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Darren (1599 KP) rated 28 Days Later (2002) in Movies
Jun 20, 2019
Verdict: Modern Zombie Gem
Story: 28 Days Later starts by showing a group of activists breaking into a laboratory where chimps are forced to watch some of the most gruesome sites in human history. This was designed to create pure rage and when the chimps are released an epidemic starts. 28 Days Later (title drop) we meet Jim (Murphy) who wakes up in a hospital, alone he searches looking for help but the hospital, streets and everywhere is empty. Wonder around the empty London Jim finds a church filled with infected that chase him before getting save by Mark (Huntley) and Selena (Harris) who also fill in the blanks of what happened.
Jim finds out the harsh reality of the world now but meeting Frank (Gleeson) and his daughter Hannah (Burns) gives them a chance to go to a radio signal left by the military. The group soon find the military holding up in a mansion lead by Major Henry West (Eccleston) but not everything is as it seems.
28 Days Later brings the modern infected zombie film to life in one of the best story ideas we have seen. It is good to see a story that the infection can only be spread rather than you turn when you die which is big change to all we have seen. The journey itself is been there seen that but what we get is a revenge film with infected around once we meet the military. This shows us that the enemy could come from all direction and our characters are never going to be safe in the world now. This is easily one of the best zombie based films in recent years. (9/10)
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Actor Review
Cillian Murphy: Jim waking up alone in a hospital he wonders the empty city before being found by other survivors, with a group he heads to the military safe zone where he ends up having to fight to save the rest of his group from not only infected but the soldiers. Cillian gives a great performance and this put him on the map for bigger roles. (9/10)
jim
Naomie Harris: Selena the nonsense survivor who takes no prisoners which we see from the moment her fellow survivor gets infected. Naomie gives a good performance showing that she was always going to be in bigger films. (8/10)
Brendan Gleeson: Frank caring father who has waited for support before taking his daughter to a radio signal he has been hearing. This character may only be a supporting character but his final moments are one of the most memorable turns in this genre history. Brendan does a good job in what is just a supporting performance. (8/10)
Christopher Eccleston: Major Henry West who is running the military unit that has been calling for the survivors but his motives are not what they seem. Christopher gives a good performance in the role. (7/10)
Support Cast: 28 Days Later doesn’t have the biggest supporting cast we have a couple of other survivors as well as the soldiers in the military unit. They all help as they show us what the characters are capable off.
Director Review: Danny Boyle – Danny does a great job directing this zombie classic that is easily one of the best in the genre. (9/10)
Horror: 28 Days Later uses plenty of horror elements with survival horror shinning through. (10/10)
Music: 28 Days Later uses brilliant scores to build the tension up through the scenes. (9/10)
Settings: 28 Days Later uses the settings really well to show how empty busy places could be when the world comes to an end. (9/10)
Special Effects: 28 Days Later uses great special effects with the infected creation. (9/10)
Suggestion: 28 Days Later is one to watch for every horror fan out there. (Horror Fans Watch)
Best Part: Suspense building.
Worst Part: Nothing
Action Scene Of The Film: Jim breaks into the mansion
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Kill Of The Film: Frank
Scariest Scene: Jim’s returns home
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Has one sequel with talks of another always around.
Post Credits Scene: There is the alternative ending
Oscar Chances: No
Box Office: $82 Million
Budget: $8 Million
Runtime: 1 Hour 53 Minutes
Tagline: His fear began when he woke up alone. His terror began when he realised he wasn’t.
Trivia: The scene where Jim and Selena celebrate with Frank and Hannah was shot on September 11, 2001. Danny Boyle said it felt extremely strange to shoot a celebratory scene on that particular day.
Overall: Brilliant Infected Film
https://moviesreview101.com/2015/03/14/28-days-later-2002/
Story: 28 Days Later starts by showing a group of activists breaking into a laboratory where chimps are forced to watch some of the most gruesome sites in human history. This was designed to create pure rage and when the chimps are released an epidemic starts. 28 Days Later (title drop) we meet Jim (Murphy) who wakes up in a hospital, alone he searches looking for help but the hospital, streets and everywhere is empty. Wonder around the empty London Jim finds a church filled with infected that chase him before getting save by Mark (Huntley) and Selena (Harris) who also fill in the blanks of what happened.
Jim finds out the harsh reality of the world now but meeting Frank (Gleeson) and his daughter Hannah (Burns) gives them a chance to go to a radio signal left by the military. The group soon find the military holding up in a mansion lead by Major Henry West (Eccleston) but not everything is as it seems.
