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BankofMarquis (1832 KP) rated Venom (2018) in Movies
Oct 13, 2018
Hardy, Williams elevate mediocre material
I had lowered my expectations when entering the new Sony film VENOM for I had heard that this non-MCU Marvel film wasn't really a Marvel - or a Spiderman - film, even though it features one of the more famous characters from the Spiderman Universe, which is, of course, a Marvel property.
Confused, yet?
Well, don't be. Because this knowledge is not needed, nor (quite frankly) is it wanted as the filmmakers of Venom made a film that centers on the titular anti-hero with no real regard to his place in the Marvel Universe.
And this works well...enough. True, the plot, dialogue, situations, special effects and gadgets of this film are middle-of-the-road at best, but with the two folks at the center of this film, I started to forgive this film it's many flaws and enjoyed two Oscar-caliber Actors having a good ol' time in a Supehero movie.
Venom, of course, tells the story of...Eddie Brock..who becomes - through a merging of his body with an Alien symbiotic creature (don't worry about it, just roll with it) - becomes the titular VENOM. A being that wants to eat live creatures (most notably human heads) while the good part of Eddie tries to keep him in check and help him fight bad guys.
In lesser performance hands, this character could become silly and stupid, but in the more than capable performance by the great Tom Hardy (Bane in THE DARK KNIGHT RISES), Eddie Brock/Venom is an intriguing figure to watch on-screen. His simultaneous ability to look unnerved and hunger for live flesh while looking for a nice cool bath caused me to smirk on more than one occasion and I ended up rooting for him throughout the film.
Matching him is the great Michelle Williams (she of the 4 Oscar nominations, most recently in MANCHESTER BY THE SEA) as Eddie Brock's ex-Fiance Anne Weying. Like Hardy, Williams is elevating mediocre material to something better than the mediocrity it was destined to be. The chemistry between Williams and Hardy is evident in their bi-play with each other and I couldn't help but think "get these two into an Oscar-caliber film together and watch the sparks - and the awards - fly."
Unfortunately, Riz Ahmed as bad guy Carlton Drake is not able to rise above the material and when he is playing opposite Hardy and/or Williams, he pales in comparison and I began to realize just how weak the script by the trio of Jeff Pinkner, Scott Rosenberg and Kelly Marcel is. Clearly, two of them were brought in to re-write the original (I have no idea who did what) but none of them were able to elevate the proceedings.
Nor could Director Ruben Fleischer (ZOMBIELAND) elevate things. His Direction is pedestrian at best. There is nothing really interesting going on and when the going got tough he just started to rely on the quick cut/edits that is so "en vogue" these days - and it grew tiresome.
But when I started to grow weary of the events on the screen, Hardy and Williams would show up and I began to forgive things again, even thinking during the credits scene (where they introduce the Villain for VENOM 2), I want to see Hardy and Williams play against (name deleted so as not to spoil) as the new Villain - that might be cool!
So, I'm "in" for Venom. It was "good enough" and I will come back for the next installment - and based on the Box Office of the opening weekend, there WILL BE a next installment.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Confused, yet?
Well, don't be. Because this knowledge is not needed, nor (quite frankly) is it wanted as the filmmakers of Venom made a film that centers on the titular anti-hero with no real regard to his place in the Marvel Universe.
And this works well...enough. True, the plot, dialogue, situations, special effects and gadgets of this film are middle-of-the-road at best, but with the two folks at the center of this film, I started to forgive this film it's many flaws and enjoyed two Oscar-caliber Actors having a good ol' time in a Supehero movie.
Venom, of course, tells the story of...Eddie Brock..who becomes - through a merging of his body with an Alien symbiotic creature (don't worry about it, just roll with it) - becomes the titular VENOM. A being that wants to eat live creatures (most notably human heads) while the good part of Eddie tries to keep him in check and help him fight bad guys.
In lesser performance hands, this character could become silly and stupid, but in the more than capable performance by the great Tom Hardy (Bane in THE DARK KNIGHT RISES), Eddie Brock/Venom is an intriguing figure to watch on-screen. His simultaneous ability to look unnerved and hunger for live flesh while looking for a nice cool bath caused me to smirk on more than one occasion and I ended up rooting for him throughout the film.
Matching him is the great Michelle Williams (she of the 4 Oscar nominations, most recently in MANCHESTER BY THE SEA) as Eddie Brock's ex-Fiance Anne Weying. Like Hardy, Williams is elevating mediocre material to something better than the mediocrity it was destined to be. The chemistry between Williams and Hardy is evident in their bi-play with each other and I couldn't help but think "get these two into an Oscar-caliber film together and watch the sparks - and the awards - fly."
Unfortunately, Riz Ahmed as bad guy Carlton Drake is not able to rise above the material and when he is playing opposite Hardy and/or Williams, he pales in comparison and I began to realize just how weak the script by the trio of Jeff Pinkner, Scott Rosenberg and Kelly Marcel is. Clearly, two of them were brought in to re-write the original (I have no idea who did what) but none of them were able to elevate the proceedings.
Nor could Director Ruben Fleischer (ZOMBIELAND) elevate things. His Direction is pedestrian at best. There is nothing really interesting going on and when the going got tough he just started to rely on the quick cut/edits that is so "en vogue" these days - and it grew tiresome.
But when I started to grow weary of the events on the screen, Hardy and Williams would show up and I began to forgive things again, even thinking during the credits scene (where they introduce the Villain for VENOM 2), I want to see Hardy and Williams play against (name deleted so as not to spoil) as the new Villain - that might be cool!
So, I'm "in" for Venom. It was "good enough" and I will come back for the next installment - and based on the Box Office of the opening weekend, there WILL BE a next installment.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Charlie and the Chocolate Factory (2005) in Movies
Aug 14, 2019
It seems of late that every month Hollywood either releases or plans to release a remake of a classic film. This summer has spawned no less than 5 remakes of classic films or televisions shows and with box office receipts in decline, it would seem that the public is craving for something fresh.
