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Kristy H (1252 KP) rated Never Look Back in Books
Sep 2, 2019
For Quentin Garrison, his podcast, entitled Closure, is truly about just that--closure. It centers on a series of murders in the 1970s committed by teens Gabriel LeRoy and April Cooper. The victims included Quentin's mother's little sister and his grandmother. As a result, Quentin has spent most of his life raised by a neglectful, drug addict mom. For Robin Diamond, a columnist, the podcast causes only confusion. When Quentin contacts her about it, asking specifically about April Cooper and tying her to Robin's own mother, Robin is bewildered. But the more she delves into the murders, the more she starts to wonder. Then there's a terrible home invasion at her parent's house, killing her father and leaving her mom unconscious. What exactly happened back in the '70s--and, now, in the home invasion?
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.
Gareth von Kallenbach (971 KP) rated Honest Thief (2020) in Movies
Oct 13, 2020
Tom (Liam Neeson) is a long-time bank robber eager to put his past behind him in the new film “Honest Thief”. A circumstance forced Tom to decide to strike back at the establishment following a career in ordinance in the military and has found he has a real talent for blowing safes and making away with millions of dollars over several years.
The Feds have been unable to stop him and regularly field numerous calls from people claiming to be responsible in order to gain attention. So when Tom calls Agent Sam Baker (Robert Patrick) and his partner Agent Meyers (Jeffrey Donovan); his claims are met with skepticism.
Tom has fallen in love with an aspiring Psychologist he met while renting a storage facility and he is eager to start a new and honest life with Annie (Kate Walsh). Tom offers to return all nine million dollars that he has stolen in term for a light sentence at a minimum security locale near Boston so Annie can visit him frequently.
Unwilling to accept that Tom is who he says he is, the agents dispatch Agents Nivens (Jai Courtney) and Agent Hall (Anthony Ramos); to interview Tom and check out his story. Tom offers to tell them where the money is in order to prove his claims. When several boxes of cash are discovered in storage; Nivens decides to take the money and pressures Hall into going along with it despite his reservations.
Nivens them attempts to eliminate Tom but in doing so kills Agent Baker who has shown up unexpectedly. Tom is now framed for a murder he did not commit and forced to flee in order to try to clear his name and make good on his initial offer to turn himself in.
Nivens is not willing to stop there and escalates his level of corruption and danger including threats on Hall and his family to ensure his compliance and silence.
As anyone who has ever seen a Liam Neeson film in the last ten years or so can deduce his character is motivated by events that follows and with his expert knowledge of explosives looks to strike back at Nivens and ensure justice is served.
While the film may be a bit slower paced in some areas than fans of Neeson may expect; he turns in a satisfying performance as a sort of modern day Robin Hood.
Tom is a man who does not make excuses for his actions and is willing to pay the price for them but believes he was justified in what he did and the reasons behind them.
The supporting cast is solid and while the film does have some real gaps in logic which must be suspended to make the story work; it does entertain.
In the end “Honest Thief” provides enough enjoyment to make it worth your time and shows that Neeson still can deliver what fans have come to expect from him.
3.5 stars out of 5
The Feds have been unable to stop him and regularly field numerous calls from people claiming to be responsible in order to gain attention. So when Tom calls Agent Sam Baker (Robert Patrick) and his partner Agent Meyers (Jeffrey Donovan); his claims are met with skepticism.
Tom has fallen in love with an aspiring Psychologist he met while renting a storage facility and he is eager to start a new and honest life with Annie (Kate Walsh). Tom offers to return all nine million dollars that he has stolen in term for a light sentence at a minimum security locale near Boston so Annie can visit him frequently.
Unwilling to accept that Tom is who he says he is, the agents dispatch Agents Nivens (Jai Courtney) and Agent Hall (Anthony Ramos); to interview Tom and check out his story. Tom offers to tell them where the money is in order to prove his claims. When several boxes of cash are discovered in storage; Nivens decides to take the money and pressures Hall into going along with it despite his reservations.
Nivens them attempts to eliminate Tom but in doing so kills Agent Baker who has shown up unexpectedly. Tom is now framed for a murder he did not commit and forced to flee in order to try to clear his name and make good on his initial offer to turn himself in.
Nivens is not willing to stop there and escalates his level of corruption and danger including threats on Hall and his family to ensure his compliance and silence.
As anyone who has ever seen a Liam Neeson film in the last ten years or so can deduce his character is motivated by events that follows and with his expert knowledge of explosives looks to strike back at Nivens and ensure justice is served.
While the film may be a bit slower paced in some areas than fans of Neeson may expect; he turns in a satisfying performance as a sort of modern day Robin Hood.
Tom is a man who does not make excuses for his actions and is willing to pay the price for them but believes he was justified in what he did and the reasons behind them.
The supporting cast is solid and while the film does have some real gaps in logic which must be suspended to make the story work; it does entertain.
In the end “Honest Thief” provides enough enjoyment to make it worth your time and shows that Neeson still can deliver what fans have come to expect from him.
3.5 stars out of 5
BankofMarquis (1832 KP) rated Bombshell (2019) in Movies
Jan 31, 2020
Well acted - and important - film
The new Jay Roach film, BOMBSHELL - the Fox News sex scandal film - focuses on the struggles of 3 female protagonists - Gretchen Carlson (Nicole Kidman), Megyn Kelly (Charlize Theron) and Kayla Pospisil (Margot Robbie) - as they attempt to climb (or stay at the top of) the Corporate Ladder while battling sexism and a toxic work culture at Fox News. It is a powerful story that is a necessary tale in the "#MeToo" era that demands viewers to stand up and take notice.