28 Days Later brings the modern infected zombie film to life in one of the best story ideas we have seen. It is good to see a story that the infection can only be spread rather than you turn when you die which is big change to all we have seen. The journey itself is been there seen that but what we get is a revenge film with infected around once we meet the military. This shows us that the enemy could come from all direction and our characters are never going to be safe in the world now. This is easily one of the best zombie based films in recent years. (9/10)
REPORT THIS AD
Actor Review
Cillian Murphy: Jim waking up alone in a hospital he wonders the empty city before being found by other survivors, with a group he heads to the military safe zone where he ends up having to fight to save the rest of his group from not only infected but the soldiers. Cillian gives a great performance and this put him on the map for bigger roles. (9/10)
jim
Naomie Harris: Selena the nonsense survivor who takes no prisoners which we see from the moment her fellow survivor gets infected. Naomie gives a good performance showing that she was always going to be in bigger films. (8/10)
Brendan Gleeson: Frank caring father who has waited for support before taking his daughter to a radio signal he has been hearing. This character may only be a supporting character but his final moments are one of the most memorable turns in this genre history. Brendan does a good job in what is just a supporting performance. (8/10)
Christopher Eccleston: Major Henry West who is running the military unit that has been calling for the survivors but his motives are not what they seem. Christopher gives a good performance in the role. (7/10)
Support Cast: 28 Days Later doesn’t have the biggest supporting cast we have a couple of other survivors as well as the soldiers in the military unit. They all help as they show us what the characters are capable off.
Director Review: Danny Boyle – Danny does a great job directing this zombie classic that is easily one of the best in the genre. (9/10)
Horror: 28 Days Later uses plenty of horror elements with survival horror shinning through. (10/10)
Music: 28 Days Later uses brilliant scores to build the tension up through the scenes. (9/10)
Settings: 28 Days Later uses the settings really well to show how empty busy places could be when the world comes to an end. (9/10)
Special Effects: 28 Days Later uses great special effects with the infected creation. (9/10)
Suggestion: 28 Days Later is one to watch for every horror fan out there. (Horror Fans Watch)
Best Part: Suspense building.
Worst Part: Nothing
Action Scene Of The Film: Jim breaks into the mansion
REPORT THIS AD
Kill Of The Film: Frank
Scariest Scene: Jim’s returns home
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Has one sequel with talks of another always around.
Post Credits Scene: There is the alternative ending
Oscar Chances: No
Box Office: $82 Million
Budget: $8 Million
Runtime: 1 Hour 53 Minutes
Tagline: His fear began when he woke up alone. His terror began when he realised he wasn’t.
Trivia: The scene where Jim and Selena celebrate with Frank and Hannah was shot on September 11, 2001. Danny Boyle said it felt extremely strange to shoot a celebratory scene on that particular day.
Overall: Brilliant Infected Film
https://moviesreview101.com/2015/03/14/28-days-later-2002/
Darren (1599 KP) rated About a Boy (2002) in Movies
Jun 20, 2019
Story: About a Boy starts as we meet Will Freeman (Grant) who lives the perfect life in his head, no job because of his father’s royalties, no responsibilities and no relationship, he can jump from woman to woman and now he has learnt about single mums, he new target. Marcus (Hoult) is a young boy whose single mother is battling depression and when the two become unlikely friends.
As the friendship builds between Will and Marcus, the two learn valuable life lessons with Will finally learning the serious side to life, one he had coasted over through his life.
Thoughts on About a Boy
Characters – Will is the playboy bachelor who has gone from woman to woman never taking responsibility in anything in his life, at the age of 38 he isn’t getting any younger and wants to look to a new location to meet women, which finally gives him a chance to look at his own life errors and start to make something from life. Marcus is a bullied young boy, his mother is battling depression and he never fits in at school, he sees a male role model in Will and starts to becoming friends with Will where he can starts to learn how to be who he should be. This character is drawn up wonderfully because he doesn’t understand the problems his mother is going through, while he is aware there is a problem it reflects in his everyday life. Fiona is the mother of Marcus, she is battle depression in her life while trying her hardest to stay positive for Marcus, a battle she isn’t always winning. Rachel is the woman that shows Will a new meaning to life, only she is the one that could shatter his new look too.
Performances – Hugh Grant is easily one of the most British actors out there, he gives one of his best performances here that will make you like his bad character. This role could easily be a look at the person people believed he would be in real life. Nicholas Hoult gives one of the greatest breakthrough performances for a young star and by seeing just how far he has gone since this shows the early talent he showed. Toni Collette gives us a supporting performance that is just as difficult to watch because of her characters problems that it is an essential performance to see. Rachel Weisz is good in her supporting role, she doesn’t need to do too much with her character though.
Story – The story here plays out as a middle-aged man needing to grow up, a young boy who needs a male role model and understand that life isn’t going to be perfect no matter how much you want to believe it. The growing up side of the story is the one that we get to focus on the most and is everything you expect it to be. There is however a much deeper and stronger side to this story we see, that comes from seeing how young Marcus doesn’t completely understand his mother’s depression and just wants somebody to talk to, while finding his own way to fix her. Now this is important because the mental health issues are a bigger talking point now and showing it through the eyes of an innocent young boy shows how difficult it can be to talk about and deal with, with him never truly understanding what the problems are.
