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Lee (2222 KP) rated Fighting with My Family (2019) in Movies
Mar 1, 2019
It's been many years since I last watched any wrestling, and I certainly haven't seen anything of the WWE Divas, or more specifically Paige - the wrestling name of the young British girl whose story is featured in Fighting With My Family. I first got into WWE wrestling, or WWF as it was known back then, sometime during 1986 - just in time for Wrestlemania 3 and the classic main event of Hulk Hogan Vs André the Giant in front of a crowd of over 93,000. It was like nothing I'd ever seen before, and I was hooked. Following that, I used to have to wake up my younger brothers at around midnight whenever there was a major wrestling event on TV, so that we would be able to watch it live from the US. And then eventually, in 1992, they brought Summerslam to Wembley Stadium, and we were able to finally attend an event a little bit closer to home.
Fighting With My Family begins with a young Paige, real name Saraya-Jade, enjoying the WWF wrestling on TV with brother Zak and trying out some of the moves and holds on each other, similar to how I managed to perfect the figure four leglock on my younger brother.... But, that's where the similarities end as Saraya-Jade and Zak are positively encouraged by their parents to beat the crap out of each other, whereas I would probably have been grounded for making my brother cry or something. Their parents, Patrick ‘Rowdy Ricky Knight’ and Julia ‘Sweet Saraya’ are former wrestlers themselves who now run World Association of Wrestling (WAW), where grown up Saraya-Jade (Florence Pugh) and Zak (Jack Lowden) now fight each other for money in regular evening shows. Each day they head out in their WAW van to pick up a bunch of local kids, who would otherwise be headed down a path of criminality, and head to the gym to train them in the ring. Elder brother Roy was also a wrestler, but is currently in prison. It's a simple, close-knit working class family - all looking out for each other, highly passionate about wrestling and each having (or had at one point) a dream to one day make it big in the WWE.
One day that dream has a chance of becoming reality when tryouts for the WWE come to The O2 in London and Zak and Raya are selected to come along. WWE Coach Hutch (Vince Vaughn) puts them through their paces but only Raya is selected to move onto the next stage in Florida. While she heads out to continue her dream, a rejected Zak resigns himself to the fact that he's only ever going to be a small time wrestler. Raya becomes Paige and sets about trying to prove herself as the ordinary Brit girl in among all the dancers, models and cheerleaders who are also with her at boot camp. She's resentful of the others, as they were 'only selected for their tits and ass' and are without any kind of wrestling background. She's lonely, angry and lacking the self confidence she needs to really make it happen. Meanwhile, Zak is struggling with missing out on heading to Florida - disinterested in his new born baby, undertaking grueling matches in front of small crowds, and picking fights in bars just for the hell of it.
Fighting With My Family boasts some real laugh out loud moments, but there is also a lot of relatable family drama and emotion. The cast are all incredible, particularly Florence Pugh as Raya/Paige. Vince Vaughn is a lot of fun as the coach and The Rock also brings a lot of comedy to the few scenes he's in. I absolutely loved everything about this movie and couldn't really fault it at all. Despite knowing beforehand the outcome for Paige, the whole movie just has you wondering throughout if she's going to make it or if she's going to quit, which makes the ending all the more enjoyable. And when you see clips during the credits of her real life family, you appreciate just how spot on some of the casting and acting is too!
Fighting With My Family begins with a young Paige, real name Saraya-Jade, enjoying the WWF wrestling on TV with brother Zak and trying out some of the moves and holds on each other, similar to how I managed to perfect the figure four leglock on my younger brother.... But, that's where the similarities end as Saraya-Jade and Zak are positively encouraged by their parents to beat the crap out of each other, whereas I would probably have been grounded for making my brother cry or something. Their parents, Patrick ‘Rowdy Ricky Knight’ and Julia ‘Sweet Saraya’ are former wrestlers themselves who now run World Association of Wrestling (WAW), where grown up Saraya-Jade (Florence Pugh) and Zak (Jack Lowden) now fight each other for money in regular evening shows. Each day they head out in their WAW van to pick up a bunch of local kids, who would otherwise be headed down a path of criminality, and head to the gym to train them in the ring. Elder brother Roy was also a wrestler, but is currently in prison. It's a simple, close-knit working class family - all looking out for each other, highly passionate about wrestling and each having (or had at one point) a dream to one day make it big in the WWE.
