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BankofMarquis (1832 KP) rated All the Money in the World (2017) in Movies
Feb 14, 2018
Bland with the exception of Christopher Plummer
By now, almost everyone knows about the last minute switch of Christopher Plummer in place of current-pariah Kevin Spacey as pivotal Billionaire J. Paul Getty in Ridley Scott's ALL THE MONEY IN THE WORLD, so when I checked out Plummer's Oscar nominated turn, I couldn't but help see if I could tell when Scott put in a new scene and where he just "augmented" his scenes with Plummer. And then, a funny thing happened...
I stopped looking at this for I was captivated by Plummer's performance.
A 3 time Oscar nominee (he is the oldest person to win an Academy Award - at the age of 82 - for his Supporting Role in BEGINNERS in 2010), the 88 year old Plummer shows that he can still command a movie for anytime he is on screen this film crackles and becomes interesting.
Unfortunately, the same cannot be said for the rest of the film.
Telling the story of the kidnapping of Getty's grandson, and the "richest man in the world's" refusal to pay the ransom, ALL THE MONEY IN THE WORLD stars Charlie Plummer (no relation) as John Paul Getty III (the kidnapped grandson), Mark Wahlberg as "fixer" Fletcher Chase, who was told by Getty to get his grandson back for "the lowest possible cost", Romain Duris as one of the kidnappers and the great Michelle Williams as the mother of the kidnapped boy - and the daughter-in-law of Getty, Gail Harris. Each one of these performances are good, but not great. Doing what needs to be done in what they are given to do but nothing more.
I think the problem with this film is one of focus. It spends about 50% of the time with William's character - and this is fine, but then it jumps to the kidnapped son, to "the fixer", to "the kidnapper", to the grandson and back to the mother, so no real through-line, continuity or strong character development can occur, with the exception of Christopher Plummer's J. Paul Getty. To be fair to Williams, C. Plummer has the showier role and she is just asked to be the center of this tale, the world in which all else revolves and that, ultimately, makes her character somewhat bland.
I place the blame for this on Screenwriter David Scarpa (based on the book by John Pearson) and Director Scott. I think their reach exceeded their grasp on this one. If they could have focused more on one of the characters - instead of spreading things out - perhaps this film would have become more interesting and less bland. It stays on one note - despite jumping to different people in vastly different situations - throughout it's 2 hour and 15 minute time frame.
All in all, a missed opportunity. It is a decent film that had the potential to be VERY good. The only one who was VERY good was Christopher Plummer - and certainly his performance is worth the price of admission.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank (OfMarquis)
I stopped looking at this for I was captivated by Plummer's performance.
A 3 time Oscar nominee (he is the oldest person to win an Academy Award - at the age of 82 - for his Supporting Role in BEGINNERS in 2010), the 88 year old Plummer shows that he can still command a movie for anytime he is on screen this film crackles and becomes interesting.
Unfortunately, the same cannot be said for the rest of the film.
Telling the story of the kidnapping of Getty's grandson, and the "richest man in the world's" refusal to pay the ransom, ALL THE MONEY IN THE WORLD stars Charlie Plummer (no relation) as John Paul Getty III (the kidnapped grandson), Mark Wahlberg as "fixer" Fletcher Chase, who was told by Getty to get his grandson back for "the lowest possible cost", Romain Duris as one of the kidnappers and the great Michelle Williams as the mother of the kidnapped boy - and the daughter-in-law of Getty, Gail Harris. Each one of these performances are good, but not great. Doing what needs to be done in what they are given to do but nothing more.
I think the problem with this film is one of focus. It spends about 50% of the time with William's character - and this is fine, but then it jumps to the kidnapped son, to "the fixer", to "the kidnapper", to the grandson and back to the mother, so no real through-line, continuity or strong character development can occur, with the exception of Christopher Plummer's J. Paul Getty. To be fair to Williams, C. Plummer has the showier role and she is just asked to be the center of this tale, the world in which all else revolves and that, ultimately, makes her character somewhat bland.