Comedy/Romance – This film did get me laughing a lot, this is usually hard for any comedy movie, this has so many clever visions on life through the shallow nature Will has. The romance is the backburner because it shows us just how Will is trying to find women, even if one does change his life.
Settings – The film is set in London, we get the see the home environment, which for the most part are empty, the social life and everyday life, nothing is new.
Scene of the Movie – Be a Godfather question?
That Moment That Annoyed Me – The generic bullies.
Final Thoughts – This is a brilliant comedy that gets everything right with the way the comedy is handled, we do get a big issue covered and is a film that people need to look back on and watch.
Overall: Must watch comedy.
https://moviesreview101.com/2019/03/26/about-a-boy-2002/
As the friendship builds between Will and Marcus, the two learn valuable life lessons with Will finally learning the serious side to life, one he had coasted over through his life.
Thoughts on About a Boy
Characters – Will is the playboy bachelor who has gone from woman to woman never taking responsibility in anything in his life, at the age of 38 he isn’t getting any younger and wants to look to a new location to meet women, which finally gives him a chance to look at his own life errors and start to make something from life. Marcus is a bullied young boy, his mother is battling depression and he never fits in at school, he sees a male role model in Will and starts to becoming friends with Will where he can starts to learn how to be who he should be. This character is drawn up wonderfully because he doesn’t understand the problems his mother is going through, while he is aware there is a problem it reflects in his everyday life. Fiona is the mother of Marcus, she is battle depression in her life while trying her hardest to stay positive for Marcus, a battle she isn’t always winning. Rachel is the woman that shows Will a new meaning to life, only she is the one that could shatter his new look too.
Performances – Hugh Grant is easily one of the most British actors out there, he gives one of his best performances here that will make you like his bad character. This role could easily be a look at the person people believed he would be in real life. Nicholas Hoult gives one of the greatest breakthrough performances for a young star and by seeing just how far he has gone since this shows the early talent he showed. Toni Collette gives us a supporting performance that is just as difficult to watch because of her characters problems that it is an essential performance to see. Rachel Weisz is good in her supporting role, she doesn’t need to do too much with her character though.
Story – The story here plays out as a middle-aged man needing to grow up, a young boy who needs a male role model and understand that life isn’t going to be perfect no matter how much you want to believe it. The growing up side of the story is the one that we get to focus on the most and is everything you expect it to be. There is however a much deeper and stronger side to this story we see, that comes from seeing how young Marcus doesn’t completely understand his mother’s depression and just wants somebody to talk to, while finding his own way to fix her. Now this is important because the mental health issues are a bigger talking point now and showing it through the eyes of an innocent young boy shows how difficult it can be to talk about and deal with, with him never truly understanding what the problems are.
Comedy/Romance – This film did get me laughing a lot, this is usually hard for any comedy movie, this has so many clever visions on life through the shallow nature Will has. The romance is the backburner because it shows us just how Will is trying to find women, even if one does change his life.
Settings – The film is set in London, we get the see the home environment, which for the most part are empty, the social life and everyday life, nothing is new.
Scene of the Movie – Be a Godfather question?
That Moment That Annoyed Me – The generic bullies.
Final Thoughts – This is a brilliant comedy that gets everything right with the way the comedy is handled, we do get a big issue covered and is a film that people need to look back on and watch.
Overall: Must watch comedy.
https://moviesreview101.com/2019/03/26/about-a-boy-2002/
Chris Sawin (602 KP) rated Carriers (2009) in Movies
Jun 20, 2019
Brian and Danny grew up as two brothers who were relatively close to one another. They cherish the memories they have of Turtle Beach, a beach their family vacationed to every summer. The abandoned motel in Turtle Beach may be their best bet of surviving the highly contagious disease that now plagues the entire country and possibly the world. Not much is known about the virus other than the victims coughing up blood and bleeding from the ears as their condition worsens. Brian actually came up with a few rules that will hopefully get him, his girlfriend Bobby, his brother Danny, and Danny's friend Kate through this disease ridden world to Turtle Beach clean. The rules include avoiding the infected at all costs, disinfecting anything they've touched in the past 24 hours, and that the infected are already dead as there is no cure. You may survive if you stick to the rules, but actually abiding by them is an entirely different story.
Right off the bat, people are probably going to compare Carriers to Zombieland because of the rules. Carriers was released a full month before Zombieland, but Paramount Vantage folded upon its initial release causing its wide release to be an extremely limited one at the last minute (I think it wound up playing at only two theaters in the country). Expectations rise unintentionally in situations such as this. "This is that horror film that was practically shelved earlier this year and is finally being released." The result is a horror film that is well worth watching, but may not be entirely what you're expecting.