One day that dream has a chance of becoming reality when tryouts for the WWE come to The O2 in London and Zak and Raya are selected to come along. WWE Coach Hutch (Vince Vaughn) puts them through their paces but only Raya is selected to move onto the next stage in Florida. While she heads out to continue her dream, a rejected Zak resigns himself to the fact that he's only ever going to be a small time wrestler. Raya becomes Paige and sets about trying to prove herself as the ordinary Brit girl in among all the dancers, models and cheerleaders who are also with her at boot camp. She's resentful of the others, as they were 'only selected for their tits and ass' and are without any kind of wrestling background. She's lonely, angry and lacking the self confidence she needs to really make it happen. Meanwhile, Zak is struggling with missing out on heading to Florida - disinterested in his new born baby, undertaking grueling matches in front of small crowds, and picking fights in bars just for the hell of it.
Fighting With My Family boasts some real laugh out loud moments, but there is also a lot of relatable family drama and emotion. The cast are all incredible, particularly Florence Pugh as Raya/Paige. Vince Vaughn is a lot of fun as the coach and The Rock also brings a lot of comedy to the few scenes he's in. I absolutely loved everything about this movie and couldn't really fault it at all. Despite knowing beforehand the outcome for Paige, the whole movie just has you wondering throughout if she's going to make it or if she's going to quit, which makes the ending all the more enjoyable. And when you see clips during the credits of her real life family, you appreciate just how spot on some of the casting and acting is too!
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Daniel Boyd (1066 KP) rated It (2017) in Movies
Oct 4, 2017
The cast are great (1 more)
Good tonal balance of horror and comedy
Sloppy technical elements (1 more)
Predictable jumpscares
Time To Float!
Contains spoilers, click to show
The 2017 remake of IT has been highly anticipated by Stephen King fans around the world and being a huge fan of King myself and growing up reading his stuff meant I was looking forward to seeing this. I also loved the original 1990 version when I was younger, so I was really hoping that this wouldn’t suck. Spoilers are going to follow for anyone that cares.
Let’s go through what I liked first of all. The movie opens with the tragic and brutal death of Georgie Denborough. Just like the book, he follows his paper sailboat down a storm drain, where he first encounters IT. This first appearance of Bill Skarsgard as Pennywise sets the tone for the rest of the movie, unflinching and horrifying. I felt that this intro was extremely effective in setting up what the audience could expect from this adaption, both tonally and visually.
I thought that the child actors in the movie where phenomenal, much better than I had anticipated. They all do a great job with the material they are given and each manage to bring some range to their roles. I liked the visuals for the most part and appreciated the use of mostly practical effects, my highlights being the headless burning boy in the library and when Pennywise’s entire head opens up to consume Beverly.
I enjoyed the fact that the movie served as both a coming of age story and as a horror movie. Stranger Things was clearly inspired by the original IT and this version is clearly inspired by Stanger Things, which was nice to see as a fan of both series. I liked how the movie was about kids, but dealt with adult themes in a mature manner. I also admire how the movie worked in a fair amount of comedic moments whilst still remaining frightening. Another thing that I appreciated was the few moments of subtle creepyness that the film sprinkled throughout, such as the kids TV show that was heard in the background talking about how ‘you should dance along with the clown,’ and encouraging you to be violent etc, I thought that this was a really nice touch. Also, during the library scene where Ben is flipping through the history book, I think IT took the form of the librarian, as the librarian is really creepily staring at Ben from the background of the scene, which really freaked me out when I noticed it. I also liked how some of the jumpscares worked, but unfortunately not all of them did.
