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Gareth von Kallenbach (980 KP) rated Foxcatcher (2014) in Movies
Aug 6, 2019
‘Foxcatcher’ stars Channing Tatum, Mark Ruffalo, Steve Carell, Sienna Miller, and Vanessa Redgrave with an appearance by Anthony Michael Hall and tells an account of Olympic Gold Medal Wrestling Champions, brothers Mark and Dave Schultz and their dealings with their millionaire coach, paranoid-schizophrenic John du Pont who eventually murdered Dave Schultz in 1996.
The film has already been received extremely well by critics and has been praised for the performances of Ruffalo, Tatum, and Carell as the three underwent complete character transformations. The film premiered in May at the Cannes Film Festival and director Bennett Miller took home the award for best director. As someone who has seen the film I can tell you that at first I didn’t recognize any of the three lead actors when their characters first appeared on screen in the movie. I would bet money on this film being nominated for Oscars, Emmys, and any other movie awards that I cannot imagine right now based on their performances alone. Channing Tatum has even been quoted as say that this was the hardest acting challenge he has had to date in his career.
In the course of the film, we see a unique look inside the mind of an Olympic athlete via Canning Tatum’s performance as Mark Schultz and how they start out as ‘pure’ and patriotic and how those athletes can be corrupted with the promise of big money for sponsorship or with the purpose of restoring and repeating the ‘glory and standing’ they experienced previously and how it reaches into their lives and the lives of the athlete’s families. Example, in the film when at coach John du Pont’s (Carell) insistence, Mark tries to convince his brother Dave (Ruffalo) to join him in putting together team ‘Foxcatcher’ to train wrestlers for the 1988 Seoul Olympics. At first, Dave declines for the reason of not wanting to uproot his family from their home. Later on though, when its of du Pont’s opinion that Mark’s efforts are unsatisfactory du Pont takes matters into his own hands and convinces Dave himself of signing on thereby alienating Mark from and then from his brother. Eventually, the brothers reconcile but this appears to enrage du Pont who’se already starting to display the symptoms associated with paranoid-schizophrenia. Which some say is the true culprit behind du Pont’s mixer of Dave Schultz.
I would personally give this film 4 out of 5 stars. Bennett Miller couldn’t have done a better job directing this film and once again, the performances by Tatum, Ruffalo, and Carell were amazing and I have no doubt that they will become major millstones in their careers. However, there is the obvious downside of knowing the outcome in this particular instance. Although I did indeed enjoy the film it was also for all intents and purposes, the film was basically a two hour march to death for the character of Dave Schultz which was a major bummer. But hey, that’s not the fault of anyone involved in the film. That’s just what happens when you watch a true crime story. That’s my only gripe in regards to the film though. I say go see it. It is a two hour film though so be sure you grab a meal and a few beverages before you hit the theater.
This is your friendly neighborhood freelance photographer ‘The CameraMan’ and on behalf of my fellows at ‘Skewed & Reviewed’ , thanks for reading … and we’ll see you at the movies!
The film has already been received extremely well by critics and has been praised for the performances of Ruffalo, Tatum, and Carell as the three underwent complete character transformations. The film premiered in May at the Cannes Film Festival and director Bennett Miller took home the award for best director. As someone who has seen the film I can tell you that at first I didn’t recognize any of the three lead actors when their characters first appeared on screen in the movie. I would bet money on this film being nominated for Oscars, Emmys, and any other movie awards that I cannot imagine right now based on their performances alone. Channing Tatum has even been quoted as say that this was the hardest acting challenge he has had to date in his career.
In the course of the film, we see a unique look inside the mind of an Olympic athlete via Canning Tatum’s performance as Mark Schultz and how they start out as ‘pure’ and patriotic and how those athletes can be corrupted with the promise of big money for sponsorship or with the purpose of restoring and repeating the ‘glory and standing’ they experienced previously and how it reaches into their lives and the lives of the athlete’s families. Example, in the film when at coach John du Pont’s (Carell) insistence, Mark tries to convince his brother Dave (Ruffalo) to join him in putting together team ‘Foxcatcher’ to train wrestlers for the 1988 Seoul Olympics. At first, Dave declines for the reason of not wanting to uproot his family from their home. Later on though, when its of du Pont’s opinion that Mark’s efforts are unsatisfactory du Pont takes matters into his own hands and convinces Dave himself of signing on thereby alienating Mark from and then from his brother. Eventually, the brothers reconcile but this appears to enrage du Pont who’se already starting to display the symptoms associated with paranoid-schizophrenia. Which some say is the true culprit behind du Pont’s mixer of Dave Schultz.