Carriers is more about establishing an atmosphere than anything else. Everything is abandoned and rightfully so as most people were picked off handfuls at a time by this pandemic. The entire film is more like the first half hour of 28 Days Later where Jim wakes up in an abandoned hospital and realizes how empty the streets of London are. There aren't masses of the infected running around lusting for brains or wanting to tear humans apart in Carriers. The story follows these four friends as they journey across the country to this supposed sanctuary where they hope to tough it out until this disease runs its course. Carriers is more of a slow burn as things turn from bad to worse very slowly and snowball as the film goes on.
Chris Pine is really the drawing factor of the film. His role as Brian is kind of like a more intense version of his role as Kirk in Star Trek from earlier this year. Brian comes off as an inconsiderate prick the first half of the film and seems to only do things that benefit himself. The second half is where his character gets interesting though. The speech he gives Danny about their parents and telling Danny that he only told him what he wanted to hear is the turning point for Brian. Chris Pine shines as things begin to roll downhill for Brian as his emotions take center stage and his true demeanor is revealed.
Everything else in the film pretty much feels like routine manuevers when it comes to films revolving around viral outbreaks as some main characters contract the disease, they resort to drastic measures to survive, and begin to question their humanity along the way. The most disappointing part of the film is the ending as things just seem to kind of stop without much of a resolution. It seems like films like this either end this way or have a really depressing ending and that's its biggest flaw. Movie buffs who have seen films concerning pandemics already have a rough idea of how the film is going to end and it's about time to mix that up a bit. There's got to be a decent way to end the film that offers something a bit different that could wrap everything up until that point, but also leave enough room open for a sequel if need be.
Carriers may be a bit slow at first and doesn't really offer anything you probably haven't seen before in a film like this, but is still worth seeing for Chris Pine's performance. It's kind of a more serious take on Zombieland without actual zombies running or stumbling around with an atmosphere similar to the one established in Danny Boyle's 28 Days Later. If you're a fan of films involving a virus that has wiped out most of the human population, then this is still worth a watch.
Right off the bat, people are probably going to compare Carriers to Zombieland because of the rules. Carriers was released a full month before Zombieland, but Paramount Vantage folded upon its initial release causing its wide release to be an extremely limited one at the last minute (I think it wound up playing at only two theaters in the country). Expectations rise unintentionally in situations such as this. "This is that horror film that was practically shelved earlier this year and is finally being released." The result is a horror film that is well worth watching, but may not be entirely what you're expecting.
Carriers is more about establishing an atmosphere than anything else. Everything is abandoned and rightfully so as most people were picked off handfuls at a time by this pandemic. The entire film is more like the first half hour of 28 Days Later where Jim wakes up in an abandoned hospital and realizes how empty the streets of London are. There aren't masses of the infected running around lusting for brains or wanting to tear humans apart in Carriers. The story follows these four friends as they journey across the country to this supposed sanctuary where they hope to tough it out until this disease runs its course. Carriers is more of a slow burn as things turn from bad to worse very slowly and snowball as the film goes on.
Chris Pine is really the drawing factor of the film. His role as Brian is kind of like a more intense version of his role as Kirk in Star Trek from earlier this year. Brian comes off as an inconsiderate prick the first half of the film and seems to only do things that benefit himself. The second half is where his character gets interesting though. The speech he gives Danny about their parents and telling Danny that he only told him what he wanted to hear is the turning point for Brian. Chris Pine shines as things begin to roll downhill for Brian as his emotions take center stage and his true demeanor is revealed.
Everything else in the film pretty much feels like routine manuevers when it comes to films revolving around viral outbreaks as some main characters contract the disease, they resort to drastic measures to survive, and begin to question their humanity along the way. The most disappointing part of the film is the ending as things just seem to kind of stop without much of a resolution. It seems like films like this either end this way or have a really depressing ending and that's its biggest flaw. Movie buffs who have seen films concerning pandemics already have a rough idea of how the film is going to end and it's about time to mix that up a bit. There's got to be a decent way to end the film that offers something a bit different that could wrap everything up until that point, but also leave enough room open for a sequel if need be.
Carriers may be a bit slow at first and doesn't really offer anything you probably haven't seen before in a film like this, but is still worth seeing for Chris Pine's performance. It's kind of a more serious take on Zombieland without actual zombies running or stumbling around with an atmosphere similar to the one established in Danny Boyle's 28 Days Later. If you're a fan of films involving a virus that has wiped out most of the human population, then this is still worth a watch.