Now onto what I didn’t like; my biggest issue with this movie is how formulaic it ends up feeling by around the halfway mark. With each new member of the losers club we are introduced to, we find out what the kid is scared of, then IT appears to them as the aforementioned fear, then we get a jumpscare and the scene cuts away, the next kid is introduced and the same thing happens again. This occurs repeatedly about eight times and by the fifth or sixth time it isn’t scary any longer. The worst thing that a horror movie can be is to become predictable and I’m sorry to say that this is what happens here. It ends up feeling like a checklist:
1. A child is introduced into the movie. Check
2. Some exposition is given for why they are scared of a certain thing. Check
3. IT takes the form of said fear and scares the kid. Check
4. Jumpscare happens and we abruptly cut to the next scene. Check
5. Rinse and repeat.
Some of the jumpscares do work though. Although the jumpscare during the projector screen was very obviously telegraphed, the fact that Pennywise was so huge in that scene took me by surprise, which was a nice touch. Also the scene I mentioned earlier with the headless boy in the library was well structured in the sense that once the boy was chasing Ben through the library you thought you had seen the scare, but when Pennywise leapt out from nowhere it was a genuine surprise.
The sound design is another element of the movie that I had a love/hate relationship with. For me, good sound design is essential to any worthwhile horror movie. I thought that the score used in the film was fantastic; the varied pieces perfectly complemented the tone of each scene they were used in. I also thought that some of the sound effects were well implemented in places. At other points though, the audio just annoyed me. The most egregious example of this was after Beverly smacked her dad across the head and IT appears behind her and grabs her. The sound that occurs here is ear piercingly loud, to the point that it was uncomfortable. It’s not scary, it’s not enjoyable, it’s just obnoxiously loud. It also comes across as lazy; it’s as if in post production someone decided that that scene wasn’t scary enough, so as a quick fix they just put in a painfully loud noise.
Another technical element that bothered me in places was the lighting. Don’t get me wrong, I enjoyed how a lot of the scenes took place in broad daylight, meaning we could see IT in all of his terrifying glory and in some scenes the lack of lighting added a sense of dread and helped with the film’s tone, but at times it obscured what was going on and shrouded too much of the environment and characters in darkness, to the point where you were having to squint to see what was going on.
Overall, this is a decent adaption. Bill Skarsgard does a fantastic job as Pennywise, the actors playing the kids are all great and the movie does have some effective scares. I was just taken out of it too many times though, due to the predictable nature of the repeated jumpscare sequences and some really poorly implemented technical elements.
Let’s go through what I liked first of all. The movie opens with the tragic and brutal death of Georgie Denborough. Just like the book, he follows his paper sailboat down a storm drain, where he first encounters IT. This first appearance of Bill Skarsgard as Pennywise sets the tone for the rest of the movie, unflinching and horrifying. I felt that this intro was extremely effective in setting up what the audience could expect from this adaption, both tonally and visually.
I thought that the child actors in the movie where phenomenal, much better than I had anticipated. They all do a great job with the material they are given and each manage to bring some range to their roles. I liked the visuals for the most part and appreciated the use of mostly practical effects, my highlights being the headless burning boy in the library and when Pennywise’s entire head opens up to consume Beverly.
I enjoyed the fact that the movie served as both a coming of age story and as a horror movie. Stranger Things was clearly inspired by the original IT and this version is clearly inspired by Stanger Things, which was nice to see as a fan of both series. I liked how the movie was about kids, but dealt with adult themes in a mature manner. I also admire how the movie worked in a fair amount of comedic moments whilst still remaining frightening. Another thing that I appreciated was the few moments of subtle creepyness that the film sprinkled throughout, such as the kids TV show that was heard in the background talking about how ‘you should dance along with the clown,’ and encouraging you to be violent etc, I thought that this was a really nice touch. Also, during the library scene where Ben is flipping through the history book, I think IT took the form of the librarian, as the librarian is really creepily staring at Ben from the background of the scene, which really freaked me out when I noticed it. I also liked how some of the jumpscares worked, but unfortunately not all of them did.
