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Merissa (11805 KP) rated Caelius (Fueled By Lust #5) in Books
Dec 17, 2018 (Updated Apr 10, 2023)
Caelius is a young man with oodles of old-fashioned charm. It is not just because he is still learning the 'slang' but because this is who he is. And I don't have a single complaint about that, let me tell you!
Rhia is an 'older' lady who can certainly feel like time is creeping not so slowly up on her but can't resist Caelius when he wants to get to know her, simply because of how drawn she is to him.
If, for some reason, you think that reading about an older lady with a young man will make you uncomfortable then let me reassure you. You notice it at the beginning, mainly because Rhia makes a big deal about it when Caelius asks her out for a coffee (psst, love the reactions of the old ladies next to them!!). But you will soon be carried away by the story and hoping and wishing for certain things to be different. And no, I'm not going to be giving away spoilers here. Suffice it to say, I was heartbroken during one part of the book and my eyes were leaking again.
Not only do we have Caelius and Rhia's story here though but we also have the continuation of Ulixes and Kallon. My god, I wanted to bash their heads together! I felt just as exasperated as some of the other characters but was completely unprepared for the emotional whallop their story gave me. Yep, you've guessed it, my eyes were leaking during this part too so consider this fair warning!
Old friends and family (well they feel like that to me anyway!) show up at various points and I am always happy to read about them. Nothing detracts from the main storylines though, just perfect cameo additions.
This series just keeps on getting better and better and I LOVE IT!!! Highly recommended for all fans of Celeste Prater, the Fueled by Lust series and/or erotic Sci-Fi! Absolutely fantastic! The snippet for Maxim already has me drooling and holding my breath - don't worry, Celeste, I promise to keep on breathing but I need to know more about this lady with the triple moon tattoo who knocks Maxim off his feet!
December 19, 2018
Rhia is an 'older' lady who can certainly feel like time is creeping not so slowly up on her but can't resist Caelius when he wants to get to know her, simply because of how drawn she is to him.
If, for some reason, you think that reading about an older lady with a young man will make you uncomfortable then let me reassure you. You notice it at the beginning, mainly because Rhia makes a big deal about it when Caelius asks her out for a coffee (psst, love the reactions of the old ladies next to them!!). But you will soon be carried away by the story and hoping and wishing for certain things to be different. And no, I'm not going to be giving away spoilers here. Suffice it to say, I was heartbroken during one part of the book and my eyes were leaking again.
Not only do we have Caelius and Rhia's story here though but we also have the continuation of Ulixes and Kallon. My god, I wanted to bash their heads together! I felt just as exasperated as some of the other characters but was completely unprepared for the emotional whallop their story gave me. Yep, you've guessed it, my eyes were leaking during this part too so consider this fair warning!
Old friends and family (well they feel like that to me anyway!) show up at various points and I am always happy to read about them. Nothing detracts from the main storylines though, just perfect cameo additions.
This series just keeps on getting better and better and I LOVE IT!!! Highly recommended for all fans of Celeste Prater, the Fueled by Lust series and/or erotic Sci-Fi! Absolutely fantastic! The snippet for Maxim already has me drooling and holding my breath - don't worry, Celeste, I promise to keep on breathing but I need to know more about this lady with the triple moon tattoo who knocks Maxim off his feet!
December 19, 2018
BankofMarquis (1832 KP) rated The Graduate (1967) in Movies
Jun 16, 2019
Career Defining Turn by Bancroft
On the surface, THE GRADUATE is a story of a young college graduate who has an affair with an older woman. But look beneath the surface and this film becomes much, much more.
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Bob Mann (459 KP) rated The Big Sick (2017) in Movies
Sep 29, 2021
Just what the doctor ordered: a charming and thoughtful summer comedy.
Romance and comedy work together beautifully on film: love is innately ridiculous after all! But mix in a dramatic element – particularly a serious medical emergency – to a Rom Com and you walk a dangerous line between on the one hand letting the drama overwhelm the comedy ( “Well! I don’t feel like laughing now!”) and on the other hand diverging into shockingly mawkish finger-down-the-throat sentimentality. Fortunately the new comedy – “The Big Sick” – walks that line to perfection.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Rachel King (13 KP) rated Pale Demon (The Hollows, #9) in Books
Feb 11, 2019
One of the things I have grown to love about Rachel Morgan through all of these nine books is her constant positive and hopeful perspective with others, despite how contrary their behavior. Though her friends and partners are telling her in so many ways that the rulers of her kind, the witches' council, will never let her make it to the coast and are more interested in killing her than anything else, she won't believe it until she sees for herself. And then there is her odds-defying ability to always find a way to survive against all attacks - she truly has become one of a kind, as is revealed in several ways in this book, with her match-up against the just-released demon creation that is her genetic match, as well as the sad speech that Ivy gives her about how Rachel is leaving her and Jenks behind with the way she can create change across all species.
