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Kristy H (1252 KP) rated The Girl with the Lower Back Tattoo in Books
Feb 1, 2018
Amy Schumer's book comes out at a time when it seems like every celebrity in the world has a book out: some collection of essays about their life, showcasing how funny they are and what their life is like as a celebrity. In Schumer's, we hear about her life from childhood to her post <i>Trainwreck</i> success and nearly everything in between: her friendships, her relationships, her parents, and her growth as a comedian. And, of course, a lot about sex. The book is told in a series of chapters - essays if you will - each one covering a particular moment in Schumer's life. They don't go in any particular order, but cover the gamut of her range of experiences.
I found this book to be a refreshing and engaging celebrity book. It carried a surprising depth. I don't know a ton about Schumer, but loved <i>Trainwreck</i> and have had a crush on her for ages. That crush has only intensified upon reading her book, as I discovered several similarities between us: introverts who love hotdogs and have complicated relationships with their mothers, who both internalize stress to the point where it makes us sick. We're a match made in heaven! But, seriously, Schumer is an excellent writer, and her book is an easy read, with well-written and wonderful essays that range from humorous to serious (and often both).
Her book avoided all of my usual celebrity autobiography/memoir/essay pet peeves. In this book, we really learn about Schumer, instead of just a few token stories. I was fascinated to hear about her career trajectory: you get a great look into how hard she worked in her early years as a comedian. In addition, we actually get a lot of insight into her early life-- her childhood and teenage years. What I love is that she comes across as a real human being, instead of giving us a book that is simply full of polished, trite jokes and well-worn stories.
In fact, while parts of the book make you laugh out loud, other places make you empathize with Schumer. The book is funny, but not too funny or fake funny. And it's serious without preaching. She covers topics such as sexual assault, gun control, her father's MS, her relationship with her parents, and other serious childhood experiences that molded her, with a realism that is refreshing. Sure, there are a few "woe is me" moments about how hard it is to be a celebrity, or what it's like to have money, but they are few and far between. By the end, I admired Amy even more as a person and a comedian, and my crush will continue on stronger than ever.
I found this book to be a refreshing and engaging celebrity book. It carried a surprising depth. I don't know a ton about Schumer, but loved <i>Trainwreck</i> and have had a crush on her for ages. That crush has only intensified upon reading her book, as I discovered several similarities between us: introverts who love hotdogs and have complicated relationships with their mothers, who both internalize stress to the point where it makes us sick. We're a match made in heaven! But, seriously, Schumer is an excellent writer, and her book is an easy read, with well-written and wonderful essays that range from humorous to serious (and often both).
Her book avoided all of my usual celebrity autobiography/memoir/essay pet peeves. In this book, we really learn about Schumer, instead of just a few token stories. I was fascinated to hear about her career trajectory: you get a great look into how hard she worked in her early years as a comedian. In addition, we actually get a lot of insight into her early life-- her childhood and teenage years. What I love is that she comes across as a real human being, instead of giving us a book that is simply full of polished, trite jokes and well-worn stories.
In fact, while parts of the book make you laugh out loud, other places make you empathize with Schumer. The book is funny, but not too funny or fake funny. And it's serious without preaching. She covers topics such as sexual assault, gun control, her father's MS, her relationship with her parents, and other serious childhood experiences that molded her, with a realism that is refreshing. Sure, there are a few "woe is me" moments about how hard it is to be a celebrity, or what it's like to have money, but they are few and far between. By the end, I admired Amy even more as a person and a comedian, and my crush will continue on stronger than ever.
Andy K (10821 KP) rated Dancer in the Dark (2000) in Movies
Nov 24, 2019
Selma is a simple woman leading a simple life. She lives with her only son in a trailer on the property of her friends the nice cop and his wife. She works at a metal factory making sinks and basins. She doesn't make a lot of money, so she holds on to almost every penny she earns for something secret. She can't even buy her son a present for his birthday, so her friends and landlords buy the boy the used bicycle he has been yearning for. Selma also enjoys musicals. She loves them. Especially The Sound of Music, She is actually cast in a local production and gets to play Maria. She can even hear rhythm through the common sounds of life like a train on its tracks or even the sounds of people walking. She creates melodies in her head to distract from the mundane events of life. Sometimes these melodies turn into full production numbers only visible in the confines of her cerebrum.
Now the problem.
Selma is going blind. She knows she is. She is trying to set her plans and set up her son for a better life than she is able before her illness runs its course. Out of nowhere, tragedy strikes from an unexpected source. She is petrified and acts in haste with dreadful results. Now she must deal with the consequences of her actions and let the pieces fall where they must.
Controversial writer/director Lars von Trier finds an unexpected leading lady in Icelandic alternative pop singer Björk. I guess maybe not so unexpected considering all the singing in the film which she also wrote. I was surprised to read only one of the songs was nominated for Best Song in 2000 and no nomination for her acting prowess. Her emotional turmoil is the spine of the film and her simple, yet powerful demeanor holds the film together through its humorous and tense, gripping melodrama. All Selma wants is to give a good life to her son and is content with a meager existence, which, unfortunately is ripped from her.
The songs are brilliant as most of the them begin with the random noises of life in Selma's brain and become a glorious, choreographed splendor which I found myself really loving. These events make the 2nd half of the film such a tragedy as her spirit is resilient always sees the lighter side of life.
Unlike a lot of Von Trier's other work, no sex scenes and only one scene of violence in the film. The actions of the "normal" people here are the true horror.
Now the problem.
Selma is going blind. She knows she is. She is trying to set her plans and set up her son for a better life than she is able before her illness runs its course. Out of nowhere, tragedy strikes from an unexpected source. She is petrified and acts in haste with dreadful results. Now she must deal with the consequences of her actions and let the pieces fall where they must.
Controversial writer/director Lars von Trier finds an unexpected leading lady in Icelandic alternative pop singer Björk. I guess maybe not so unexpected considering all the singing in the film which she also wrote. I was surprised to read only one of the songs was nominated for Best Song in 2000 and no nomination for her acting prowess. Her emotional turmoil is the spine of the film and her simple, yet powerful demeanor holds the film together through its humorous and tense, gripping melodrama. All Selma wants is to give a good life to her son and is content with a meager existence, which, unfortunately is ripped from her.
The songs are brilliant as most of the them begin with the random noises of life in Selma's brain and become a glorious, choreographed splendor which I found myself really loving. These events make the 2nd half of the film such a tragedy as her spirit is resilient always sees the lighter side of life.
Unlike a lot of Von Trier's other work, no sex scenes and only one scene of violence in the film. The actions of the "normal" people here are the true horror.
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Jesters_folly (230 KP) rated Psycho (1960) in Movies
Jan 6, 2021
Contains spoilers, click to show
Ah Psycho, the granddaddy of slashers and a film that I find somehow modern and dated at the same time.
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
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