Search
Search results
BankofMarquis (1832 KP) rated The Lost Daughter (2021) in Movies
Feb 17, 2022
Strong Acting and Direction
The nice thing about being fanatical about catching all of the Oscar Nominated films in the “Major” categories is that it forces me to watch films that, normally, my interests would not gravitate towards - and, most of the time, I am rewarded and my mind and emotions are expanded because of this.
Such is the case with THE LOST DAUGHTER, Maggie Gyllenhaal’s film Directing debut (she is also Oscar nominated for Adapted Screenplay) that follows the emotional journey of a College Professor (the great Olivia Colman) on Holiday in Greece who is forced to confront her past decisions amidst the emotional toil that these decisions have created.
Normally, these introspective, “Art House” films are not my cup of tea and during the first half of this film, I did find myself wandering a bit. This is because Colman’s character of Leda arrives on-screen at the onset of this film heavy with emotional (almost crippling so) baggage and it is almost too much to bear…which is the point. The movie, then, peels the layers back slowly to reveal why.
It is, yet again, a tour-de-force performance by Colman - who just might win ANOTHER Oscar for this work - it is that strong without being show-offey (if that is a word). Colman becomes Leda and delves strongly into the introspection, guilt, hurt and confusion that this character has. She allows the character to breathe (sometimes in gulps of crying). It is the type of character (and performance) that film today rarely allows time for on screen.
Credit for this has to go to Directer/ScreenWriter Maggie Gyllenhaal who adapted Elana Ferrante’s novel into a quiet, retrospective film. The adaptation works well for someone who has no prior knowledge of the novel and the direction and camerawork of this film is unwavering in it’s look into a character that is flawed and at times unlikeable. It is a strong Directorial and Screenwriting debut for Gyllenhaal.
Jessie Buckley is also Oscar nominated (for Best Supporting Actress) for her role as the younger Leda - a character who’s actions strongly affect the older Leda. While this character is not as nuanced as Colman’s version of Leda, she still is strong and Buckley’s performance is just as confident, self-centered, and fierce showing the roots of the person that would become Colman’s character. This is only the 3rd time in Oscars history that 2 actresses have been nominated for Academy Awards for playing younger and older versions of the same person (Kate Winslet/Gloria Stewart playing Rose in TITANIC and Kate Winslet/Judi Dench playing Iris in IRIS).
Ed Harris shows up as the proprietor of the space that Leda is renting in Greece and is a welcome presence (as always). The surprises to me in this film were the performances of Dakota Johnson and Jack Farthing. Johnson is proving that she is more than just the “50 SHADES” girl and spars with Colman quite well, more than holding her own. Farthing, who played the cold and distant Prince Charles in SPENCER is the husband of the younger Leda and he is the polar opposite of Prince Charles - open, loving and emotional. It is fun to see 2 clearly differing performances by the same actor. Farthing is someone to keep an eye on.
As is Gyllenhaal, Colman and THE LOST DAUGHTER. It is a strong piece of film-making and not an easy watch. But, if you can click into the emotion of this flawed character - and stick with this film through the ugliness and mistakes that Leda selfishly makes, you will be rewarded with a character study, the likes of which is rare in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with THE LOST DAUGHTER, Maggie Gyllenhaal’s film Directing debut (she is also Oscar nominated for Adapted Screenplay) that follows the emotional journey of a College Professor (the great Olivia Colman) on Holiday in Greece who is forced to confront her past decisions amidst the emotional toil that these decisions have created.
Normally, these introspective, “Art House” films are not my cup of tea and during the first half of this film, I did find myself wandering a bit. This is because Colman’s character of Leda arrives on-screen at the onset of this film heavy with emotional (almost crippling so) baggage and it is almost too much to bear…which is the point. The movie, then, peels the layers back slowly to reveal why.
It is, yet again, a tour-de-force performance by Colman - who just might win ANOTHER Oscar for this work - it is that strong without being show-offey (if that is a word). Colman becomes Leda and delves strongly into the introspection, guilt, hurt and confusion that this character has. She allows the character to breathe (sometimes in gulps of crying). It is the type of character (and performance) that film today rarely allows time for on screen.
Credit for this has to go to Directer/ScreenWriter Maggie Gyllenhaal who adapted Elana Ferrante’s novel into a quiet, retrospective film. The adaptation works well for someone who has no prior knowledge of the novel and the direction and camerawork of this film is unwavering in it’s look into a character that is flawed and at times unlikeable. It is a strong Directorial and Screenwriting debut for Gyllenhaal.