Gareth von Kallenbach (971 KP) rated The Da Vinci Code (2006) in Movies
Aug 14, 2019
No film since “The Last Temptation of Christ” has invoked as much controversy as The Da Vinci Code based on the book of the same name by Dan Brown. Prior to the film even being screened for the press, cries ran out to ban the film and its message that some find blasphemous. Fortunately calmer heads have prevailed and the film by Director Ron Howard has arrived in a wash of media frenzy not seen since Mel Gibson’s The Passion of the Christ.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
Chris Sawin (602 KP) rated Get Him to the Greek (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Aaron Green (Jonah Hill) works as a record company intern at Pinnacle Records. His boss Sergio Roma (Sean "Diddy" Combs) is wanting a "game changer" that will help turn the company around. Aaron pitches the idea that since it's the ten year anniversary of out of control British rock star Aldous Snow (Russell Brand) performing at the Greek Theatre in Los Angeles, he believes that the company can make a serious profit from not only a return performance, but by re-releasing his back catalog, as well. Sergio eventually goes for the idea and Aaron flies out to London to bring Aldous back to America to prepare for the show. Unfortunately for him, Aldous Snow's lifestyle tends to rub off on him and turns his life upside down in the process. As Aaron deals with some relationship issues and has his hands full trying to keep Aldous sober, Aldous has some relationship problems of his own and begins to wonder if there's more to life than sex, drugs, and rock and roll. It seems like a moot point by the time the Greek Theater show sells out as Aaron may not have a girlfriend or a job by the time the show begins and Aldous speaks of skipping the gig altogether.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
Emma @ The Movies (1786 KP) rated Little Joe (2019) in Movies
Feb 6, 2020
I managed to get a ticket to see this at the London Film Festival, it had made my long shortlist, the premise looked interesting and the graphics were extremely appealing. I was very excited to see what Little Joe had in store.
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Night Reader Reviews (683 KP) rated Holding Out for a Hero (Jelvia: Not Human #1) in Books
Jan 9, 2020
Honest Review for Free Copy of Book
WARNING: FOR READERS 18 YEARS OLD AND OLDER ONLY!
Normally I would put who I believe the target readers are at the end of my review, but because of the genre of this book things are going to be a little different. The target readers for this book are adults, 18 years old and older. This book is labeled as an erotica. There are vivid sex scenes with mild bondage and kinky play throughout this book. You have been warned.
Jelvia Not Human 1: Holding Out for a Hero by T. E. Kessler was originally published under the author name of L. Wise and with a different cover. Most erotica fantasy books use vampires or werewolves as a main character type but this book introduced is an entirely new race, the Jelvia. From reading this book I have learned that they are similar to humans and appearance, only they are significantly taller. I don't want to give away too much about who or what they are as I enjoyed learning about them during the book.
Macy, a journalist for a newspaper called the London Echo, lives with her friend Courtney. One night Courtney is attacked by a group of guys outside of a store. Suddenly her attack flee and Courtney find herself face to face with a Jelvia. Now Macy's sets out to prove that Jelvias are not the dangerous threat to mankind that everyone seems to think they are. After William, the owner of the paper Macy works for, sees a video of Macy speaking to a Jelvia he invite her to work directly for him. He has this idea of a special team for a paper that will report the truth on Jelvias all of the fear inducing media hype other papers publish.
As it turns out William is not exactly who he says he is. He askes Macy to get close to a Jelvia to get information from him. As it turns out the Jelvia, named Narcifer, has received the same orders in regards to Macy. Things get even more complicated when Macy and Narcifer fall for each other and realize that both of their bosses are using them. The two races do not approve of or trust the other, so now it is up to Macy and Narcifer decide if their love is worth everything they may lose. Can they approve to humans that the Jelvia are not as dangerous as they are made out to be? Can they prove to the Jelvias that look down on humans that humans are not just wheat creatures that are in the way or a danger to their own race?
What I liked best about this book is that it stayed true to the erotica style. Many erotica books tend to fall too much toward the side of a mushy romance instead. It also contained a strong storyline that remained interesting. The sex, while it was consistent, was not the main focus of the story and was appropriate in its timing. What I liked least about the book is actually a common complaint of mine. Parts of the story were repeated multiple times as information was spread from one person to another. To me this starts to make a book drag and I find myself wanting to skim over paragraphs or even pages at a time.
Overall I rate this book a 3 out of 4. It is hard to find an erotica book that bounces the sex and story well. This book is very well balanced and the plot was strong. Only reason why it got a 3 instead of a 4 was because of it being repetitive. I do look forward to reading more of this series as it becomes available and hope that I have a chance to review the rest of the books. I am very interested and where Macy's relationship will lead and if humans and Jelvia ever become mostly tolerant of each other.
https://www.facebook.com/nightreaderreviews
Normally I would put who I believe the target readers are at the end of my review, but because of the genre of this book things are going to be a little different. The target readers for this book are adults, 18 years old and older. This book is labeled as an erotica. There are vivid sex scenes with mild bondage and kinky play throughout this book. You have been warned.
Jelvia Not Human 1: Holding Out for a Hero by T. E. Kessler was originally published under the author name of L. Wise and with a different cover. Most erotica fantasy books use vampires or werewolves as a main character type but this book introduced is an entirely new race, the Jelvia. From reading this book I have learned that they are similar to humans and appearance, only they are significantly taller. I don't want to give away too much about who or what they are as I enjoyed learning about them during the book.