I place the blame for this on Screenwriter David Scarpa (based on the book by John Pearson) and Director Scott. I think their reach exceeded their grasp on this one. If they could have focused more on one of the characters - instead of spreading things out - perhaps this film would have become more interesting and less bland. It stays on one note - despite jumping to different people in vastly different situations - throughout it's 2 hour and 15 minute time frame.
All in all, a missed opportunity. It is a decent film that had the potential to be VERY good. The only one who was VERY good was Christopher Plummer - and certainly his performance is worth the price of admission.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank (OfMarquis)
Andy K (10821 KP) rated The Devil's Rejects (2005) in Movies
Oct 16, 2019
Chinese, Japanese, Dirty knees, look at these!
Shortly after the events of House of 1,000 Corpses, Sheriff Wydell and his band of deputies approach and surround the homestead occupied by everyone's favorite murderous, diabolical, psychotic family. Inside, lazy slumbering quickly turns to mounting a counter offensive when the family realizes what is about to happen. The ensuring shootout claims several victims before the aid of tear gas precedes a law enforcement home invasion. Unfortunately, only one family member is captured while Baby and Otis escape out the back. Baby calls their father, Captain Spaulding, to inform him of the pending doom on his way so he can meet up with them subsequently.
The two siblings arrive at a local motel only to perform their brand of debauchery on two couples and friends staying there. They are forced to be in constant fear for their lives whilst their kidnappers decide what to do with them while waiting on their matriarch. The torture endured by their victims is heinous, cruel and unnecessary, but is their way of life.
The law is tightly on their trail waiting for that lead which will lead them to the felons. This is growing personal for the sheriff as he discovers the "rejects" were responsible for the death of his brother. The sheriff decides to hire some disreputable men of his own to use whatever methods they can to acquire the location of his targets.
The inevitable stand off leaves other casualties and a position it will be difficult for the sheriff to return from. The "rejects" always seem to find a way to survive no matter their degree of peril.
This film takes a different direction than that of House of 1,000 Corpses. That film being more of a standard "teenagers wander into a house of horrors" situation, whereas this film feels more like a "Natural Born Killers" type.
The total lack of any sort of normal human decency for the family is truly revolting and is on display every time they interact with anyone including women and children. They even don't really like each other very much and are constantly arguing with one other; their visceral hatred always right on the edge of bubbling over.
The unspeakable cruelty they enact on their victims can seem excessive at times; however, if you have lived through the events of the first film, you know what you are getting into here. When they are attached to their motel guests, you are just waiting for the next moment of panic when their guests start to figure out exactly what type of monsters they are dealing with.
I loved the gritty look of the film along with the mostly 1970s classic rock soundtrack. The scenery and landscapes of the sparse countryside fit the film well as well.
Not too many sequels build or are as good or better than their predecessor, but this film could be one of those for sure.
The two siblings arrive at a local motel only to perform their brand of debauchery on two couples and friends staying there. They are forced to be in constant fear for their lives whilst their kidnappers decide what to do with them while waiting on their matriarch. The torture endured by their victims is heinous, cruel and unnecessary, but is their way of life.
The law is tightly on their trail waiting for that lead which will lead them to the felons. This is growing personal for the sheriff as he discovers the "rejects" were responsible for the death of his brother. The sheriff decides to hire some disreputable men of his own to use whatever methods they can to acquire the location of his targets.
The inevitable stand off leaves other casualties and a position it will be difficult for the sheriff to return from. The "rejects" always seem to find a way to survive no matter their degree of peril.
This film takes a different direction than that of House of 1,000 Corpses. That film being more of a standard "teenagers wander into a house of horrors" situation, whereas this film feels more like a "Natural Born Killers" type.
The total lack of any sort of normal human decency for the family is truly revolting and is on display every time they interact with anyone including women and children. They even don't really like each other very much and are constantly arguing with one other; their visceral hatred always right on the edge of bubbling over.
The unspeakable cruelty they enact on their victims can seem excessive at times; however, if you have lived through the events of the first film, you know what you are getting into here. When they are attached to their motel guests, you are just waiting for the next moment of panic when their guests start to figure out exactly what type of monsters they are dealing with.
I loved the gritty look of the film along with the mostly 1970s classic rock soundtrack. The scenery and landscapes of the sparse countryside fit the film well as well.