I would personally give this film 4 out of 5 stars. Bennett Miller couldn’t have done a better job directing this film and once again, the performances by Tatum, Ruffalo, and Carell were amazing and I have no doubt that they will become major millstones in their careers. However, there is the obvious downside of knowing the outcome in this particular instance. Although I did indeed enjoy the film it was also for all intents and purposes, the film was basically a two hour march to death for the character of Dave Schultz which was a major bummer. But hey, that’s not the fault of anyone involved in the film. That’s just what happens when you watch a true crime story. That’s my only gripe in regards to the film though. I say go see it. It is a two hour film though so be sure you grab a meal and a few beverages before you hit the theater.
This is your friendly neighborhood freelance photographer ‘The CameraMan’ and on behalf of my fellows at ‘Skewed & Reviewed’ , thanks for reading … and we’ll see you at the movies!
Bob Mann (459 KP) rated Honest Thief (2020) in Movies
Dec 3, 2020
Chemistry between Neeson and Walsh (1 more)
Great cinematography around a scenic Boston
As discussed in my One Mann's Movies review of "Cold Pursuit", Liam Neeson has had a rather rocky PR road of late. But - unlike Kevin Spacey - he is clearly not being put on the naughty step by Hollywood, since he is filming/announced for five other features at the time of writing. His latest release - "Honest Thief" - has Mark Williams directing and co-writing (with Steve Allrich), and sees Neeson back on VERY familiar territory in an exciting and sometimes violent thriller.
The nice concept behind the story sees Tom (Liam Neeson) as a hugely successful bank robber meeting the love of his life in Annie (Kate Walsh) and committing to jack it all in for love. Furthermore, not wishing to have to live with the deception and guilt of his hidden life, he determines to hand himself over to the FBI, along with the $9 million stolen cash, in return for a lenient sentence.
There's a problem though: he's about the fifteenth person calling the FBI claiming to be the "In and Out burgler", so no-one wants to take him seriously. Boston area chief Sam Baker (Robert Patrick - the "Terminator" cop!) and his deputy Meyers (Jeffrey Donovan) casually put it on the "to-do" pile of agents Nivens (Jai Courtney) and Hall (Anthony Ramos).
The best laid plans run off the rails in a big way though when Nivens and Hall investigate and find that Tom is the real deal.
The concept here works nicely for a thriller, but the rest of the script is so formulaic that it's fairly and squarely a 'park your brain in the foyer' movie. For several of the actions and motives going on here, suspension of disbelief was required . Even given the limited competition in 2020, the script is in no way going to trouble the Academy.
All that being said, Mark Williams has put together a tight and well-executed movie, not outstaying its welcome at only 99 minutes long. Even with the 15 year age difference, Neeson and Walsh make a believable couple (given that Neeson looks pretty good for his 68 years) and the chemistry between them is great. And for a pretty 'small' movie, the supporting cast is pretty impressive.
Another standout for me was the cinematography by Shelly Johnson (whose had a busy year with the latest "Bill and Ted" and "Greyhound" under his belt). Boston - always a great movie location - looks spectacular, and the framing of the car chase action impressed me.
For me, there was only one really dodgy element of the movie: the special effects used in a house explosion/fire. The budget clearly didn't stretch to using practical effects! More work on Adobe "After Effects" (or similar) was required here!
Is Honest Thief worth seeing? - My expectations for this movie were pretty low. But I'm pleased to say that they were exceeded. Is it a masterpiece? No. Will I readily remember much about it in six month's time? No. But in rather a desert of new releases, this one was at least entertaining and I think it's worth the ticket price for a long overdue night out at the flicks. I'm willing to guess that my feelings were partially influenced by the sheer joy of being back in a cinema again... so I will temper my rating perhaps by a star here.
(For the full graphical review, please check out One Mann's Movies here - https://rb.gy/9kcnr5. Thanks.)
The nice concept behind the story sees Tom (Liam Neeson) as a hugely successful bank robber meeting the love of his life in Annie (Kate Walsh) and committing to jack it all in for love. Furthermore, not wishing to have to live with the deception and guilt of his hidden life, he determines to hand himself over to the FBI, along with the $9 million stolen cash, in return for a lenient sentence.