Jessie Buckley is also Oscar nominated (for Best Supporting Actress) for her role as the younger Leda - a character who’s actions strongly affect the older Leda. While this character is not as nuanced as Colman’s version of Leda, she still is strong and Buckley’s performance is just as confident, self-centered, and fierce showing the roots of the person that would become Colman’s character. This is only the 3rd time in Oscars history that 2 actresses have been nominated for Academy Awards for playing younger and older versions of the same person (Kate Winslet/Gloria Stewart playing Rose in TITANIC and Kate Winslet/Judi Dench playing Iris in IRIS).
Ed Harris shows up as the proprietor of the space that Leda is renting in Greece and is a welcome presence (as always). The surprises to me in this film were the performances of Dakota Johnson and Jack Farthing. Johnson is proving that she is more than just the “50 SHADES” girl and spars with Colman quite well, more than holding her own. Farthing, who played the cold and distant Prince Charles in SPENCER is the husband of the younger Leda and he is the polar opposite of Prince Charles - open, loving and emotional. It is fun to see 2 clearly differing performances by the same actor. Farthing is someone to keep an eye on.
As is Gyllenhaal, Colman and THE LOST DAUGHTER. It is a strong piece of film-making and not an easy watch. But, if you can click into the emotion of this flawed character - and stick with this film through the ugliness and mistakes that Leda selfishly makes, you will be rewarded with a character study, the likes of which is rare in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Cynthia Armistead (17 KP) rated Night's Edge in Books
Mar 1, 2018
"Dancers in the Dark" by Charlaine Harris is set in the same universe as the Southern Vampire/Sookie Stackhouse stories, but with none of the incredibly annoying characters. How refreshing! It does go back to the same stuff Harris explored in her Shakespeare series and one of her standalone books (<i>Sweet and Deadly</i>? I can't remember if it was that one of the other, as they don't stand out in my memory too much anyway). The story wasn't terribly, though, and I was engaged. I kept thinking while reading, "Didn't I read another short story or novella in this universe about dancers?" Anybody else remember? I hate it when my memory goes wonky like that.
"Her Best Enemy" was too hackneyed, bringing in too many old standbyes. There's a tough girl reporter who is really a sweet woman who just needs a good man after a bad one took everything she had, a sexy man who is tougher than he looks and better able to protect her than even he knew, etc. I don't remember reading anything really strong by Maggie Shayne yet, but she's definitely on the romance side of the paranormal romance street, so that may explain my lack of enthusiasm.
Barbara Hambly's contribution, "Someone Else's Shadow," has us back in the world of dance. I wouldn't be surprised to see this one and the first story in a dance-themed anthology (they probably are, already, and I just don't realize it yet). It was the strongest story of the three (with reason, as Hambly is certainly the most experienced and IMNSHO best writer of the three). Sound plotting, good reasoning, likable characters who are well-rounded and believable, neither perfect saints nor disgusting sinners.
I kept thinking of Hope while reading the last story because the main character dances and teaches belly dance, and there's a lovely quote from the first time she dances in front of her love interest, <i>"It's all dancing. Skill infused with joy. Weaving jewelry out of dreams."</i>
"Her Best Enemy" was too hackneyed, bringing in too many old standbyes. There's a tough girl reporter who is really a sweet woman who just needs a good man after a bad one took everything she had, a sexy man who is tougher than he looks and better able to protect her than even he knew, etc. I don't remember reading anything really strong by Maggie Shayne yet, but she's definitely on the romance side of the paranormal romance street, so that may explain my lack of enthusiasm.
Barbara Hambly's contribution, "Someone Else's Shadow," has us back in the world of dance. I wouldn't be surprised to see this one and the first story in a dance-themed anthology (they probably are, already, and I just don't realize it yet). It was the strongest story of the three (with reason, as Hambly is certainly the most experienced and IMNSHO best writer of the three). Sound plotting, good reasoning, likable characters who are well-rounded and believable, neither perfect saints nor disgusting sinners.
I kept thinking of Hope while reading the last story because the main character dances and teaches belly dance, and there's a lovely quote from the first time she dances in front of her love interest, <i>"It's all dancing. Skill infused with joy. Weaving jewelry out of dreams."</i>
LeftSideCut (3776 KP) rated The Walking Dead - Season 2 in TV
Aug 2, 2019
An engaging second season
Contains spoilers, click to show
The second season of The Walking Dead gets a bad wrap at times. Upon many a half drunken discussion in the pub about various nerdy franchises, TWD always crops up, and people always seem to mention season 2 as a weak season. (Usually people who are yet to watch seasons 7-8...)
I am extremely fond of this season. It's fairly slow but that's really not a bad thing. It devotes a lot of time to fleshing out the ensemble cast, and concentrates a lot on internal conflicts within the group.