Thankfully the Tim Burton remake of Charlie and the Chocolate Factory is not only a winner, but injects a much needed jolt of camp, charm, and wit into a late summer season that desperately needed it.
The film stars Johnny Depp as the mysterious candy maker Willie Wonka. Wonka has become a reclusive for two decades in order to protect his secret recipes from corporate spies and thieves.
As the film opens, a young boy named Charlie Bucket, (Freddie Highmore), returns home to his family shack, which he shares with his parents and four grandparents. As told via narration, that despite the poverty of his family, Charlie is a very lucky boy. Over their meager dinner of cabbage soup, Charlie’s grandfather (David Kelly) regales the family with tales of Willie Wonka and his exploits which he saw first hand while working in the factory decades earlier.
When Wonka resumed candy shipments after a hiatus the world was delighted, but many wondered who was making the candy as aside from shipping trucks, nobody was ever seen coming or going from the factory.
Such secrecy only added to the legend of Wonka as amazing candy creations continued to arrive in shops to the delight of customer’s world wide.
When it is announced that five golden tickets have been hidden inside candy bars world wide, and that the winners will be given a full day tour of the factory by Wonka himself, frenzy erupts across the globe as Wonka Bars are snatched up by a rabid public. Charlie dreams of getting one of the precious tickets, but his family’s meager income limits him to one bar a year on his birthday. Undaunted Charlie counts the days until his coming birthday, undaunted by the discovery of tickets around the globe.
When his efforts to get a ticket are daunted, and the fifth ticket is reported to be found, Charlie consoles himself by finding money in the street and purchases a Wonka Bar from the corner store. In the blink of an eye Charlie finds himself holding the last ticket when he learns that the last one reported found was a hoax.
Soon Charlie and his Grandfather are touring the magical factory complete with rivers of chocolate and edible candy forests in the company of the quirky Wonka and the fellow contest winners. What follows next is not going to be much of a surprise for those who have seen the 1971 version starring Gene Wilder or those who have read the novel by Roald Dahl, what is a surprise is how fresh and spirited this new version is. I was utterly charmed by the story and the effective pacing of the film.
Burton is a master of mixing visuals and fantasy and this time he not only excels, but he adds an effective touch of humanity to the fantasy which keeps the film from being lost in a see of color and effects.
Depp is brilliant as the eccentric Wonka as his mirth and camp, is underscored by equal amounts of fear and mistrust. The film is essentially a morality tale, but it never losses its focus or the charm by becoming preachy or drawn out. In a role that could easily have been mishandled, Depp soars and shows that he is one of the greatest actors of our generation.
Parents should note that there are a few moments in the film that may be a bit intense for the youngest of viewers, but that being said, the film is a true delight full of magic and fantasy that will delight young and old.
Thankfully the Tim Burton remake of Charlie and the Chocolate Factory is not only a winner, but injects a much needed jolt of camp, charm, and wit into a late summer season that desperately needed it.
The film stars Johnny Depp as the mysterious candy maker Willie Wonka. Wonka has become a reclusive for two decades in order to protect his secret recipes from corporate spies and thieves.
As the film opens, a young boy named Charlie Bucket, (Freddie Highmore), returns home to his family shack, which he shares with his parents and four grandparents. As told via narration, that despite the poverty of his family, Charlie is a very lucky boy. Over their meager dinner of cabbage soup, Charlie’s grandfather (David Kelly) regales the family with tales of Willie Wonka and his exploits which he saw first hand while working in the factory decades earlier.
When Wonka resumed candy shipments after a hiatus the world was delighted, but many wondered who was making the candy as aside from shipping trucks, nobody was ever seen coming or going from the factory.
Such secrecy only added to the legend of Wonka as amazing candy creations continued to arrive in shops to the delight of customer’s world wide.
When it is announced that five golden tickets have been hidden inside candy bars world wide, and that the winners will be given a full day tour of the factory by Wonka himself, frenzy erupts across the globe as Wonka Bars are snatched up by a rabid public. Charlie dreams of getting one of the precious tickets, but his family’s meager income limits him to one bar a year on his birthday. Undaunted Charlie counts the days until his coming birthday, undaunted by the discovery of tickets around the globe.
When his efforts to get a ticket are daunted, and the fifth ticket is reported to be found, Charlie consoles himself by finding money in the street and purchases a Wonka Bar from the corner store. In the blink of an eye Charlie finds himself holding the last ticket when he learns that the last one reported found was a hoax.
Soon Charlie and his Grandfather are touring the magical factory complete with rivers of chocolate and edible candy forests in the company of the quirky Wonka and the fellow contest winners. What follows next is not going to be much of a surprise for those who have seen the 1971 version starring Gene Wilder or those who have read the novel by Roald Dahl, what is a surprise is how fresh and spirited this new version is. I was utterly charmed by the story and the effective pacing of the film.
Burton is a master of mixing visuals and fantasy and this time he not only excels, but he adds an effective touch of humanity to the fantasy which keeps the film from being lost in a see of color and effects.
Depp is brilliant as the eccentric Wonka as his mirth and camp, is underscored by equal amounts of fear and mistrust. The film is essentially a morality tale, but it never losses its focus or the charm by becoming preachy or drawn out. In a role that could easily have been mishandled, Depp soars and shows that he is one of the greatest actors of our generation.
Parents should note that there are a few moments in the film that may be a bit intense for the youngest of viewers, but that being said, the film is a true delight full of magic and fantasy that will delight young and old.
Gareth von Kallenbach (971 KP) rated Aliens vs. Predator: Requiem (AVP 2) (2007) in Movies
Aug 14, 2019
Two of the biggest creature franchises in cinematic history clash again this Christmas in the new film Aliens VS Predator: Requiem.
Picking up where the last film ended, “AVP-R” follows the surprise attack inside a predator ship and its subsequent crash in the woods near the small town of Gunnison Colorado. The crash does not go unnoticed, and sadly for a father and son on a hunting trip, investigating the crash site turns out to be a fatal mistake when they are infected by a pair of Alien Face-huggers from the crash site.