Now onto what I didn’t like; my biggest issue with this movie is how formulaic it ends up feeling by around the halfway mark. With each new member of the losers club we are introduced to, we find out what the kid is scared of, then IT appears to them as the aforementioned fear, then we get a jumpscare and the scene cuts away, the next kid is introduced and the same thing happens again. This occurs repeatedly about eight times and by the fifth or sixth time it isn’t scary any longer. The worst thing that a horror movie can be is to become predictable and I’m sorry to say that this is what happens here. It ends up feeling like a checklist:
1. A child is introduced into the movie. Check
2. Some exposition is given for why they are scared of a certain thing. Check
3. IT takes the form of said fear and scares the kid. Check
4. Jumpscare happens and we abruptly cut to the next scene. Check
5. Rinse and repeat.
Some of the jumpscares do work though. Although the jumpscare during the projector screen was very obviously telegraphed, the fact that Pennywise was so huge in that scene took me by surprise, which was a nice touch. Also the scene I mentioned earlier with the headless boy in the library was well structured in the sense that once the boy was chasing Ben through the library you thought you had seen the scare, but when Pennywise leapt out from nowhere it was a genuine surprise.
The sound design is another element of the movie that I had a love/hate relationship with. For me, good sound design is essential to any worthwhile horror movie. I thought that the score used in the film was fantastic; the varied pieces perfectly complemented the tone of each scene they were used in. I also thought that some of the sound effects were well implemented in places. At other points though, the audio just annoyed me. The most egregious example of this was after Beverly smacked her dad across the head and IT appears behind her and grabs her. The sound that occurs here is ear piercingly loud, to the point that it was uncomfortable. It’s not scary, it’s not enjoyable, it’s just obnoxiously loud. It also comes across as lazy; it’s as if in post production someone decided that that scene wasn’t scary enough, so as a quick fix they just put in a painfully loud noise.
Another technical element that bothered me in places was the lighting. Don’t get me wrong, I enjoyed how a lot of the scenes took place in broad daylight, meaning we could see IT in all of his terrifying glory and in some scenes the lack of lighting added a sense of dread and helped with the film’s tone, but at times it obscured what was going on and shrouded too much of the environment and characters in darkness, to the point where you were having to squint to see what was going on.
Overall, this is a decent adaption. Bill Skarsgard does a fantastic job as Pennywise, the actors playing the kids are all great and the movie does have some effective scares. I was just taken out of it too many times though, due to the predictable nature of the repeated jumpscare sequences and some really poorly implemented technical elements.
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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.
Lee (2222 KP) rated Skyscraper (2018) in Movies
Jul 13, 2018
Surprising Enjoyable Action Movie
As I headed into Skyscraper at my local cinema, I tweeted something about disengaging my brain for a couple of hours, fully open to the prospect of some completely ridiculous action, courtesy of Dwayne 'The Rock' Johnson. That's exactly what I ended up with, and I actually really enjoyed it all too.
The movie opens 10 years ago, with FBI agent Will Sawyer (Johnson) and his team attending a domestic hostage situation which goes badly wrong. Back in the present, Will is now an amputee and married to the military nurse that cared for him during that incident (Neve Campbell). They've got 2 young kids and the whole family is in Hong Kong where Will has been hired as security consultant for The Pearl, a new state-of-the-art skyscraper and the tallest building in the world. A news reel montage fires off lots of impressive facts and figures about the building, hardly giving you time to digest or even question them. Let's just say, it cost billions of dollars, looks incredibly futuristic (and a bit silly) and is a scientific wonder of the world. Before The Pearl opens up its doors for people to live and work in though, Will needs to sign off on fire safety and security.