The series starts with one of the children, Sophia, going missing after a zombie horde shuffles towards our heroes as they hide in a freeway under cars (a classic tense TWD scene).
Sophia, understandably scared, decides to run instead of hide, and the group sets off to find her. During their search, Rick's young son Carl is accidentally shot, and the group find medical help at a nearby farm.
And said farm is where the rest of the season takes place.
We're introduced in this season to fan favourites such as Hershel (literally my favourite TWD character of all time), Maggie, and Beth, adding some great characters to an already strong cast.
The conflict between Rick and Shane comes to a head as the season progresses, resulting in some really tense scenes.
The mid point of season 2 contains one of the best scenes to ever grace TWD. As the suspect barn at the bottom on Hershels farm is opened against his will, and well, the end of the episode contains a revelation that gave me goosebumps. For a show about zombies, it's really powerful television at times.
The finale is predictable zombie chaos, but it's a lot of gory fun, and leaves you hankering for season 3, even if we lose a couple of great characters along the way.
I am extremely fond of this season. It's fairly slow but that's really not a bad thing. It devotes a lot of time to fleshing out the ensemble cast, and concentrates a lot on internal conflicts within the group.
The series starts with one of the children, Sophia, going missing after a zombie horde shuffles towards our heroes as they hide in a freeway under cars (a classic tense TWD scene).
Sophia, understandably scared, decides to run instead of hide, and the group sets off to find her. During their search, Rick's young son Carl is accidentally shot, and the group find medical help at a nearby farm.
And said farm is where the rest of the season takes place.
We're introduced in this season to fan favourites such as Hershel (literally my favourite TWD character of all time), Maggie, and Beth, adding some great characters to an already strong cast.
The conflict between Rick and Shane comes to a head as the season progresses, resulting in some really tense scenes.
The mid point of season 2 contains one of the best scenes to ever grace TWD. As the suspect barn at the bottom on Hershels farm is opened against his will, and well, the end of the episode contains a revelation that gave me goosebumps. For a show about zombies, it's really powerful television at times.
The finale is predictable zombie chaos, but it's a lot of gory fun, and leaves you hankering for season 3, even if we lose a couple of great characters along the way.
Gareth von Kallenbach (980 KP) rated Lawless (2012) in Movies
Aug 7, 2019
Prohibition means profit to the bootlegging Bondurant brothers, until a new deputy appears wanting a cut of the action. When the family, led by oldest brother Forrest (Tom Hardy), refuses, it ignites a pattern of violent lawless retribution between the corrupt local authorities and the moonshine-selling brothers.
While adapted from the pages of a successful book, the plot of “Lawless” portrays a familiar story. A young romance slated against the challenges of a family who is literally and metaphorically, sticking to their guns. The brilliance of the film exists in the vivid set work, understated characterization, and graphic portrayals of unbridled yet historically accurate punishments.
There are bullet holes everywhere in this wild land of violence. The depictions of torture, while not the most graphically intensive in cinema, are characterized by psychological malice. The result is a film that manages to entirely pull the viewer into a different, much less civilized, time.
Led and narrated by seasoned actor, Shia LaBeouf, as the youngest brother, Jack Bondurant, the role is hardly a challenge. Yet his performances only stands out when supported by other cast members, such as the gangster Floyd Banner, played by Gary Oldman. And while LaBeouf’s performance is not a great as it could be, it shines next to his lackluster costar, Mia Wasikowska as Bertha Minnix the forbidden preacher’s daughter and object of young Jack’s eye.
The best performance in the film is not the lead, but that of his brother Forrest who dispenses well-timed wisdom or humor even in direst situations. Further helping in the films success are the supporting characters; the third Bondurant brother, Howard (Jason Clarke), mechanically gifted family friend, Cricket Pate (Dane DeHaan), and city wise beauty Maggie Beauford (Jessica Chastain).
While not as impressive as expected, the slow but steady story and complex visceral nature of “Lawless”, make it a film that is worth the price of a ticket, for anyone who can make it through the squeamish bits.
While adapted from the pages of a successful book, the plot of “Lawless” portrays a familiar story. A young romance slated against the challenges of a family who is literally and metaphorically, sticking to their guns. The brilliance of the film exists in the vivid set work, understated characterization, and graphic portrayals of unbridled yet historically accurate punishments.
There are bullet holes everywhere in this wild land of violence. The depictions of torture, while not the most graphically intensive in cinema, are characterized by psychological malice. The result is a film that manages to entirely pull the viewer into a different, much less civilized, time.