As if the Aliens were not bad enough, the locales also have to content with a Predator elite warrior who has been dispatched to stop the spread of the Aliens as well as cover up any evidence of the creatures and Predator technology from the crash.
In short order, an Alien infestation of Gunnison is underway and the local townspeople an unprepared to deal with the series of events that are underway and they find that even the local National Guard units are not prepared to face the ever expanding Alien legions.
In a race against time, a few survivors attempt to flee the carnage and our racing against time before even stronger containment methods are put into place.
The film is packed with action and there are enough solid visuals to keep fans entertained. However the films biggest failing, is a complete and utter lack of character development. While I do not usually expect much in this department from a film in this genre, “AVP-R” barely plays this lip service. We know that Dallas (Steven Pasquale) is an ex-con who is returned home to see his brother who in turn is drawing heat from his interest in girl who is dating the locale goon. We also know that Kelly (Reiko Aylesworth) is a soldier who has returned home to her daughter and husband and whose daughter resents her mom being away. Beyond those factors, there is precious else we are given about the characters which in turn makes it very hard to bond with them and care if they survive as they are little more than fodder for the interstellar killing machines.
The plot of the film is also very linear as the script from Shane Salerno does a nice job of setting up the events, but does not hold any real twists or turns and plays out in a very standard manner. While there is an attempt at the end to offer a little bonus for fans, it is not really enough to push the film over the top.
Directors Greg and Colin Strause have done a great job of capturing the look and feel of the franchise and have given fans what they have long asked for, a chance to see the Aliens loose in a modern setting on Earth. While the battle scenes shine and the duo keep the film moving along at a steady pace, they are hampered by the script and character issues I mentioned earlier.
Thankfully the series has returned to its R-Rated roots and the gore is back which is essential to show just how dangerous and destructive the two species are. The introduction of a new Alien/Predator hybrid is a nice touch, and does add a new albeit it controversial new chapter in Alien reproduction that is sure to get the fans talking.
In the end, fans are left with a mixed bag as the film is better than the previous film in the series but pales when compared with “Alien”, “Aliens”, and “Predator” where interesting characters combined with suspense and action to create true genre classics. As it stands,” AVP-R” is a worthy effort that comes up short of its aspirations.
Picking up where the last film ended, “AVP-R” follows the surprise attack inside a predator ship and its subsequent crash in the woods near the small town of Gunnison Colorado. The crash does not go unnoticed, and sadly for a father and son on a hunting trip, investigating the crash site turns out to be a fatal mistake when they are infected by a pair of Alien Face-huggers from the crash site.
As if the Aliens were not bad enough, the locales also have to content with a Predator elite warrior who has been dispatched to stop the spread of the Aliens as well as cover up any evidence of the creatures and Predator technology from the crash.
In short order, an Alien infestation of Gunnison is underway and the local townspeople an unprepared to deal with the series of events that are underway and they find that even the local National Guard units are not prepared to face the ever expanding Alien legions.
In a race against time, a few survivors attempt to flee the carnage and our racing against time before even stronger containment methods are put into place.
The film is packed with action and there are enough solid visuals to keep fans entertained. However the films biggest failing, is a complete and utter lack of character development. While I do not usually expect much in this department from a film in this genre, “AVP-R” barely plays this lip service. We know that Dallas (Steven Pasquale) is an ex-con who is returned home to see his brother who in turn is drawing heat from his interest in girl who is dating the locale goon. We also know that Kelly (Reiko Aylesworth) is a soldier who has returned home to her daughter and husband and whose daughter resents her mom being away. Beyond those factors, there is precious else we are given about the characters which in turn makes it very hard to bond with them and care if they survive as they are little more than fodder for the interstellar killing machines.
The plot of the film is also very linear as the script from Shane Salerno does a nice job of setting up the events, but does not hold any real twists or turns and plays out in a very standard manner. While there is an attempt at the end to offer a little bonus for fans, it is not really enough to push the film over the top.
Directors Greg and Colin Strause have done a great job of capturing the look and feel of the franchise and have given fans what they have long asked for, a chance to see the Aliens loose in a modern setting on Earth. While the battle scenes shine and the duo keep the film moving along at a steady pace, they are hampered by the script and character issues I mentioned earlier.
Thankfully the series has returned to its R-Rated roots and the gore is back which is essential to show just how dangerous and destructive the two species are. The introduction of a new Alien/Predator hybrid is a nice touch, and does add a new albeit it controversial new chapter in Alien reproduction that is sure to get the fans talking.
In the end, fans are left with a mixed bag as the film is better than the previous film in the series but pales when compared with “Alien”, “Aliens”, and “Predator” where interesting characters combined with suspense and action to create true genre classics. As it stands,” AVP-R” is a worthy effort that comes up short of its aspirations.
Emma @ The Movies (1786 KP) rated Bombshell (2019) in Movies
Jan 19, 2020
I had been wildly swaying between wanting and not wanting to see this, but Cineworld gave us an Unlimited Screening so of course I was going to go.
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
Life in the media spotlight is difficult enough without having to deal with the unwanted advances and comments of those around you. When one of Fox News' ex-employees comes forward with allegations of sexual harassment the whole network is a buzz as it tries to rally. Roger Ailes has a hold over everyone there and it's time someone put a stop to it.
Before I go into the acting I want to mention the style the movie has. There are sections done to camera in news report style, that seems like a given considering the subject matter, and as well as the "standard" on-screen there's some voiceover on scenes. The whole opening is done to camera in the news style and it sets up the story well, but I wasn't sure I enjoyed that later in the film, I like my fourth wall intact unless it involves Deadpool.
Out of our three leading ladies I was most impressed with Margot Robbie, potentially this is because she wasn't constrained by the role of real life person, Kayla's fictional amalgamation of people and experiences allows for more of a range. At times though I did think the role wasn't going anywhere but seeing her interactions with Lithgow as Ailes, and McKinnon as Carr, I was reassured.