There's a problem though: he's about the fifteenth person calling the FBI claiming to be the "In and Out burgler", so no-one wants to take him seriously. Boston area chief Sam Baker (Robert Patrick - the "Terminator" cop!) and his deputy Meyers (Jeffrey Donovan) casually put it on the "to-do" pile of agents Nivens (Jai Courtney) and Hall (Anthony Ramos).
The best laid plans run off the rails in a big way though when Nivens and Hall investigate and find that Tom is the real deal.
The concept here works nicely for a thriller, but the rest of the script is so formulaic that it's fairly and squarely a 'park your brain in the foyer' movie. For several of the actions and motives going on here, suspension of disbelief was required . Even given the limited competition in 2020, the script is in no way going to trouble the Academy.
All that being said, Mark Williams has put together a tight and well-executed movie, not outstaying its welcome at only 99 minutes long. Even with the 15 year age difference, Neeson and Walsh make a believable couple (given that Neeson looks pretty good for his 68 years) and the chemistry between them is great. And for a pretty 'small' movie, the supporting cast is pretty impressive.
Another standout for me was the cinematography by Shelly Johnson (whose had a busy year with the latest "Bill and Ted" and "Greyhound" under his belt). Boston - always a great movie location - looks spectacular, and the framing of the car chase action impressed me.
For me, there was only one really dodgy element of the movie: the special effects used in a house explosion/fire. The budget clearly didn't stretch to using practical effects! More work on Adobe "After Effects" (or similar) was required here!
Is Honest Thief worth seeing? - My expectations for this movie were pretty low. But I'm pleased to say that they were exceeded. Is it a masterpiece? No. Will I readily remember much about it in six month's time? No. But in rather a desert of new releases, this one was at least entertaining and I think it's worth the ticket price for a long overdue night out at the flicks. I'm willing to guess that my feelings were partially influenced by the sheer joy of being back in a cinema again... so I will temper my rating perhaps by a star here.
(For the full graphical review, please check out One Mann's Movies here - https://rb.gy/9kcnr5. Thanks.)
RəX Regent (349 KP) rated Duck Soup (1933) in Movies
Feb 18, 2019
“You’re a brave man. Go and break through the lines. And remember, while you’re out there risking your life and limb through shot and shell, we’ll be in be in here thinking what a sucker you are” Rufus T. Firefly
And the one liners just keep on coming…
Here we have before you one of the most famous entries form The Marx Brothers as they made their indelible mark on Hollywood(land) and the silver screen back in the 1930’s, moving away from their Vaudeville roots to new level of immortally on celluloid.
The fifth film to credit the “The Marx Brothers”, Duck Soup in on one hand a sharply written satire on the weakness of mob mentality to willingly promote unwelcome change to their society and their willingness to follow just about any lunatic as long as they like what they hear; as well as a straight forward slapstick comedy of the time, in keeping with its music hall roots.
It is the music hall aspect of this classic which can be harder for a modern audience to take to, unless you are already disposed to this sort of rather dated humour. But as a satire, it is brilliant and still very funny over seventy years on.
Groucho Marx steals the show as Rufus T. Firefly as he leads his unwitting and possibly dimwitted fictional country of Fredonia (geddit?) to war and ultimate destruction. He is a character, whilst not in any way taking off Adolf Hitler, who was of course rising to power in Germany at this very moment, was clearly a reflection on this type of reckless and charismatic leader and as the hilarious final act demonstrates, is all too common in history and even in our present.
And the fact that Fredonia is ultimately doomed, was a coincidental foreshadowing of Nazi Germany’s fate a decade later, as well as a clear demonstration of the savvy writing.
Witty, whether it is the physical trademark Marx Brothers comedy or the sharp screenplay by Bert Kalmar and Harry Ruby, based on the stage version of the same name, this a classic satire; whilst not being as hard hitting a s Chaplin’s works of the period, with The Great Dictator (1940) springing to mind, it still holds up and makes its point without hammering you over the head it.
So, you can just enjoy the show and/or take away the message, it is really up to you.
Here we have before you one of the most famous entries form The Marx Brothers as they made their indelible mark on Hollywood(land) and the silver screen back in the 1930’s, moving away from their Vaudeville roots to new level of immortally on celluloid.
The fifth film to credit the “The Marx Brothers”, Duck Soup in on one hand a sharply written satire on the weakness of mob mentality to willingly promote unwelcome change to their society and their willingness to follow just about any lunatic as long as they like what they hear; as well as a straight forward slapstick comedy of the time, in keeping with its music hall roots.
