
78. The Raven - Edgar Allan Poe
79. The Secret Life of Bees - Sue Monk Kidd
80. The Poisonwood Bible - Barbara Kingsolver
81. One Hundred Years of Solitude - Gabriel Garcia Marquez
82. The Time Travelers Wife - Audrey Niffenegger
83. The Odyssey - Homer
84. The Good Earth - Pearl S Buck
85. Mockingjay - Suzanne Collins
86. And Then There Were None - Agatha Christie
87. The Thorn Birds - Colleen McCullough
88. A Prayer for Owen Meany - John Irving
89. The Glass Castle - Jeanette Walls
90. The Immortal Life of Henrietta Lacks - Rebecca Skloot
91. Crime and Punishment - Fyodor Dostoyevsky
92. The Road - Cormac McCarthy
93. The Things They Carried - Tim O'Brien
94. Siddhartha - Hermann Hesse
95. Slaughterhouse-Five - Kurt Vonnegut
96. Beloved - Toni Morrison
97. Cutting for Stone - Abraham Verghese
98. The Phantom Tollbooth - Norton Juster
99. The Brothers Karamazov - Fyodor Dostoyevsky
100. The Story of My Life - Helen Keller
  
Show all 14 comments.
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Angelicalynnn (21 KP) Jul 6, 2018

I’ve read 30 not to bad but still plenty I would love to read!

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iamsara (130 KP) Jul 19, 2018

14 ?

Anatomy of a Murder (1959)
Anatomy of a Murder (1959)
1959 | Classics, Drama, Mystery
9
6.3 (3 Ratings)
Movie Rating
One of the Best Courtroom Dramas of all Time
I have to admit, that (at times) the fun part of going to "SECRET MOVIE NIGHT" is the anticipation of not knowing what the film is. Sometimes the film is "good, not great" (like THE BLUES BROTHERS, BODY HEAT and A FACE IN THE CROWD) and other times it is a CLASSIC (Like CITIZEN KANE, THE APARTMENT and NETWORK). I am happy to report that this month's installment IS a classic, our old pal Jimmy Stewart in 1959's ANATOMY OF MURDER.

Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.

Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".

This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.

Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."

Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.

The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).

Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).

Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.

Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.

Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).

Letter Grade: A

9 (out of 10) stars and you can take that to the Bank(ofMarquis)
  
Inception (2010)
Inception (2010)
2010 | Crime, Sci-Fi, Thriller
A Modern Classic
I have a confession to make - INCEPTION is one of my favorite Christopher Nolan films - and, perhaps, it is in my list of TOP 10 ALL TIME FAVORITE films, so this might not be a fair and impartial review of the film. To be fair to me, I did make a conscience effort whilst watching this movie to scrape away my previous preconceptions and opinions of this film and just let it wash over me in this "new light" of my blog to see what my reaction is.

My reaction: I LOVE THIS FILM!!!

I was asked how far back do you have to go before you can consider a film a "classic" and, I guess, I'd have to say 2010, for this film - to me - is a classic.

In INCEPTION, Nolan, and his co-writer brother Jonathan Nolan, go into the dreamworld with the premise that we can join in "shared dreams" to extract information from people that are locked away deep in their conscious (or in some cases unconscious) minds. This film deals with the idea of "Inception", planting an idea into someone's mind. This is, in essence, a "heist" film where our team of heroes is constantly at war with the minds they are inhabiting (since they are seen as parasites). The clock is ticking and they must get in and get out before they get lost.

Speaking of time, Nolan - once again - plays with the idea of time in this film. Once you go into a dream, 1 minute is like 1 hour and when you go into a dream of a dream, then 1 minute is like 60 hours and when you go into a dream within a dream within a dream, then...well...you get the idea.

If someone loses their way in this film, it's because they are trying to make logical sense of a dream world that defies physics - and time. My suggestion to you is to let go and let the movie take you to some fantastical places - with some fantastical imagery and plot machinations - that I enjoyed the heck out of.

Helping out this film is that it is impeccably cast. Leonardo DiCaprio is Cobb the head of this group that enters the dream realm. He is perfectly cast and Nolan, and this film, relies on his likeableness, his charm and the feeling that something just isn't quite right with him. All to very good effect. Ellen Page is strong as Ariadne, the rookie of the team that is our eyes and ears into this world. Ken Watanabe brings his typically strong game to the role of Saito - the man that gives the team the job and goes along for the ride. Nolan regular Cillian Murphy is a welcome addition as the person who they are trying to "Incept" and even small parts are filled with wonderful character actors like the late great, Pete Postlethwaite, Tom Berenger and good ol' Michael Caine.

But it is the emergence of two of the co-stars that, up until this film I thought were "fair actors but not great" that really elevates this film for me. Joseph Gordon-Levitt was always the "long haired kid from 3RD ROCK FROM THE SUN", but in this - as Cobb's right-hand man Arthur - he excels and really jumps out of the film as a screen presence. Of course, it really helps him that he has one of the best action sequences - for the most part practically shot - that I have ever scene. And, of course, there's TOM HARDY. He is a movie star and really shows it in the supporting role of Eames. This guy will win an Oscar one day, probably for a film that Nolan Directs him in.

My only quibble - and it is a QUIBBLE - is that I didn't really feel any strong chemistry between Marion Cotillard's Mal and DiCaprio's Cobb. She was supposed to be the big "love of his life" and I just didn't sense that. She was very good - and imposing - as she infiltrated Cobb's mind (which is, I think, the purpose of her character), but I could have used a little more between her and DiCaprio. But...as I say...a quibble.

All in all, a terrific - different - film. One that I am calling a "classic".

Letter Grade: A+

10 stars (out of 10) and you can take that to the Bank(ofMarquis)