The scene between Roger Ailes and Kayla that becomes the pivotal point in the story for her was excellent while actually being absolutely horrendous. That such a short scene can make me feel so much was a credit to both Robbie and Lithgow... and the sound department. Hearing his breathing so prominently was quite effective in the worst way possible.
Something they successfully managed to do throughout the film is show the competitive nature of the world and just a selection of the hideous things that are put up with through fear and ambition. There's one particular montage of moments with women defending their boss that illustrated that perfectly.
There's a very talented cast hidden in Bombshell, and I say hidden because at least half the people that popped on screen made me drop my jaw in surprise. I hadn't realised how many "cameos" there were, I'm sure I could have discovered them all on IMDb, it certainly helped to keep me interested. Though I don't think it necessarily needed that extra help.
Have you ever read a James Patterson novel? The chapters are so short, everything changes perspective so quickly that you're hooked and suddenly you've read half the book, this movie felt like that. As we switch scenes and characters you're constantly moved along at a pace that keeps you engaged, at no time did I feel like it was getting too confusing to follow, it was very well done.
I enjoyed the film but there's part of me that wonders if it did actually hit the mark. I'm left with one moment in particular that felt a little wrong, later in the movie between Pospisil (Robbie) and Kelly (Theron). It was the only moment that really hit me as feeling out of place. By that point we'd managed to get a lot of ideas about both characters and Kelly's behaviour and Pospisil's reaction stuck out like a sore thumb. It felt like a little slip in something that was otherwise a powerful watch.
While I don't think that every note was hit perfectly, overall Bombshell was a good exploration of this subject. With its impressive acting and great pace it's definitely an interesting addition to the conversations happening in the media at the moment.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/bombshell-movie-review.html
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)
Darren (1599 KP) rated Nanny McPhee (2006) in Movies
Aug 6, 2019
Story: Nanny McPhee starts when widow Mr Brown (Firth) is struggling to keep a nanny to care for his seven children led by the oldest Simon (Brodie-Sangster) who has always planned to push the nanny away with schemes that will leave them in terror. Reaching the end of his potential candidates, Mr Brown is drawn to a mystical Nanny McPhee (Thompson).
Nanny McPhee uses different methods to get the children in order, using her magic, with the warning When you need me but do not want me, then I must stay. When you want me but no longer need me, then I have to go. Can the children be put into order before it is too late.
Thoughts on Nanny McPhee
Characters – Nanny McPhee is a magical nanny that comes when families need her most, she uses the magic to push the children into following her rules, letting them learn from their mistakes unlike any previous nanny. Mr Brown is the widowed father of seven that runs a funeral parlour, he has become distant from his children because of the added pressure of needing to find a new wife as h is clearly stricken with the grief in his life. Evangeline is the help around the house, she is learning from the children in a way that sees her being one of the only adults that can get through to them. Simon is the oldest child that plans what the rest get up to, he needs to learn the biggest lessons as the others will look up to him most.
Performances – Emma Thompson is wonderful choice as Nanny McPhee, she always has your attention on screen no matter what she is teaching. Colin Firth is a great choice in this role, he has the fatherly side down and a man that needs to find love. Kelly Macdonald works well in the maid role in the film bring a calm to the chaos the children usually have. Thomas Brodie-Sangster as the lead of the children stars shows that he was one of Britain’s best at the time.
Story – The story follows a widow that must find a new wife within a month, but is struggle to make sure his children have a nanny after they have chased the rest out of town, a magical nanny comes along to save the day and teach the children a lesson. This story does tackle adult themes like grief and learning to communicate with your family after a tragic loss. We don’t overly focus on the serious side of the film because this is meant to be a kids movie, which is fine, which does pose the question just why would somebody have seven kids and not be able to control them. We do get to through the usual life lessons that the children must learn without being anything special.
Comedy/Fantasy – The comedy in the film usually falls into the slightly more immature level which is more for the children audience, the fantasy comes from just how Nanny McPhee operates.
Settings – The film is set in the house that Mr Brown lives in with his children, it shows that he is in the upper class in the time they are living in.
Special Effects – The effects come from how Nanny McPhee pulls her magic to make the life better for the children.
Scene of the Movie – The wedding.
That Moment That Annoyed Me – Overly childish jokes.
Final Thoughts – This is a simple enjoyable family fantasy film that can be enjoyed by the whole family, it doesn’t bring anything new, but it doesn’t break anything too.
Overall: Fantasy film 101.
Nanny McPhee uses different methods to get the children in order, using her magic, with the warning When you need me but do not want me, then I must stay. When you want me but no longer need me, then I have to go. Can the children be put into order before it is too late.
Thoughts on Nanny McPhee
Characters – Nanny McPhee is a magical nanny that comes when families need her most, she uses the magic to push the children into following her rules, letting them learn from their mistakes unlike any previous nanny. Mr Brown is the widowed father of seven that runs a funeral parlour, he has become distant from his children because of the added pressure of needing to find a new wife as h is clearly stricken with the grief in his life. Evangeline is the help around the house, she is learning from the children in a way that sees her being one of the only adults that can get through to them. Simon is the oldest child that plans what the rest get up to, he needs to learn the biggest lessons as the others will look up to him most.
Performances – Emma Thompson is wonderful choice as Nanny McPhee, she always has your attention on screen no matter what she is teaching. Colin Firth is a great choice in this role, he has the fatherly side down and a man that needs to find love. Kelly Macdonald works well in the maid role in the film bring a calm to the chaos the children usually have. Thomas Brodie-Sangster as the lead of the children stars shows that he was one of Britain’s best at the time.
Story – The story follows a widow that must find a new wife within a month, but is struggle to make sure his children have a nanny after they have chased the rest out of town, a magical nanny comes along to save the day and teach the children a lesson. This story does tackle adult themes like grief and learning to communicate with your family after a tragic loss. We don’t overly focus on the serious side of the film because this is meant to be a kids movie, which is fine, which does pose the question just why would somebody have seven kids and not be able to control them. We do get to through the usual life lessons that the children must learn without being anything special.