Macy, a journalist for a newspaper called the London Echo, lives with her friend Courtney. One night Courtney is attacked by a group of guys outside of a store. Suddenly her attack flee and Courtney find herself face to face with a Jelvia. Now Macy's sets out to prove that Jelvias are not the dangerous threat to mankind that everyone seems to think they are. After William, the owner of the paper Macy works for, sees a video of Macy speaking to a Jelvia he invite her to work directly for him. He has this idea of a special team for a paper that will report the truth on Jelvias all of the fear inducing media hype other papers publish.
As it turns out William is not exactly who he says he is. He askes Macy to get close to a Jelvia to get information from him. As it turns out the Jelvia, named Narcifer, has received the same orders in regards to Macy. Things get even more complicated when Macy and Narcifer fall for each other and realize that both of their bosses are using them. The two races do not approve of or trust the other, so now it is up to Macy and Narcifer decide if their love is worth everything they may lose. Can they approve to humans that the Jelvia are not as dangerous as they are made out to be? Can they prove to the Jelvias that look down on humans that humans are not just wheat creatures that are in the way or a danger to their own race?
What I liked best about this book is that it stayed true to the erotica style. Many erotica books tend to fall too much toward the side of a mushy romance instead. It also contained a strong storyline that remained interesting. The sex, while it was consistent, was not the main focus of the story and was appropriate in its timing. What I liked least about the book is actually a common complaint of mine. Parts of the story were repeated multiple times as information was spread from one person to another. To me this starts to make a book drag and I find myself wanting to skim over paragraphs or even pages at a time.
Overall I rate this book a 3 out of 4. It is hard to find an erotica book that bounces the sex and story well. This book is very well balanced and the plot was strong. Only reason why it got a 3 instead of a 4 was because of it being repetitive. I do look forward to reading more of this series as it becomes available and hope that I have a chance to review the rest of the books. I am very interested and where Macy's relationship will lead and if humans and Jelvia ever become mostly tolerant of each other.
https://www.facebook.com/nightreaderreviews
Purple Phoenix Games (2266 KP) rated Chronicles of Crime in Tabletop Games
Jul 1, 2021
Find the murderer, the weapon, and the location. That’s Clue/Cluedo right? Yes. Find the priceless artifact that was stolen from the museum while other complications arise is Chronicles of Crime, and specifically the Curse of the Pharaohs case. Do you have what it takes to solve this crime, and more importantly, do you have a cell phone or tablet??
Chronicles of Crime is an app-driven storytelling, deduction, adventure board game that can be played solo or cooperatively. Players will be assuming the mantles of London detectives attempting to solve difficult cases at Scotland Yard. As it is a cooperative game players will win or lose together, but the game itself will be helping players along the way.
To setup, place the Evidence Board on the table and surround it with these components: Location Boards in a stack, but Scotland Yard attached to the bottom of the Evidence Board, Character and Special Items cards in face-down stacks, Evidence Category cards face-up, and the four Forensic Contact cards nearby as well. Open the app, choose the scenario to play, and let the app guide you through the introduction to the game.
As there are no real “turns” Chronicles of Crime allows freedom for players to essentially roam around London’s sectors looking for clues to whatever crime has taken place, interrogating suspects, asking the Forensics Contacts team for support when encountering people or items, and finally attempting the solve the case. I cannot really go into much more detail in word or photo, as I wish to avoid all spoilers, but the app will guide players and assist in gentle nudges along the way. The app will be heavily used as players will need to scan the QR codes on several components in order to interact with them, and scannable components may not always be assigned the same roles in other scenarios. Once players have explored as much as they deem necessary, they may claim the group is ready to connect the dots and win the game. Players win or lose by visiting Scotland Yard to solve the case successfully or otherwise.
Components. All of the physical components included in the box are incredible. The cards feature great artwork, the components are wonderful quality, and everything has unique QR codes to scan in the app. The box insert is cleverly-designed and certainly ready to accept expansion materials. The greatest component, however, is the Chronicles of Crime companion app. This app is simply amazing. It is absolutely necessary for play, but once downloaded it requires no Internet access (unless you decide to download additional materials or scenarios). The app is so well-designed and engaging, and the music is minimal but certainly mood-setting. I can clearly see why using an app is essential here, and allows the team to add more and more content without having to alter the physical components at all. A stroke of genius, in my mind!
All in all I was, and still am, blown away by Chronicles of Crime. The marriage of board game and digital app is something I was leery of at first because I much prefer board games, but this simply works. And works quite well. I love being able to travel to a location, check it out, interrogate any persons of interest there, and try to assemble the story in my mind. I want to play all of the scenarios with different groups of people to see if that will change anything, but currently during COVID it’s a no-go.