Led and narrated by seasoned actor, Shia LaBeouf, as the youngest brother, Jack Bondurant, the role is hardly a challenge. Yet his performances only stands out when supported by other cast members, such as the gangster Floyd Banner, played by Gary Oldman. And while LaBeouf’s performance is not a great as it could be, it shines next to his lackluster costar, Mia Wasikowska as Bertha Minnix the forbidden preacher’s daughter and object of young Jack’s eye.
The best performance in the film is not the lead, but that of his brother Forrest who dispenses well-timed wisdom or humor even in direst situations. Further helping in the films success are the supporting characters; the third Bondurant brother, Howard (Jason Clarke), mechanically gifted family friend, Cricket Pate (Dane DeHaan), and city wise beauty Maggie Beauford (Jessica Chastain).
While not as impressive as expected, the slow but steady story and complex visceral nature of “Lawless”, make it a film that is worth the price of a ticket, for anyone who can make it through the squeamish bits.
The KD Shindig
Book
The novel opens with the wedding of Kristin Nicol and Darren Maundeville in a small, historic...
Matthew Krueger (10051 KP) rated Freddy's Dead: The Final Nightmare (1991) in Movies
Jul 3, 2020
Now I'm Playing With Power: The Glove
Contains spoilers, click to show
Freddy's Dead: The Final Nightmare tells it all. Its going to be the final nightmare and Freddy will be dead once and for all. So the title of the movie spoilers the entire movie. Cause 1. Your expecting Freddy to die and 2. That this will be the final nightmare for now at least. Also you have the wiredest, coolest and strangest produce placement with Nintento's Power-Glove. Freddy says "Now i'm playing with power" and also "Hey, you forgot about the powerglove". He also refference's "The Wizard of Oz" wiredly and also this saying "this is your brain, this is your brain on drugs". This is a weird movie.
The deaths are cool like Carlo's death: Hearing magnified, head exploded by sound of bladed glove scratching chalkboard. Its a funny death, thats sounds odd but it is. Spencer's death: Knocked down stairs into bottomless pit. Again its a funny death. John's death: Fell from sky, impaled on bed spikes. Again its funny. Even Freddy's death: Pinned to wall/crate with various weapons, bladed glove in stomach, blown up by pipe bomb. Its funny, Freddy's death shouldn't be funny, it should be iconic. This isnt iconic. Also for some pair of reason the last ten minutes of the movie is 3D. IDK why, but it was.
The plot: Murderous ghoul Freddy Krueger (Robert Englund) has slaughtered every last child in his hometown. He ventures on to a new location, scouting fresh young victims to hack up with his finger blades. He arrives in a small town in which his long-lost daughter, Maggie (Lisa Zane), works as a therapist for troubled youths. He attempts to recruit her for his dastardly pursuits, but she has other ideas. Father and daughter meet for a bloody showdown that will determine Freddy's fate once and for all.
Also for some pair of reason Roseanne Barr, Tom Arnold, and Alice Cooper all appear in this film.
Freddy's Dead is a wired movie, but at least it was a intresting movie.
The deaths are cool like Carlo's death: Hearing magnified, head exploded by sound of bladed glove scratching chalkboard. Its a funny death, thats sounds odd but it is. Spencer's death: Knocked down stairs into bottomless pit. Again its a funny death. John's death: Fell from sky, impaled on bed spikes. Again its funny. Even Freddy's death: Pinned to wall/crate with various weapons, bladed glove in stomach, blown up by pipe bomb. Its funny, Freddy's death shouldn't be funny, it should be iconic. This isnt iconic. Also for some pair of reason the last ten minutes of the movie is 3D. IDK why, but it was.
The plot: Murderous ghoul Freddy Krueger (Robert Englund) has slaughtered every last child in his hometown. He ventures on to a new location, scouting fresh young victims to hack up with his finger blades. He arrives in a small town in which his long-lost daughter, Maggie (Lisa Zane), works as a therapist for troubled youths. He attempts to recruit her for his dastardly pursuits, but she has other ideas. Father and daughter meet for a bloody showdown that will determine Freddy's fate once and for all.
Also for some pair of reason Roseanne Barr, Tom Arnold, and Alice Cooper all appear in this film.
Freddy's Dead is a wired movie, but at least it was a intresting movie.
Joe Elliott recommended Every Picture Tells a Story by Rod Stewart in Music (curated)
The Daughters of Ironbridge
7.0
Rate It
Book
Perfect for fans of Maggie Hope and Katie Flynn - the first in a heartwarming new series set against...
Inventioneers
Education and Games
App
* FROM THE CREATORS OF PETTSON'S INVENTIONS DELUXE * ** Please note that this game is not optimized...
The Book of Delights: Essays
Book
“Ross Gay’s eye lands upon wonder at every turn, bolstering my belief in the countless small...