Comedy/Fantasy – The comedy in the film usually falls into the slightly more immature level which is more for the children audience, the fantasy comes from just how Nanny McPhee operates.
Settings – The film is set in the house that Mr Brown lives in with his children, it shows that he is in the upper class in the time they are living in.
Special Effects – The effects come from how Nanny McPhee pulls her magic to make the life better for the children.
Scene of the Movie – The wedding.
That Moment That Annoyed Me – Overly childish jokes.
Final Thoughts – This is a simple enjoyable family fantasy film that can be enjoyed by the whole family, it doesn’t bring anything new, but it doesn’t break anything too.
Overall: Fantasy film 101.
Gareth von Kallenbach (971 KP) rated Black Sea (2015) in Movies
Aug 6, 2019
Jude Law stars as Robinson, a former submarine captain made redundant after a long career with an underwater salvage company. Left without a pension, and blaming the company for his failed marriage, he learns from a former co-worker that a vast sum of Nazi gold is lying in wait aboard a sunken German U-boat at the bottom of the Black Sea. Upon securing financing and a submarine that has most definitely seen better days, he pulls together a crew of both British and Russian sailors, assuring every man that an equal share of the loot is to be had. Tensions among the crew soon arise and as one character chillingly questions, “What happens when one of them starts to figure out that their share gets bigger, when there is less people to share it with?”
A few too many easy coincidences drive this plot along, but if you’re willing to suspend just a bit of disbelief, there’s a great tale of paranoia, claustrophobia, betrayal and greed beneath the surface. Even through Jude Law’s dodgy Scottish accent, every performance (particularly newcomer Bobby Schofield as the inexperienced Tobin) is top-notch as both he and the supporting cast provide true believability to the disregard and distrust the two groups of men come to have for each other. Between Black Sea and his unexpectedly good turn in Dom Hemingway last year, Jude Law is firmly back on my radar, as he seems to be following in Matthew McConaughey’s footsteps by taking darker, more complex and challenging roles at this point in his career. From playing a father-figure for a boy frightened of what the future holds, to a man possessed of the determination, no matter what the cost, to return home rich, Law hits every note right and is more than capable of leading a cast this talented.
My only substantial complaint is the ending. On leaving the theater, it seemed one of the better solutions to the potential corner the filmmakers were painting themselves into, though the longer its sits, the more I think a film of this unrelenting intensity deserves an ending with some poignancy. Admittedly, I would have found something bleaker to be more satisfying. The easy route out taken in the last five minutes by director Kevin Macdonald and writer Dennis Kelly are a bit of a let-down when compared with the pulse pounding hour and forty-five minutes that precedes it, and for me it will only detract from Black Sea’s memorability.
With the mention of a submarine drama, it is almost inevitable that comparisons to Das Boot will be drawn. For the purposes of reviewing Black Sea however, I have been unable to do so as my only viewing of it was about a decade ago, when I very foolishly had the ambition to see not only the uncut 6-hour mini-series version that was put together for German television, but to do so in a single sitting. I was successful, but only in terms of completing the task. I know it was great and that it is above equal in the genre of submarine films, but at this point I’d be hard pressed to recall even a few minutes of it. It would seem, in this case, that Black Sea got a fair shake to be judged on its own merits (and that I now have a German epic to revisit, albeit in the slightly more truncated director’s cut form this time).
A few nitpicky complaints aside, and in direct contradiction with my take on the abysmally poor Blackhat from the other week, this is a fine example of a well-made, wall-to-wall suspense-filled thriller, and the film I wish I had started the year off with. Released in early December in the UK, where it has received generally positive reviews, it’s unfortunate that it has landed stateside in the January/February season of no-hopes.
A few too many easy coincidences drive this plot along, but if you’re willing to suspend just a bit of disbelief, there’s a great tale of paranoia, claustrophobia, betrayal and greed beneath the surface. Even through Jude Law’s dodgy Scottish accent, every performance (particularly newcomer Bobby Schofield as the inexperienced Tobin) is top-notch as both he and the supporting cast provide true believability to the disregard and distrust the two groups of men come to have for each other. Between Black Sea and his unexpectedly good turn in Dom Hemingway last year, Jude Law is firmly back on my radar, as he seems to be following in Matthew McConaughey’s footsteps by taking darker, more complex and challenging roles at this point in his career. From playing a father-figure for a boy frightened of what the future holds, to a man possessed of the determination, no matter what the cost, to return home rich, Law hits every note right and is more than capable of leading a cast this talented.
My only substantial complaint is the ending. On leaving the theater, it seemed one of the better solutions to the potential corner the filmmakers were painting themselves into, though the longer its sits, the more I think a film of this unrelenting intensity deserves an ending with some poignancy. Admittedly, I would have found something bleaker to be more satisfying. The easy route out taken in the last five minutes by director Kevin Macdonald and writer Dennis Kelly are a bit of a let-down when compared with the pulse pounding hour and forty-five minutes that precedes it, and for me it will only detract from Black Sea’s memorability.
With the mention of a submarine drama, it is almost inevitable that comparisons to Das Boot will be drawn. For the purposes of reviewing Black Sea however, I have been unable to do so as my only viewing of it was about a decade ago, when I very foolishly had the ambition to see not only the uncut 6-hour mini-series version that was put together for German television, but to do so in a single sitting. I was successful, but only in terms of completing the task. I know it was great and that it is above equal in the genre of submarine films, but at this point I’d be hard pressed to recall even a few minutes of it. It would seem, in this case, that Black Sea got a fair shake to be judged on its own merits (and that I now have a German epic to revisit, albeit in the slightly more truncated director’s cut form this time).