Chronicles of Crime may never break into my Top 10 Games of All Time, but I will not be moving it out of my collection ever. Well, unless Lucky Duck Games decides to remove the app or something weird like that. I don’t have many board/digital hybrid games in my collection, and if I never add another I will still be happy with this one (ahem, keep your eyes peeled for the Chronicles of Crime: 1400 preview I will be doing soon – or will have done depending on when you read this review). Purple Phoenix Games gives Chronicles of Crime an enthusiastically shifty-eyed 11 / 12. I think you might get bonus VPs at the end of the game for putting on a British accent when you play. I’ll have to scour the rules for that one…
Chronicles of Crime is an app-driven storytelling, deduction, adventure board game that can be played solo or cooperatively. Players will be assuming the mantles of London detectives attempting to solve difficult cases at Scotland Yard. As it is a cooperative game players will win or lose together, but the game itself will be helping players along the way.
To setup, place the Evidence Board on the table and surround it with these components: Location Boards in a stack, but Scotland Yard attached to the bottom of the Evidence Board, Character and Special Items cards in face-down stacks, Evidence Category cards face-up, and the four Forensic Contact cards nearby as well. Open the app, choose the scenario to play, and let the app guide you through the introduction to the game.
As there are no real “turns” Chronicles of Crime allows freedom for players to essentially roam around London’s sectors looking for clues to whatever crime has taken place, interrogating suspects, asking the Forensics Contacts team for support when encountering people or items, and finally attempting the solve the case. I cannot really go into much more detail in word or photo, as I wish to avoid all spoilers, but the app will guide players and assist in gentle nudges along the way. The app will be heavily used as players will need to scan the QR codes on several components in order to interact with them, and scannable components may not always be assigned the same roles in other scenarios. Once players have explored as much as they deem necessary, they may claim the group is ready to connect the dots and win the game. Players win or lose by visiting Scotland Yard to solve the case successfully or otherwise.
Components. All of the physical components included in the box are incredible. The cards feature great artwork, the components are wonderful quality, and everything has unique QR codes to scan in the app. The box insert is cleverly-designed and certainly ready to accept expansion materials. The greatest component, however, is the Chronicles of Crime companion app. This app is simply amazing. It is absolutely necessary for play, but once downloaded it requires no Internet access (unless you decide to download additional materials or scenarios). The app is so well-designed and engaging, and the music is minimal but certainly mood-setting. I can clearly see why using an app is essential here, and allows the team to add more and more content without having to alter the physical components at all. A stroke of genius, in my mind!
All in all I was, and still am, blown away by Chronicles of Crime. The marriage of board game and digital app is something I was leery of at first because I much prefer board games, but this simply works. And works quite well. I love being able to travel to a location, check it out, interrogate any persons of interest there, and try to assemble the story in my mind. I want to play all of the scenarios with different groups of people to see if that will change anything, but currently during COVID it’s a no-go.
Chronicles of Crime may never break into my Top 10 Games of All Time, but I will not be moving it out of my collection ever. Well, unless Lucky Duck Games decides to remove the app or something weird like that. I don’t have many board/digital hybrid games in my collection, and if I never add another I will still be happy with this one (ahem, keep your eyes peeled for the Chronicles of Crime: 1400 preview I will be doing soon – or will have done depending on when you read this review). Purple Phoenix Games gives Chronicles of Crime an enthusiastically shifty-eyed 11 / 12. I think you might get bonus VPs at the end of the game for putting on a British accent when you play. I’ll have to scour the rules for that one…
Ivana A. | Diary of Difference (1171 KP) rated His and Hers in Books
Aug 3, 2020
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With His and Hers by Alice Feeney, prepare to jump on a ride where one murder will open up the gates of the past, and expose a lot of people in a very brutal way.
I am extremely happy and proud I can be part of the blog tour for this book!
<b><i>Synopsis:</i></b>
When a woman is murdered in Blackdown village, Anna Andrews needs to go there to cover the story. However, her hometown brings back a lot of unwanted memories.
Her ex-husband, DCI Jack Harper is investigating the murder and is very suspicious of Anna's involvement. That is, until he becomes a suspect himself.
<b><i>My Thoughts: </i></b>
I have to admit, at the beginning I though this will be a domestic thriller, and I am not too keen on them. I enjoy them, but I prefer psychological thrillers more. It turned out that His and Hers is not only a psychological thriller, but also a very well written one. I have only read one book from Alice Feeney before,<a href="https://www.goodreads.com/review/show/2798981407?book_show_action=false&from_review_page=1">I Know Who You Are</a>, and I also enjoyed it, so I was expecting to enjoy this one as well.
<b><i>The chapters are split into three points of view.</i></b>
The first one is Her - Anna's point of view. The second one is Him - Jack's story. The third one is the point of view of the killer, who has their own thoughts and explanations. And the beautiful thing about the third point of view is that we don't know who it might be until the very end of the book. That point of view is so well written, that I kept guessing who it might be, and kept changing my mind. At the end, the answer was so surprising and satisfying in the end. And once I knew who the killer is, I went back and read those pages again, and they had a completely another meaning for me. Kudos to Alice for making this possible, as I know not everyone can manage to do this!