We're shown Will putting on his false leg, letting us know how that all works in preparation for later scenes in the movie. Will then fixes his wife's phone before he rushes out of the door and ushers a line so obviously important to the movie it's actually annoyingly distracting. So important is this piece of information, he actually uses two variations of it within minutes of each other too - "Remember, you can fix 90% of problems by just turning it off and on again...". Like I say, just disengage your brain, don't worry about it, and you'll be fine.
If you've seen the trailer, you'll have gathered that Wills family are the only residents in The Pearl, with the buildings owner and his team way up top in the penthouse. You'll have gathered that this is attempting to be a Die Hard / Towering Inferno crossover, and that there are bad guys involved. You'll no doubt have also seen the famous leap from a crane by Dwayne Johnsons character into the burning skyscraper. This is where the movie really kicks into action.
Now, I was watching this in 3D, so I'm not sure if it will have quite the same effect on a TV screen at home, but I was literally on the edge of my seat whenever Will was either dangling or jumping 96 floors in the air (which is a lot), while a Hong Kong crowd gasps and cheers on the streets below. The action and peril is relentless, repeatedly moving Will and his family from one dangerous set piece to another. While not quite as funny or charming as he is in his other movies, Skyscraper is still all about Dwayne Johnson though, and all other characters come out of this pretty short changed. Neve Campbell gets a couple of chances to kick some ass, but otherwise she's pretty underused. The bad guys aren't particularly effective, or memorable, neither are the police team down on the ground.
It's predictable and it's ridiculous. But I absolutely loved it.
The movie opens 10 years ago, with FBI agent Will Sawyer (Johnson) and his team attending a domestic hostage situation which goes badly wrong. Back in the present, Will is now an amputee and married to the military nurse that cared for him during that incident (Neve Campbell). They've got 2 young kids and the whole family is in Hong Kong where Will has been hired as security consultant for The Pearl, a new state-of-the-art skyscraper and the tallest building in the world. A news reel montage fires off lots of impressive facts and figures about the building, hardly giving you time to digest or even question them. Let's just say, it cost billions of dollars, looks incredibly futuristic (and a bit silly) and is a scientific wonder of the world. Before The Pearl opens up its doors for people to live and work in though, Will needs to sign off on fire safety and security.
We're shown Will putting on his false leg, letting us know how that all works in preparation for later scenes in the movie. Will then fixes his wife's phone before he rushes out of the door and ushers a line so obviously important to the movie it's actually annoyingly distracting. So important is this piece of information, he actually uses two variations of it within minutes of each other too - "Remember, you can fix 90% of problems by just turning it off and on again...". Like I say, just disengage your brain, don't worry about it, and you'll be fine.
If you've seen the trailer, you'll have gathered that Wills family are the only residents in The Pearl, with the buildings owner and his team way up top in the penthouse. You'll have gathered that this is attempting to be a Die Hard / Towering Inferno crossover, and that there are bad guys involved. You'll no doubt have also seen the famous leap from a crane by Dwayne Johnsons character into the burning skyscraper. This is where the movie really kicks into action.
Now, I was watching this in 3D, so I'm not sure if it will have quite the same effect on a TV screen at home, but I was literally on the edge of my seat whenever Will was either dangling or jumping 96 floors in the air (which is a lot), while a Hong Kong crowd gasps and cheers on the streets below. The action and peril is relentless, repeatedly moving Will and his family from one dangerous set piece to another. While not quite as funny or charming as he is in his other movies, Skyscraper is still all about Dwayne Johnson though, and all other characters come out of this pretty short changed. Neve Campbell gets a couple of chances to kick some ass, but otherwise she's pretty underused. The bad guys aren't particularly effective, or memorable, neither are the police team down on the ground.
It's predictable and it's ridiculous. But I absolutely loved it.
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