A few nitpicky complaints aside, and in direct contradiction with my take on the abysmally poor Blackhat from the other week, this is a fine example of a well-made, wall-to-wall suspense-filled thriller, and the film I wish I had started the year off with. Released in early December in the UK, where it has received generally positive reviews, it’s unfortunate that it has landed stateside in the January/February season of no-hopes.
Gareth von Kallenbach (971 KP) rated Baywatch (2017) in Movies
Jul 11, 2019
Mitch Buchannon (Dwayne Johnson) is the head of the elite lifeguards of Baywatch. With over 500 confirmed saves he is a local legend. He and his team keep the beach safe by saving drowning victims and going after the people who threaten the safety of the bay they patrol. His team consists of; Stephanie Holden (Ilfenesh Hadera) the one person who might know the bay as well as Mitch and his second in command, C.J. Parker (Kelly Rohrbach) another veteran lifeguard, recruits Ronnie Greenbaum (Jon Bass) and Summer Quinn (Alexandra Daddario) both out to prove themselves, and the final member is cocky recruit Matt Brody (Zac Efron). When drugs start to wash up on the shores of the bay Mitch and company decide to investigate local business woman Victoria Leeds (Priyanka Chopra). They notice that some odd things seem to be happening around a high end resort she owns. The drugs are wash up right in front of the resort and an unknown fish company begins delivering mysterious blue barrels to the resort. But when a local councilman dies under suspicious circumstances, while wearing the same expensive watch worn by Victoria’s body guards, they decide they must infiltrate Victoria’s club, yacht . They have to come together and get to the bottom of where the drugs are coming from and who is responsible to save they bay they are sworn to protect.
If there was a film that took to the phase “don’t take yourself too seriously” Baywatch would be that film. This Seth Gordon (Horrible Bosses, Identity Thief) directed film embraces the cheesiness of the original Baywatch television series in a big way. The cast pokes fun at every aspect of the television series as well as the personas of the real life actors, specifically Johnson and Efron. Johnson’s character is constantly poking fun at Efron’s character by calling him boy band names, in reference to Efron’s status as a teen heartthrob. Another way the movie makes fun of itself is by calling out the fact the Baywatch team not only have the duties of lifeguards on the beach but also doing criminal investigates, going under cover and chasing criminals. There is an ongoing gag throughout the movie where a local police officer, Sgt. Ellerbee (yahya Abdul-Mateen II), reminds Mitch that he is not a police officer, which does not stop him from survelling suspects and looking at coroner reports. Another aspect that I think was done well was that it does not try to reimagine the universe of Baywatch. Rather it takes all the corny one liners and over the top plots and adds some raunchiness to make it new and fresh.
It maybe went a little too far on the cheesy lines and over-acting at times but I think that was the intent of the film. Many of times I found myself shaking my head at how absurd the story was but in the end it was all done in a fun way and again not taking itself too seriously. The action scenes are good not great. The acting fits the style of the movie, it’s bad but presumably on purpose. The CGI in the movie is hit and miss, most notable the underwater scenes are not the best. The movie is also way raunchier that I expected. Some scenes definitely caught me off guard at how far they went. I wouldn’t go into it expecting any amazing acting or plausible plot lines, because you are likely to be let down. This is not for anyone looking for a witty comedy or is not a fan of excessive foul language and some nudity. If you were a fan of the TV series you will probably enjoy the film, notably the cameos by Pamela Anderson (as Casey Jean Parker) and David Hasselhoff (as the mentor).
If there was a film that took to the phase “don’t take yourself too seriously” Baywatch would be that film. This Seth Gordon (Horrible Bosses, Identity Thief) directed film embraces the cheesiness of the original Baywatch television series in a big way. The cast pokes fun at every aspect of the television series as well as the personas of the real life actors, specifically Johnson and Efron. Johnson’s character is constantly poking fun at Efron’s character by calling him boy band names, in reference to Efron’s status as a teen heartthrob. Another way the movie makes fun of itself is by calling out the fact the Baywatch team not only have the duties of lifeguards on the beach but also doing criminal investigates, going under cover and chasing criminals. There is an ongoing gag throughout the movie where a local police officer, Sgt. Ellerbee (yahya Abdul-Mateen II), reminds Mitch that he is not a police officer, which does not stop him from survelling suspects and looking at coroner reports. Another aspect that I think was done well was that it does not try to reimagine the universe of Baywatch. Rather it takes all the corny one liners and over the top plots and adds some raunchiness to make it new and fresh.
It maybe went a little too far on the cheesy lines and over-acting at times but I think that was the intent of the film. Many of times I found myself shaking my head at how absurd the story was but in the end it was all done in a fun way and again not taking itself too seriously. The action scenes are good not great. The acting fits the style of the movie, it’s bad but presumably on purpose. The CGI in the movie is hit and miss, most notable the underwater scenes are not the best. The movie is also way raunchier that I expected. Some scenes definitely caught me off guard at how far they went. I wouldn’t go into it expecting any amazing acting or plausible plot lines, because you are likely to be let down. This is not for anyone looking for a witty comedy or is not a fan of excessive foul language and some nudity. If you were a fan of the TV series you will probably enjoy the film, notably the cameos by Pamela Anderson (as Casey Jean Parker) and David Hasselhoff (as the mentor).
Bob Mann (459 KP) rated Venom: Let There Be Carnage (2021) in Movies
Oct 28, 2021
Lots of hens… but turkeys would be more appropriate.
I was not a great fan of the original Venom, although I did find aspects of it to like. Unfortunately, for me, the sequel – “Venom: Let There Be Carnage” – delivered even less. And I found aspects of it positively distasteful.
Plot Summary:
Eddie Brock (Tom Hardy) is living uncomfortably in San Francisco with his symbiotic friend Venom. Anne (Michelle Williams), his ex-girlfriend, and her new fiancee Dan (Reid Scott) are keeping his secret.
With Venom’s help, Eddie gets the evidence needed to send the psychopathic mass murderer Cletus Kasady (Woody Harrelson) to the electric chair. But with a lost love, Frances (Naomie Harris), to rescue and a burning desire for revenge against Brock and Detective Mulligan (Stephen Graham) who captured him, Kasady is not going to go quietly into the night.