And if that is not enough to keep her busy, Rachel's love life only becomes more complicated, since Pierce has professed his love for her in the previous book, and Rachel feels a certain obligation to him. Of course, Al continues to pursue Rachel despite her refusals, and one violent-turned-steamy moment showed the kind of lust-filled potential that exists between them. Towards the end of the book, Rachel also makes a rather interesting observation about demons in general that could put Al in the potential category for future books. If two men is not enough to keep her busy, a very obvious growing attraction between her and Trent seems to show the most promise, and is ironically the one I found myself most rooting for, especially with some of the scenes in the book.
Trent's part in the book is an elf quest of sorts that he is particularly silent about, but gets him in all kinds of trouble and just creates more work for Rachel and crew. Of course, the outcome of this quest makes Trent more likable in the end, but he has to do much to prove himself to Rachel. The newest element to the series in this book was the use of wild magic by the elves, which has an untamed, old world quality that Rachel dislikes immensely. Trent wields it well, though often secretly and against Rachel's wishes.
In the end, the revelations that Rachel undergoes regarding herself and the people around her mark a major turning point for her and the series. I only wish I knew when the next book was due for release!
And if that is not enough to keep her busy, Rachel's love life only becomes more complicated, since Pierce has professed his love for her in the previous book, and Rachel feels a certain obligation to him. Of course, Al continues to pursue Rachel despite her refusals, and one violent-turned-steamy moment showed the kind of lust-filled potential that exists between them. Towards the end of the book, Rachel also makes a rather interesting observation about demons in general that could put Al in the potential category for future books. If two men is not enough to keep her busy, a very obvious growing attraction between her and Trent seems to show the most promise, and is ironically the one I found myself most rooting for, especially with some of the scenes in the book.
Trent's part in the book is an elf quest of sorts that he is particularly silent about, but gets him in all kinds of trouble and just creates more work for Rachel and crew. Of course, the outcome of this quest makes Trent more likable in the end, but he has to do much to prove himself to Rachel. The newest element to the series in this book was the use of wild magic by the elves, which has an untamed, old world quality that Rachel dislikes immensely. Trent wields it well, though often secretly and against Rachel's wishes.
In the end, the revelations that Rachel undergoes regarding herself and the people around her mark a major turning point for her and the series. I only wish I knew when the next book was due for release!
Rachel King (13 KP) rated Vampire Academy in Books
Feb 11, 2019
I found this book a bit unusual in that the background information that is usually relayed within the first chapter or so is not in this book. Instead, I am plunged into the action as if I were tagging along with Rose and not given relevant background information until it is actually useful to the plot. I prefer this rarely-used method because then I don't need to go back and find the definitions and explanations of things that I have forgotten when the specific topic is not addressed for half the book.
I really like the way that Mead separates the "good" vampires from the "bad" vampires with the Moroi and Strigoi (although I would love a pronunciation guide) as almost two different species. There is actually a major consequence to being evil - loss of magic - with no exceptions. Mead builds an excellent world of clear-cut rules that I can appreciate.
The interplay between Rose and Lissa is fascinating both for Rose's unwavering dedication to Lissa, as well as Lissa's almost surreal innocence. If it weren't for Lissa's "madness" she would seem almost faultless. Normally, I find characters like this to not be believable, but since she is bonded to Rose, it almost seems as if they are two halves of the same person, one dark and one light. The dhampir lifestyle that Rose is a representative of seems like a cross between brainwashing, slavery, and the use of a caste system, but Rose seems to be a very willing participant. I can't decide if I like this or not, but Rose seems to be quite happy with it, especially given her abilities.
What I like most is Rose's relationship with Dimitri. In a word - hot! There is nothing like a forbidden romance to make me want to keep reading way past my bedtime as I root for every training session to go beyond the norm. Of all the ways for Victor Dashkov to distract Rose and Dimitri, there are worse ways than the much-needed lust spell. That was a fantastic way to make them aware of their feelings for each other, which may never have happened otherwise due to each other's strong sense of duty and responsibility.
The one minor thing that bothers me about this world that Mead has constructed as the lack of addressing the topic of money. For instance, Rose has been attending the Academy almost since she was born, but who pays for that?
I really like the way that Mead separates the "good" vampires from the "bad" vampires with the Moroi and Strigoi (although I would love a pronunciation guide) as almost two different species. There is actually a major consequence to being evil - loss of magic - with no exceptions. Mead builds an excellent world of clear-cut rules that I can appreciate.