Not too many sequels build or are as good or better than their predecessor, but this film could be one of those for sure.
Erika (17788 KP) rated Shadow and Bone - Season 1 in TV
Jul 16, 2021
Shadow and Bone is based upon the popular Young Adult series, The Grisha Trilogy, which takes place in a steampunk-ish, Russian fantasy world at war. The story’s main character is Alina Starkov (Jessie Mei Li), an orphan who discovers she has some magical powers when she journeys into something called the Fold with her childhood friend Malyen, “Mal” (Archie Renaux), for short. The witches in this fantasy world are called Grisha and are trained to help with military operations for some king. The General of this witch army is Kirigan, played by Ben Barnes. There are also two other storylines, this group of kidnappers, and a Grisha that’s enslaved.
This series wasn’t really made for a general audience, it was made for the fans of the book trilogy. The series starts, and the watcher is immediately thrust into this fantasy world that doesn’t really make much sense with no prior knowledge. If you couldn’t tell from the series description, I wasn’t really into it. It took me two months to watch all eight of the episodes. I almost didn’t keep watching after the first two episodes, but my boss encouraged me to keep going.
The storyline is your standard YA novel, a girl who didn’t know her powers, some lame love triangle, and for some reason, the girl is the only one that can save the world. Nothing new to see here. My interest was only piqued by Barnes’ character Kirigan, and Barnes was the main reason I actually kept watching the show. The seventh episode, which features Kirigan’s backstory, was the most interesting.
The whole kidnapping crew storyline wasn’t really all that interesting. The leader, Kaz (Freddy Carter) is a kingpin-type character with an unexplained limp, or I missed the explanation. The crew also had an assassin-type character, Inej (Amita Suman), who might not really have been an assassin, again, missed that explanation. The best member of this crew was Jesper (Kit Young), who was the charmer, expert trick shooter, and the second most interesting character in the series.
The subplot with the whole kidnapping Alina thing was neither here nor there, I don’t even remember the characters’ names that were involved in this subplot. Maybe it meant something to the readers of the novels, or it’ll make sense in the next season, but it certainly didn’t mean anything to me. I think I fast-forwarded through those portions in the last episode.
I think I started liking it after the seventh episode, but two interesting episodes does not make an interesting series. It’s been about a week since I finished it, and I honestly had to look up all the characters’ names. I probably seem flippant about explaining the different plots, but it’s legitimately all I remember. This series also didn’t leave me with a hankering to read the book series, nor would I care to watch any further seasons. I’m sure if you’re a fan of the book series, you’d probably love this, but it was not for me.
This series wasn’t really made for a general audience, it was made for the fans of the book trilogy. The series starts, and the watcher is immediately thrust into this fantasy world that doesn’t really make much sense with no prior knowledge. If you couldn’t tell from the series description, I wasn’t really into it. It took me two months to watch all eight of the episodes. I almost didn’t keep watching after the first two episodes, but my boss encouraged me to keep going.
The storyline is your standard YA novel, a girl who didn’t know her powers, some lame love triangle, and for some reason, the girl is the only one that can save the world. Nothing new to see here. My interest was only piqued by Barnes’ character Kirigan, and Barnes was the main reason I actually kept watching the show. The seventh episode, which features Kirigan’s backstory, was the most interesting.
The whole kidnapping crew storyline wasn’t really all that interesting. The leader, Kaz (Freddy Carter) is a kingpin-type character with an unexplained limp, or I missed the explanation. The crew also had an assassin-type character, Inej (Amita Suman), who might not really have been an assassin, again, missed that explanation. The best member of this crew was Jesper (Kit Young), who was the charmer, expert trick shooter, and the second most interesting character in the series.
The subplot with the whole kidnapping Alina thing was neither here nor there, I don’t even remember the characters’ names that were involved in this subplot. Maybe it meant something to the readers of the novels, or it’ll make sense in the next season, but it certainly didn’t mean anything to me. I think I fast-forwarded through those portions in the last episode.