Certification:
US: PG-13. UK: 15.
Talent:
Starring: Tom Hardy, Michelle Williams, Woody Harrelson, Naomie Harris, Reid Scott, Stephen Graham.
Directed by: Andy Serkis.
Written by: Kelly Marcel and Tom Hardy.
“Venom: Let There Be Carnage” Review: Positives:
While most of the cast seem to be doing sequel-paint-by-numbers, I thought Naomie Harris was superb as the shrieking ‘X-woman-style’ villain. (I’m embarrassed to say that it took me until the end titles to realise she WAS Naomie Harris!)
Some of the comedy lines between Brock and Venom made me chuckle.
Negatives:
My main beef was with the script and that came down to two primary issues:
Firstly, virtually nothing happens. It’s not too much of an understatement to say that the whole plot can be summarized as a) a villain is introduced; b) the villain teams with another villain and c) Venom defeats them. It’s just all so bland and linear, without any sort of discernable story arc.
For a movie pitched more at the comedy end of the Marvel spectrum, the script is unpleasantly violent. (And, yes, before Marvel fan-boys attack me with comments, I know that this Sony/Marvel offering is NOT part of the official universe). There are numerous points at which I thought “Ugh!” and a nasty taste entered my mouth: the butchering of a ‘Family man’ prison guard, pleading for his life; the brains of a very polite young grocery store boy being senselessly smashed in; and the massacre of a priest in his own cathedral. (Actually, I have no idea what happened with the priest during the “power-up” scene – – a cut by the censors perhaps?) My issue is that, tonally speaking, there is a horrible mismatch between these unnecessarily violent scenes and the lighthearted and flippant nature of the rest. It’s like putting a vicious gang-bang rape in the middle of “Ant Man“.
Sorry. I know he has a lot of fans, but I’m not a great fan of Tom Hardy’s acting style here. “Legend” proved what class he could deliver. But this performance seems to be streets away from that. An acting colleague last week commented that he was looking forward to the interactions between Hardy and Harrelson. But I found both to be underwhelming.
I found the visual effects for the emerged Venom to be utterly unconvincing. There were times when it looked like nothing more than a puppet on strings.
I’m normally a fan of Marco Beltrami‘s scores. But I found the music in here to be intrusive and distracting. And that’s before some (to my ears) pretty awful rap-based tracks over the closing titles.
Summary Thoughts on “Venom: Let There Be Carnage”
You’ll already judge from my balance of comments that this one just didn’t work for me. Even as a “park your brain at the door” action movie, I thought it felt lazy and lacklustre.
My advice? Save your money and go and watch “The Last Duel” instead.
Plot Summary:
Eddie Brock (Tom Hardy) is living uncomfortably in San Francisco with his symbiotic friend Venom. Anne (Michelle Williams), his ex-girlfriend, and her new fiancee Dan (Reid Scott) are keeping his secret.
With Venom’s help, Eddie gets the evidence needed to send the psychopathic mass murderer Cletus Kasady (Woody Harrelson) to the electric chair. But with a lost love, Frances (Naomie Harris), to rescue and a burning desire for revenge against Brock and Detective Mulligan (Stephen Graham) who captured him, Kasady is not going to go quietly into the night.
Certification:
US: PG-13. UK: 15.
Talent:
Starring: Tom Hardy, Michelle Williams, Woody Harrelson, Naomie Harris, Reid Scott, Stephen Graham.
Directed by: Andy Serkis.
Written by: Kelly Marcel and Tom Hardy.
“Venom: Let There Be Carnage” Review: Positives:
While most of the cast seem to be doing sequel-paint-by-numbers, I thought Naomie Harris was superb as the shrieking ‘X-woman-style’ villain. (I’m embarrassed to say that it took me until the end titles to realise she WAS Naomie Harris!)
Some of the comedy lines between Brock and Venom made me chuckle.
Negatives:
My main beef was with the script and that came down to two primary issues:
Firstly, virtually nothing happens. It’s not too much of an understatement to say that the whole plot can be summarized as a) a villain is introduced; b) the villain teams with another villain and c) Venom defeats them. It’s just all so bland and linear, without any sort of discernable story arc.
For a movie pitched more at the comedy end of the Marvel spectrum, the script is unpleasantly violent. (And, yes, before Marvel fan-boys attack me with comments, I know that this Sony/Marvel offering is NOT part of the official universe). There are numerous points at which I thought “Ugh!” and a nasty taste entered my mouth: the butchering of a ‘Family man’ prison guard, pleading for his life; the brains of a very polite young grocery store boy being senselessly smashed in; and the massacre of a priest in his own cathedral. (Actually, I have no idea what happened with the priest during the “power-up” scene – – a cut by the censors perhaps?) My issue is that, tonally speaking, there is a horrible mismatch between these unnecessarily violent scenes and the lighthearted and flippant nature of the rest. It’s like putting a vicious gang-bang rape in the middle of “Ant Man“.
Sorry. I know he has a lot of fans, but I’m not a great fan of Tom Hardy’s acting style here. “Legend” proved what class he could deliver. But this performance seems to be streets away from that. An acting colleague last week commented that he was looking forward to the interactions between Hardy and Harrelson. But I found both to be underwhelming.
I found the visual effects for the emerged Venom to be utterly unconvincing. There were times when it looked like nothing more than a puppet on strings.
I’m normally a fan of Marco Beltrami‘s scores. But I found the music in here to be intrusive and distracting. And that’s before some (to my ears) pretty awful rap-based tracks over the closing titles.
Summary Thoughts on “Venom: Let There Be Carnage”
You’ll already judge from my balance of comments that this one just didn’t work for me. Even as a “park your brain at the door” action movie, I thought it felt lazy and lacklustre.
My advice? Save your money and go and watch “The Last Duel” instead.