And with powerhouse actresses leading this film - standing up and taking notice is an easy thing to do.
Based on factual events, BOMBSHELL portrays the sexism that female on air personalities encounter at FoxNews - a place filled with "good ol' boys" who patronize and sexualize the females in the office to the detriment of the females and the benefit and gratification of the males. Surprisingly, they are joined in this by some other females in the office who figure "better them than me". At the top of the office - and the toxic work culture - is Roger Ailes (an almost unrecognizable John Lithgow) who is hailed by Fox as the man who can create the news - and profits.
Kidman, Theron and Robbie are well cast in their roles, showing nuance, concern and strength as these negative conditions rear their ugly heads over and over again. All 3 produce powerhouse performances - certainly up there amongst the best of their careers - and Theron and Robbie are well deserved Oscar nominees for their performances. Kidman was NOT nominated for her performance, but she is just as deserving as the other two.
But, for me, the real surprise - and the best performance - of this film belongs to Lithgow's portrayal of Ailes. His characterization shows a real wolf, taking advantage of his status and position, to prey upon those in his office. It is a sly, evil performance of a sly, evil man. What impressed me the most is that this performance - and this character - could have easily gone "over the top" into "pure villain" territory and Lithgow resists this temptation - to the betterment of this film, but to the detriment of his Oscar chances.
As written by Charles Randolph (THE BIG SHORT) this film has a pacing/theming issue for the first 1/2 hour of this film. Is it a serious film? Is it sarcastic look at toxic masculinity work culture? Is it an indictment on our current society as a whole? Randolph's script uses some of the same tactics as THE BIG SHORT, having performers breaking the 4th wall and commenting and narrating the events while looking directly at the camera. While this tactic worked very well in THE BIG SHORT (if you haven't seen this film, I highly recommend you do), it works less well here and Director Jay Roach (TRUMBO) wisely drops that "gimmick" after the first 1/2 hour.
This film is filled with wonderful character actors making extended (and powerful) cameos. The likes of Kate McKinnon, Allyson Janney, Holland Taylor, Connie Britton, Stephen Root, Malcolm McDowell, Robin Weigert, Mark Duplass, Richard Kind, Mark Moses and Tricia Helfer all contribute greatly to the film while shining in the little screen time they have.
A necessary - and powerful - film filled with tremendous performances that shine a light on a problem that is pervasive today. Which makes this film a must watch - as difficult as it is to watch at times.
Letter Grade: A- (the first 1/2 hour brings it down a point)
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
And with powerhouse actresses leading this film - standing up and taking notice is an easy thing to do.
Based on factual events, BOMBSHELL portrays the sexism that female on air personalities encounter at FoxNews - a place filled with "good ol' boys" who patronize and sexualize the females in the office to the detriment of the females and the benefit and gratification of the males. Surprisingly, they are joined in this by some other females in the office who figure "better them than me". At the top of the office - and the toxic work culture - is Roger Ailes (an almost unrecognizable John Lithgow) who is hailed by Fox as the man who can create the news - and profits.
Kidman, Theron and Robbie are well cast in their roles, showing nuance, concern and strength as these negative conditions rear their ugly heads over and over again. All 3 produce powerhouse performances - certainly up there amongst the best of their careers - and Theron and Robbie are well deserved Oscar nominees for their performances. Kidman was NOT nominated for her performance, but she is just as deserving as the other two.
But, for me, the real surprise - and the best performance - of this film belongs to Lithgow's portrayal of Ailes. His characterization shows a real wolf, taking advantage of his status and position, to prey upon those in his office. It is a sly, evil performance of a sly, evil man. What impressed me the most is that this performance - and this character - could have easily gone "over the top" into "pure villain" territory and Lithgow resists this temptation - to the betterment of this film, but to the detriment of his Oscar chances.
As written by Charles Randolph (THE BIG SHORT) this film has a pacing/theming issue for the first 1/2 hour of this film. Is it a serious film? Is it sarcastic look at toxic masculinity work culture? Is it an indictment on our current society as a whole? Randolph's script uses some of the same tactics as THE BIG SHORT, having performers breaking the 4th wall and commenting and narrating the events while looking directly at the camera. While this tactic worked very well in THE BIG SHORT (if you haven't seen this film, I highly recommend you do), it works less well here and Director Jay Roach (TRUMBO) wisely drops that "gimmick" after the first 1/2 hour.
This film is filled with wonderful character actors making extended (and powerful) cameos. The likes of Kate McKinnon, Allyson Janney, Holland Taylor, Connie Britton, Stephen Root, Malcolm McDowell, Robin Weigert, Mark Duplass, Richard Kind, Mark Moses and Tricia Helfer all contribute greatly to the film while shining in the little screen time they have.
A necessary - and powerful - film filled with tremendous performances that shine a light on a problem that is pervasive today. Which makes this film a must watch - as difficult as it is to watch at times.
Letter Grade: A- (the first 1/2 hour brings it down a point)
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Bob Mann (459 KP) rated Blade Runner 2049 (2017) in Movies
Sep 29, 2021
A stunning visual triumph.
I was a sufficient nerd to buy a “Back to the Future” T-shirt to celebrate “future day” from “Back to the Future 2” two-years ago, and I will probably be a sufficient nerd to buy a “Blade Runner” T-shirt in two-years time to celebrate the setting-date for the original film. One thing’s for sure… 2049 is never going to be long enough away to see the world of the new Blade Runner movie come to fruition: so I look forward to ironically buying that T-shirt too (assuming I make it to 88!). But I digress.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.