I think I started liking it after the seventh episode, but two interesting episodes does not make an interesting series. It’s been about a week since I finished it, and I honestly had to look up all the characters’ names. I probably seem flippant about explaining the different plots, but it’s legitimately all I remember. This series also didn’t leave me with a hankering to read the book series, nor would I care to watch any further seasons. I’m sure if you’re a fan of the book series, you’d probably love this, but it was not for me.
Bob Mann (459 KP) rated All the Money in the World (2017) in Movies
Sep 29, 2021
You can’t take it with you.
The big talking point of this Ridley Scott film is not of course the film itself but the fact that the disgraced Kevin Spacey (“Baby Driver“) was ‘airbrushed’ out of the movie, replaced by the legend that is Christopher Plummer. With that background, and the fact that the re-shoot only took 9 days (NINE DAYS!!!!), I must admit to having been a tad scornful when Plummer was nominated for a Best Supporting Actor Oscar. “Oh” I thought “…it’s Judi Dench’s minimalistic performance in ‘Shakespeare In Love’ all over again”.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
Darren (1599 KP) rated All the Money in the World (2017) in Movies
Jun 20, 2019
Story: All the Money in the World starts when John Paul Getty III (Charlie Plummer) get kidnapped in Rome, the ransom is $17 Million, the only person that can help her mother Gail Harris (Williams) get the money is the estranged billionaire grandfather J Paul Getty (Christopher Plummer) who isn’t willing to pay a single dollar to get his favourite grandson back.
Fletcher Chase (Wahlberg) is recruited to negotiate a deal with the kidnappers, but Getty isn’t willing to spare a dollar to get him back as the situation starts to get out of hand as time starts to run out on getting John Paul Getty III back alive.
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Thoughts on All the Money in the World
Characters – Gail Harris is the mother of John Paul Getty III, she has given up her fortune she could have had from her divorce to keep her son, she must go back to her old father in law to get the money, even after she doesn’t get the money she leads the campaign to save her son. J Paul Getty is the richest man in the world, he has made the money by taking whatever he wants and will never give up money for anything that doesn’t increase his value. Businessman at heart he will only do a deal for his own good. Fletcher Chase is the deal maker, he has been able to negotiate deals for Getty for years and now he is assigned to help retrieve the grandson.
Performances – Michelle Williams is the true star of this movie, she shines in every scene she is in, showing the strength on front of the cameras and the weakness behind them. Christopher Plummer is great in his role which was one that we get to see him take very late in the process. Mark Wahlberg is surprisingly good in his role, taking a supporting position he handles everything without becoming over the top like you would imagine him doing.
Story – The story here follows the kidnapping of the grandchild of the richest man in the world and follows whether he is willing to spend his fortune to get him back alive. We have the concerned mother that will do anything to get him back, even go against the father-in-law. While the story does come off slow at times as we do go through the same process too often, but it does show how greed can drive people to make terrible decisions.
Biopic/Crime/Mystery – This is meant to be about a real person, not sure how real the story is truly about, this could be considered one of the biggest kidnapping cases of all time if is real though.
Settings – The film does use the backdrops wonderfully through the film to make us feel like we are part of the scenes we are watching through, the beauty stands out here.
Scene of the Movie – Williams performance is something to sit and enjoy.
That Moment That Annoyed Me – It does feel long.
Final Thoughts – This is a good crime thriller, it shows us just how far people will go for money and how far people will go to keep it.
Overall: Long strong movie.
https://moviesreview101.com/2018/04/23/all-the-money-in-the-world-2017/
Fletcher Chase (Wahlberg) is recruited to negotiate a deal with the kidnappers, but Getty isn’t willing to spare a dollar to get him back as the situation starts to get out of hand as time starts to run out on getting John Paul Getty III back alive.
REPORT THIS AD
Thoughts on All the Money in the World
Characters – Gail Harris is the mother of John Paul Getty III, she has given up her fortune she could have had from her divorce to keep her son, she must go back to her old father in law to get the money, even after she doesn’t get the money she leads the campaign to save her son. J Paul Getty is the richest man in the world, he has made the money by taking whatever he wants and will never give up money for anything that doesn’t increase his value. Businessman at heart he will only do a deal for his own good. Fletcher Chase is the deal maker, he has been able to negotiate deals for Getty for years and now he is assigned to help retrieve the grandson.