Louise (64 KP) rated My True Love Gave to Me: Twelve Winter Romances in Books
Jul 2, 2018
This set of short stories were very interesting to read and I like that they were all different in there own way, with fantasy and LGBTQ elements. I am fairly new to young adult so many of these authors I haven't read before but I will be delving into some of their works in 2016.
I was a little let down with this collection of short stories, there has been so much buzz going around for this book. I felt that the stories were too short and that you didn't really build enough connection with the characters to feel the warm fuzzy feeling of romance.
I will try to put a brief synopsis of each story but I don't want to ruin it for anyone.
Midnights by Rainbow Rowell is a story about Mags and Noel who have been friends over the past 4-5 years and it is told on every New Years eve and gradually they grow closer every year to more than just friends. 3 stars. Now everyone should know that I am a fan of Rainbow Rowell, but for me she is better at longer novels with the slow burn of a romance, for me this was much too short and I didn't feel the connection with the characters.
The Lady and the Fox by Kelly Link is a fantasy love story (to be honest I can't remember too much about this) 2 stars. It was ok, but things weren't explained enough.
Angels in the snow by Matt de la Pena is about a guy called Shy and he is cat sitting for his boss, when he gets a knock on the door from a women called Hayley , she has problems in her flat and Shy is the only guy to help out.3.5 stars. I really enjoyed this book, the characters were super cute, the romance was cute and a lovely short story.
Polaris is where you'll find me by Jenny Han is a about Natalie, she was abandoned as a baby, found and adopted by Santa, she grows up in the North Pole. Love between her and an elf develops. 3.5 stars This was super cute and reminded me of the film Elf.
It's a yuletide miracle Charlie Brown by Stephanie Perkins was another cute story of Marigold buying a Christmas tree just to speak to a guy. 3.5 stars.I don't know how many times I am going to say cute but this is what it was.
Your Temporary Santa is a LGTBQ story, which is great to see in this mix of stories, however it wasn't for me 2 stars.
Krampuslauf by Holly Black has elements of fantasy, however I didn't like the story for me it felt a bit juvenile. 1.5 stars
What the hell have you done, Sophie Roth, I loved this story, it has to be my favorite in the book, it's just a basic romance story but written and developed really well. 4 stars.
Beer buckets and baby Jesus by Myra McEntire, Vaughn Hatcher is the local prankster, however one day he gets arrested but saved by the local priest in exchange for community service, there he meets the girl he has been seeking attention. 2 stars
Welcome to Christmas, CA by Kiersten White was a really cool story, a girl hating her family, the town she lives in and the people until they get a new chef in the kitchen of the diner that her mum owns and somehow everything starts to become clearer. 3.5 stars This was an enjoyable read.
Star of Bethlehem by Ally Carter was a cute story of a girl trying to escape her life and swaps plane tickets with an Icelandic girl and pretends to be her when she meets her destination. 3.5 Stars
The girl who woke the dreamer by Laini Taylor is a fantasy story, which starts off very sad and gripping, but I wasn't sure about the ending. It was very strange. 2 stars
I know that Stephanie Perkins has another collection of short stories coming out in 2016 and will be interested in reading them aswell
Overall I gave this book 3 out of 5 stars
I was a little let down with this collection of short stories, there has been so much buzz going around for this book. I felt that the stories were too short and that you didn't really build enough connection with the characters to feel the warm fuzzy feeling of romance.
I will try to put a brief synopsis of each story but I don't want to ruin it for anyone.
Midnights by Rainbow Rowell is a story about Mags and Noel who have been friends over the past 4-5 years and it is told on every New Years eve and gradually they grow closer every year to more than just friends. 3 stars. Now everyone should know that I am a fan of Rainbow Rowell, but for me she is better at longer novels with the slow burn of a romance, for me this was much too short and I didn't feel the connection with the characters.
The Lady and the Fox by Kelly Link is a fantasy love story (to be honest I can't remember too much about this) 2 stars. It was ok, but things weren't explained enough.
Angels in the snow by Matt de la Pena is about a guy called Shy and he is cat sitting for his boss, when he gets a knock on the door from a women called Hayley , she has problems in her flat and Shy is the only guy to help out.3.5 stars. I really enjoyed this book, the characters were super cute, the romance was cute and a lovely short story.
Polaris is where you'll find me by Jenny Han is a about Natalie, she was abandoned as a baby, found and adopted by Santa, she grows up in the North Pole. Love between her and an elf develops. 3.5 stars This was super cute and reminded me of the film Elf.
It's a yuletide miracle Charlie Brown by Stephanie Perkins was another cute story of Marigold buying a Christmas tree just to speak to a guy. 3.5 stars.I don't know how many times I am going to say cute but this is what it was.
Your Temporary Santa is a LGTBQ story, which is great to see in this mix of stories, however it wasn't for me 2 stars.
Krampuslauf by Holly Black has elements of fantasy, however I didn't like the story for me it felt a bit juvenile. 1.5 stars
What the hell have you done, Sophie Roth, I loved this story, it has to be my favorite in the book, it's just a basic romance story but written and developed really well. 4 stars.
Beer buckets and baby Jesus by Myra McEntire, Vaughn Hatcher is the local prankster, however one day he gets arrested but saved by the local priest in exchange for community service, there he meets the girl he has been seeking attention. 2 stars
Welcome to Christmas, CA by Kiersten White was a really cool story, a girl hating her family, the town she lives in and the people until they get a new chef in the kitchen of the diner that her mum owns and somehow everything starts to become clearer. 3.5 stars This was an enjoyable read.
Star of Bethlehem by Ally Carter was a cute story of a girl trying to escape her life and swaps plane tickets with an Icelandic girl and pretends to be her when she meets her destination. 3.5 Stars
The girl who woke the dreamer by Laini Taylor is a fantasy story, which starts off very sad and gripping, but I wasn't sure about the ending. It was very strange. 2 stars
I know that Stephanie Perkins has another collection of short stories coming out in 2016 and will be interested in reading them aswell
Overall I gave this book 3 out of 5 stars