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Virginia Woolf: Art, Life and Vision
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Virginia Woolfs many novels, notably Night and Day (1919), Jacobs Room (1922), Mrs Dalloway (1925),...
Young Elizabeth: The Making of Our Queen
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The story of how Elizabeth II became queen. We can hardly imagine a Britain without Elizabeth II on...
OFT in Danger': The Life and Campaigns of General Sir Anthony Farrar-Hockley
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This is the biography of the most distinguished field commander of modern times, who turned to...
Margaret Thatcher: The Authorized Biography, Volume Two: Everything She Wants: Volume two
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The sensational second volume of Charles Moore's bestselling authorized biography of the Iron Lady...
Margaret Thatcher: Volume Two: The Authorized Biography : Everything She Wants
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The sensational second volume of Charles Moore's bestselling authorized biography of the Iron Lady...
Thomas Becket: Warrior, Priest, Rebel, Victim: A 900-year-old Story Retold
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From the winner of the 2004 Whitbread Biography Award and the Marsh Biography Award John Guy, comes...
Tim Booth recommended Feeling Good: The Very Best of Nina Simone by Nina Simone in Music (curated)
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
New York, Portrait of a City
Book
This book presents the epic story of New York in photographs, photo-portraits, maps, and aerial...
Gareth von Kallenbach (971 KP) rated Battle of the Sexes (2016) in Movies
Jul 11, 2019
1972: Billie Jean King (played brilliantly by Emma Stone) just became the Grand Slam Champion of the Women’s Tennis Association. She had challenged the inequity of pay between the Men’s and Women’s Tennis Tour. Once she learns that the tournament for the Lawn Tennis Association is paying Women one eighth of the Men’s purse. She goes up against Jack Kramer (Bill Pullman at his misogynistic best). Billie, with her Manager, Gladys Heldman (Sarah Silverman in spectacular form echoing a more subdued version of Bobbie Fleckman) leave the LTA and start their own Women’s Tour. Which became the Virginia Slims tournament.
Around the same time, Bobby (Steve Carell, playing Riggs like a manic Pagliacci) the once Pro Slam Champion who now works in a nondescript office at his father-in-law’s business. Bobby, the dreamer, is a gambler figuratively and literally. The man who’s inner child has taken the reins on the run. He is the clown who needs constant attention, and the showman who could sell the Golden Gate. Carell, gives an exceptional performance, riling us up with cringe-worthy moments and showing us the man that is so certain of his abilities that he forgets the fable of the tortoise and the hare.
We are brought into relationships that these two athletes have with their families and loved ones. Of what they went through before the epic, world famous Battle of the Sexes in the Houston Astrodome. The film serves us a picture of the time where women had recently began the feminine movement and Women’s Liberation. The entire feel of the movie is set solidly in the seventies, the sexism rampant and accepted as the status quo. Misogyny is socially acceptable and Riggs and friends epitomize the attitude.
There is also the story of Billie Jean, realizing an attraction to a woman she meets before the starting her tour. Marilyn (Andrea Riseborough was magnetic), the hairdresser that was instantly drawn to Billie. We also get the treat of seeing the magnificent Alan Cumming as Ted, the charming designer of the women’s fantastic tennis outfits. Wallace Langham as Henry, the tailor.
The story is built up to the historic Battle of the Sexes at the Astrodome. We see the work that Billie does in preparation. Daily drills and practice games. Bobby’s confidence in his ability to deliver a win that mirrored the decimation of Margaret Court (Jessica McNamee) who at the time was the top female tennis player in the world.
The directing duo of Jonathan Dayton and Valerie Faris (Little Miss Sunshine) delivers us a well balanced, heartfelt film with a stellar cast. The soundtrack brings us into the early seventies and the costuming is quantum leap back to the time where polyester leisure suits and colorful shirts were the height of fashion. This is a love story of Billie Jean King and Tennis
Around the same time, Bobby (Steve Carell, playing Riggs like a manic Pagliacci) the once Pro Slam Champion who now works in a nondescript office at his father-in-law’s business. Bobby, the dreamer, is a gambler figuratively and literally. The man who’s inner child has taken the reins on the run. He is the clown who needs constant attention, and the showman who could sell the Golden Gate. Carell, gives an exceptional performance, riling us up with cringe-worthy moments and showing us the man that is so certain of his abilities that he forgets the fable of the tortoise and the hare.
We are brought into relationships that these two athletes have with their families and loved ones. Of what they went through before the epic, world famous Battle of the Sexes in the Houston Astrodome. The film serves us a picture of the time where women had recently began the feminine movement and Women’s Liberation. The entire feel of the movie is set solidly in the seventies, the sexism rampant and accepted as the status quo. Misogyny is socially acceptable and Riggs and friends epitomize the attitude.
There is also the story of Billie Jean, realizing an attraction to a woman she meets before the starting her tour. Marilyn (Andrea Riseborough was magnetic), the hairdresser that was instantly drawn to Billie. We also get the treat of seeing the magnificent Alan Cumming as Ted, the charming designer of the women’s fantastic tennis outfits. Wallace Langham as Henry, the tailor.
The story is built up to the historic Battle of the Sexes at the Astrodome. We see the work that Billie does in preparation. Daily drills and practice games. Bobby’s confidence in his ability to deliver a win that mirrored the decimation of Margaret Court (Jessica McNamee) who at the time was the top female tennis player in the world.
The directing duo of Jonathan Dayton and Valerie Faris (Little Miss Sunshine) delivers us a well balanced, heartfelt film with a stellar cast. The soundtrack brings us into the early seventies and the costuming is quantum leap back to the time where polyester leisure suits and colorful shirts were the height of fashion. This is a love story of Billie Jean King and Tennis