Performances – Michelle Williams is the true star of this movie, she shines in every scene she is in, showing the strength on front of the cameras and the weakness behind them. Christopher Plummer is great in his role which was one that we get to see him take very late in the process. Mark Wahlberg is surprisingly good in his role, taking a supporting position he handles everything without becoming over the top like you would imagine him doing.
Story – The story here follows the kidnapping of the grandchild of the richest man in the world and follows whether he is willing to spend his fortune to get him back alive. We have the concerned mother that will do anything to get him back, even go against the father-in-law. While the story does come off slow at times as we do go through the same process too often, but it does show how greed can drive people to make terrible decisions.
Biopic/Crime/Mystery – This is meant to be about a real person, not sure how real the story is truly about, this could be considered one of the biggest kidnapping cases of all time if is real though.
Settings – The film does use the backdrops wonderfully through the film to make us feel like we are part of the scenes we are watching through, the beauty stands out here.
Scene of the Movie – Williams performance is something to sit and enjoy.
That Moment That Annoyed Me – It does feel long.
Final Thoughts – This is a good crime thriller, it shows us just how far people will go for money and how far people will go to keep it.
Overall: Long strong movie.
https://moviesreview101.com/2018/04/23/all-the-money-in-the-world-2017/
Gareth von Kallenbach (980 KP) rated Sabotage (2014) in Movies
Jun 19, 2019
Action icon Arnold Schwarzenegger is back in “Sabotage”, with an ensemble film that is part thriller, part action, and part western. Schwarzenegger plays John Breacher, the leader of a top D.E.A. squad who take on the worst of the criminal underworld in the war on drugs.
Breacher has become a celebrity for his exploits as the numerous pictures of him with former Presidents attest to. It is learned that after bringing down a drug Kingpin, Breacher had his wife and son kidnapped in retaliation and he was forced to watch them tortured to death via video for refusing to turn himself over to the kidnappers for retaliation.
The brutal and drawn out nature of the crimes has haunted Breacher and as the film opens he is leading his team on a raid of a mansion filled with cash and bad guys.
His team is very efficient at what they do but have both physical and mental scars from their experiences. The raid goes almost as planned, but Breacher and his team are accused of taking ten million dollars from the crime scene after the raid as it was learned that the F.B.I. were also keeping tabs on the locale.
Six months pass and despite being an outcast, Breacher and his team are returned to active duty after the closure of the investigation against them. With most of his agency convinced someone on the team has taken the money, Breacher and company celebrate their return to active status.
Their celebration is short-lived when members of the team start being killed in brutal fashion. The fact that highly trained operatives are able to be killed in this manner has raised some red flags especially to local detective Brentwood (Olivia Williams), who thinks there may be more to the cases than first thought. The fact that the D.E.A. is not helping with her investigation and the fact that the bodies are starting to pile up lead her and Breacher into an uneasy alliance to find the killer(s).
What follows is a methodical, but at times action packed film that results in an ending that is disappointing compared to what it could have been.
After the final revelation was revealed, it seemed to me that the methods taken did not match up well with the timeline, opportunity, and motivations of the characters involved. The more I thought about the film the more I was convinced that there were easier ways for things to be accomplished or explained and that perhaps there were too many Red Herrings along the way.
The cast is the film is top notch from Terrance Howard, Sam Worthington, Joe Manganiello and Josh Holloway, and this is one of Schwarzenegger’s most mature and diverse roles in memory. I liked the ambiguity of his character as he was not the one man killing machine and unstoppable force of nature that he has portrayed countless times before.
Breacher is a haunted and troubled man who is highly capable at what he does and enjoys doing it even though it has cost him everything he holds dear. The film seemed to be unable to find an identity as it started out as a very gripping drama that had you guessing but took some turns that strained to be credible and became a conglomeration of action clichés and western nostalgia which is a shame as the cast and premise offered so much more as did the first part of the film.
Director David Ayer keeps things moving along and is to be praised for not letting the action overshadow the characters but sadly the final act of the film comes up short and undermines what could have been a classic mix of action and drama.