<b><i>"And I pay attention to the little things, because they are often the biggest clues to who a person really is. People rarely see themselves the way others do; we all carry broken mirrors."
Dementia</i></b>
The book also briefly focuses on Dementia, and we get to experience the moment Anna realises her mother is ill. For me, this had a special meaning, having experience working with people suffering from dementia, and the writing of the symptoms was very accurate. The reaction of Anna was quite accurate as well, in terms of how hard it was to notice, but also how much harder is to actually accept this fact.
<b><i>"Mum doesn't always remember that I'm thirty-six and live in London. She frequently forgets that I have a job, and that I used to have a husband and a child of my own. She didn't even seem to know that it was my birthday. There was no card this year, or last, but it's not her fault. Time is something my mother has forgotten how to tell. It moves differently for her now, often backwards instead of forwards. Dementia stole time from my mother, and stole my mother from me."</i></b>
If you get to read His and Hers, prepare for many twists, many mysteries, a lot of drama and betrayals. The ending was the most satisfying part for me, but I enjoyed this book all the way through and struggled to put it down. I recommend it to everyone that is in love with mystery thrillers, especially the ones that focus on the psychological aspect.
<b><i>"Youth fools us into thinking there are infinite paths to choose from in life; maturity tricks us into thinking there is only one."</i></b>
Thank you to the HQ Team, for sending me an ARC copy of this book in exchange for an honest review!
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With His and Hers by Alice Feeney, prepare to jump on a ride where one murder will open up the gates of the past, and expose a lot of people in a very brutal way.
I am extremely happy and proud I can be part of the blog tour for this book!
<b><i>Synopsis:</i></b>
When a woman is murdered in Blackdown village, Anna Andrews needs to go there to cover the story. However, her hometown brings back a lot of unwanted memories.
Her ex-husband, DCI Jack Harper is investigating the murder and is very suspicious of Anna's involvement. That is, until he becomes a suspect himself.
<b><i>My Thoughts: </i></b>
I have to admit, at the beginning I though this will be a domestic thriller, and I am not too keen on them. I enjoy them, but I prefer psychological thrillers more. It turned out that His and Hers is not only a psychological thriller, but also a very well written one. I have only read one book from Alice Feeney before,<a href="https://www.goodreads.com/review/show/2798981407?book_show_action=false&from_review_page=1">I Know Who You Are</a>, and I also enjoyed it, so I was expecting to enjoy this one as well.
<b><i>The chapters are split into three points of view.</i></b>
The first one is Her - Anna's point of view. The second one is Him - Jack's story. The third one is the point of view of the killer, who has their own thoughts and explanations. And the beautiful thing about the third point of view is that we don't know who it might be until the very end of the book. That point of view is so well written, that I kept guessing who it might be, and kept changing my mind. At the end, the answer was so surprising and satisfying in the end. And once I knew who the killer is, I went back and read those pages again, and they had a completely another meaning for me. Kudos to Alice for making this possible, as I know not everyone can manage to do this!
<b><i>"And I pay attention to the little things, because they are often the biggest clues to who a person really is. People rarely see themselves the way others do; we all carry broken mirrors."
Dementia</i></b>
The book also briefly focuses on Dementia, and we get to experience the moment Anna realises her mother is ill. For me, this had a special meaning, having experience working with people suffering from dementia, and the writing of the symptoms was very accurate. The reaction of Anna was quite accurate as well, in terms of how hard it was to notice, but also how much harder is to actually accept this fact.
<b><i>"Mum doesn't always remember that I'm thirty-six and live in London. She frequently forgets that I have a job, and that I used to have a husband and a child of my own. She didn't even seem to know that it was my birthday. There was no card this year, or last, but it's not her fault. Time is something my mother has forgotten how to tell. It moves differently for her now, often backwards instead of forwards. Dementia stole time from my mother, and stole my mother from me."</i></b>
If you get to read His and Hers, prepare for many twists, many mysteries, a lot of drama and betrayals. The ending was the most satisfying part for me, but I enjoyed this book all the way through and struggled to put it down. I recommend it to everyone that is in love with mystery thrillers, especially the ones that focus on the psychological aspect.
<b><i>"Youth fools us into thinking there are infinite paths to choose from in life; maturity tricks us into thinking there is only one."</i></b>
Thank you to the HQ Team, for sending me an ARC copy of this book in exchange for an honest review!
Bob Mann (459 KP) rated King of Thieves (2018) in Movies
Sep 28, 2021
No f-ing honour among f-ing thieves.
What a cast! Micheal Caine; Jim Broadbent; Tom Courtenay; Michael Gambon; Ray Winstone; Paul Whitehouse…. Just one look at the poster and you think yes, Yes, YES! But would this be a case where my expectations would be dashed?
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.