The interplay between Rose and Lissa is fascinating both for Rose's unwavering dedication to Lissa, as well as Lissa's almost surreal innocence. If it weren't for Lissa's "madness" she would seem almost faultless. Normally, I find characters like this to not be believable, but since she is bonded to Rose, it almost seems as if they are two halves of the same person, one dark and one light. The dhampir lifestyle that Rose is a representative of seems like a cross between brainwashing, slavery, and the use of a caste system, but Rose seems to be a very willing participant. I can't decide if I like this or not, but Rose seems to be quite happy with it, especially given her abilities.
What I like most is Rose's relationship with Dimitri. In a word - hot! There is nothing like a forbidden romance to make me want to keep reading way past my bedtime as I root for every training session to go beyond the norm. Of all the ways for Victor Dashkov to distract Rose and Dimitri, there are worse ways than the much-needed lust spell. That was a fantastic way to make them aware of their feelings for each other, which may never have happened otherwise due to each other's strong sense of duty and responsibility.
The one minor thing that bothers me about this world that Mead has constructed as the lack of addressing the topic of money. For instance, Rose has been attending the Academy almost since she was born, but who pays for that?
Andy K (10821 KP) rated Brightburn (2019) in Movies
Oct 19, 2019
I like the idea of a horror superhero genre but...
Brightburn is a classic modern example of a great idea, with mediocre execution.
The classic "Superman" story is turned on its head in a way when a spaceship falls to Earth with a baby within. The young couple who live on a farm decide to adopt the infant as their own. Now 12 years old, young Brandon starts to feel differently. He is compelled to seek out his mother ship now locked inside the depths of a barn where he seems to receive unknown demonic instruction.
Things aren't going well at school either. He injures a young girl's hand after an incident where she fails to catch his fall while playing a game of trust during their physical education class. Afterwards, the girl's mother has some distasteful words to say about Brandon which he overhears and his lust for retribution emerges.
The lack of specific direction or even which genre this movie wanted to inhabit is its biggest flaw (which means bad screenplay). At some points it was underdog outcast teen drama and at others darkened house jump scare or even some scenes involving gruesome gory horror. The first half of the short 90 minutes was devoted to establishing Brandon's status at school and with his family and wasn't terribly interesting while the 2nd half was just the standard gruesome kill after gruesome kill which were cool I guess, but won't stay with me.
Going in, I really thought the film was going to be more epic and concentrate on his emerge and then quest for world domination (which was only shown during the end credits) which I think would have been way more interesting, similar to Chronicle which was done in a much more interesting way than this.
Maybe they were hoping for huge success so the 2nd film could've explained more of the origin story. I guess I don't mind that nothing as to the source of the spaceship or the creatures within were explained. I don't need every plot point spoon fed to me, but it was a wasted opportunity to create a new completely original super villain universe which they could've drawn from indefinitely.
Is Brightburn supposed to be an antihero? Are you supposed to root for him to avenge the wrongs he has had in his ife or are you simply supposed to cringe like you would when Jason or Michael hack into a sex crazed teenager?
The classic "Superman" story is turned on its head in a way when a spaceship falls to Earth with a baby within. The young couple who live on a farm decide to adopt the infant as their own. Now 12 years old, young Brandon starts to feel differently. He is compelled to seek out his mother ship now locked inside the depths of a barn where he seems to receive unknown demonic instruction.
Things aren't going well at school either. He injures a young girl's hand after an incident where she fails to catch his fall while playing a game of trust during their physical education class. Afterwards, the girl's mother has some distasteful words to say about Brandon which he overhears and his lust for retribution emerges.
The lack of specific direction or even which genre this movie wanted to inhabit is its biggest flaw (which means bad screenplay). At some points it was underdog outcast teen drama and at others darkened house jump scare or even some scenes involving gruesome gory horror. The first half of the short 90 minutes was devoted to establishing Brandon's status at school and with his family and wasn't terribly interesting while the 2nd half was just the standard gruesome kill after gruesome kill which were cool I guess, but won't stay with me.
Going in, I really thought the film was going to be more epic and concentrate on his emerge and then quest for world domination (which was only shown during the end credits) which I think would have been way more interesting, similar to Chronicle which was done in a much more interesting way than this.
Maybe they were hoping for huge success so the 2nd film could've explained more of the origin story. I guess I don't mind that nothing as to the source of the spaceship or the creatures within were explained. I don't need every plot point spoon fed to me, but it was a wasted opportunity to create a new completely original super villain universe which they could've drawn from indefinitely.
Is Brightburn supposed to be an antihero? Are you supposed to root for him to avenge the wrongs he has had in his ife or are you simply supposed to cringe like you would when Jason or Michael hack into a sex crazed teenager?
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