The film fails as an effective action film or drama which results in an at times enjoyable but largely forgettable effort.
http://sknr.net/2014/03/28/sabotage/
Breacher has become a celebrity for his exploits as the numerous pictures of him with former Presidents attest to. It is learned that after bringing down a drug Kingpin, Breacher had his wife and son kidnapped in retaliation and he was forced to watch them tortured to death via video for refusing to turn himself over to the kidnappers for retaliation.
The brutal and drawn out nature of the crimes has haunted Breacher and as the film opens he is leading his team on a raid of a mansion filled with cash and bad guys.
His team is very efficient at what they do but have both physical and mental scars from their experiences. The raid goes almost as planned, but Breacher and his team are accused of taking ten million dollars from the crime scene after the raid as it was learned that the F.B.I. were also keeping tabs on the locale.
Six months pass and despite being an outcast, Breacher and his team are returned to active duty after the closure of the investigation against them. With most of his agency convinced someone on the team has taken the money, Breacher and company celebrate their return to active status.
Their celebration is short-lived when members of the team start being killed in brutal fashion. The fact that highly trained operatives are able to be killed in this manner has raised some red flags especially to local detective Brentwood (Olivia Williams), who thinks there may be more to the cases than first thought. The fact that the D.E.A. is not helping with her investigation and the fact that the bodies are starting to pile up lead her and Breacher into an uneasy alliance to find the killer(s).
What follows is a methodical, but at times action packed film that results in an ending that is disappointing compared to what it could have been.
After the final revelation was revealed, it seemed to me that the methods taken did not match up well with the timeline, opportunity, and motivations of the characters involved. The more I thought about the film the more I was convinced that there were easier ways for things to be accomplished or explained and that perhaps there were too many Red Herrings along the way.
The cast is the film is top notch from Terrance Howard, Sam Worthington, Joe Manganiello and Josh Holloway, and this is one of Schwarzenegger’s most mature and diverse roles in memory. I liked the ambiguity of his character as he was not the one man killing machine and unstoppable force of nature that he has portrayed countless times before.
Breacher is a haunted and troubled man who is highly capable at what he does and enjoys doing it even though it has cost him everything he holds dear. The film seemed to be unable to find an identity as it started out as a very gripping drama that had you guessing but took some turns that strained to be credible and became a conglomeration of action clichés and western nostalgia which is a shame as the cast and premise offered so much more as did the first part of the film.
Director David Ayer keeps things moving along and is to be praised for not letting the action overshadow the characters but sadly the final act of the film comes up short and undermines what could have been a classic mix of action and drama.
The film fails as an effective action film or drama which results in an at times enjoyable but largely forgettable effort.
http://sknr.net/2014/03/28/sabotage/
5 Minute Movie Guy (379 KP) rated A Walk Among the Tombstones (2014) in Movies
Jun 28, 2019 (Updated Jun 28, 2019)
Liam Neeson puts in a commanding performance and is a natural as a detective. (2 more)
The film has great visual flair and creates an effectively dark and moody atmosphere.
The solid supporting cast strengthen an otherwise dull and derivative film.
The heavy graphic content of rape, mutilation, and murder is extremely off-putting. (1 more)
There's not a single likeable character to be found in the whole movie.
A Walk Among the Tombstones is unsettling but never really all that compelling. It's a decent detective movie, but your enjoyment of it may depend on how well you can handle its grimy setting and extreme violence.
After watching A Walk Among the Tombstones, I literally felt like I was going to puke. This mystery-thriller, based on Lawrence Block’s popular novel, is a gross and grisly foray into the criminal underworld in search of sadistic kidnappers. Director Scott Frank paints a portrait of a dark and twisted 1990s New York City where women are disappearing, only to later show up chopped into pieces. The film is grim without remorse or reason, and if you’re anything like me, you’ll be eager for it to end so you can wash your hands of it entirely. It stars Liam Neeson as an unlicensed private detective named Matthew Scudder who leads an investigation to find the people responsible for these horrific murders. While it may appear from the trailers to be another entry in Neeson’s growing lineup of ass-kicking action-thrillers, it’s actually far from it. A Walk Among the Tombstones plays out more like a brooding, slow-paced horror film. If you’re expecting Taken, then you’re walking right into the wrong movie.
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.