It is the music hall aspect of this classic which can be harder for a modern audience to take to, unless you are already disposed to this sort of rather dated humour. But as a satire, it is brilliant and still very funny over seventy years on.
Groucho Marx steals the show as Rufus T. Firefly as he leads his unwitting and possibly dimwitted fictional country of Fredonia (geddit?) to war and ultimate destruction. He is a character, whilst not in any way taking off Adolf Hitler, who was of course rising to power in Germany at this very moment, was clearly a reflection on this type of reckless and charismatic leader and as the hilarious final act demonstrates, is all too common in history and even in our present.
And the fact that Fredonia is ultimately doomed, was a coincidental foreshadowing of Nazi Germany’s fate a decade later, as well as a clear demonstration of the savvy writing.
Witty, whether it is the physical trademark Marx Brothers comedy or the sharp screenplay by Bert Kalmar and Harry Ruby, based on the stage version of the same name, this a classic satire; whilst not being as hard hitting a s Chaplin’s works of the period, with The Great Dictator (1940) springing to mind, it still holds up and makes its point without hammering you over the head it.
So, you can just enjoy the show and/or take away the message, it is really up to you.
Merissa (12058 KP) rated Hall Pass For Life in Books
Oct 16, 2018
Hall Pass For Life by Dorothea Lynne
Hall Pass for Life is the first book by Dorothea Lynne I have read. This is a contemporary romance with dark theme - a young woman trapped in a loveless marriage to an older man. Although he is happy to have multiple affairs during their marriage, he is insistent upon controlling every aspect of her. This doesn't stop him from arranging for a week's getaway for her with a younger man so he can have his mistress in their home.
Thea has turned forty and has no idea where her life is going. Her husband, Malcolm, won't allow her to work, constantly criticises her, and yet isn't prepared to divorce her just yet - even though is far too old for his tastes. Liam is a singer and is 25 years old. He isn't sure what to make of the arrangement, but for the amount of money being given to a charity, he will be friendly for the week.
Both Thea and Liam get more than they bargain for, and will fight for their lives together, no matter what Malcolm throws at them.
I loved the premise of this story, although I don't particularly like first person, present tense, which is how this book is written. I found it to be quite confusing over who was speaking in places, and had to read further down to see who responded to figure it out. Personally speaking, I also found the constant nicknames and terms of endearments to be quite monotonous. Yes, it is cute occasionally, but to use them in 85% of the sentences... The only reason I can think of for the constant use was to help the reader know who was talking, which didn't work when they weren't used.
The story itself moved along at a fair pace, albeit a bit jerky in places. Some of the words and actions of various characters didn't seem quite 'real', as though the timing was off slightly. I think this is a standalone book, although the ending has possibly been left open for a follow up.
Anyway, for me, this book didn't quite hit the mark, although it was still a good story. I am absolutely positive that others will love this book, and devour every word. It just didn't work on all levels for me.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Thea has turned forty and has no idea where her life is going. Her husband, Malcolm, won't allow her to work, constantly criticises her, and yet isn't prepared to divorce her just yet - even though is far too old for his tastes. Liam is a singer and is 25 years old. He isn't sure what to make of the arrangement, but for the amount of money being given to a charity, he will be friendly for the week.
Both Thea and Liam get more than they bargain for, and will fight for their lives together, no matter what Malcolm throws at them.
I loved the premise of this story, although I don't particularly like first person, present tense, which is how this book is written. I found it to be quite confusing over who was speaking in places, and had to read further down to see who responded to figure it out. Personally speaking, I also found the constant nicknames and terms of endearments to be quite monotonous. Yes, it is cute occasionally, but to use them in 85% of the sentences... The only reason I can think of for the constant use was to help the reader know who was talking, which didn't work when they weren't used.
The story itself moved along at a fair pace, albeit a bit jerky in places. Some of the words and actions of various characters didn't seem quite 'real', as though the timing was off slightly. I think this is a standalone book, although the ending has possibly been left open for a follow up.
Anyway, for me, this book didn't quite hit the mark, although it was still a good story. I am absolutely positive that others will love this book, and devour every word. It just didn't work on all levels for me.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
BankofMarquis (1832 KP) rated Strange world (2022) in Movies
Jan 7, 2023
Takes Too Long To Find It's Legs
If a film is going to be 1/2 good and 1/2 bad, is it better to have the good part first (which will get you to watch until the end) or last (which will leave you with a good feeling, if you make it that far). With the new Disney Animated Film STRANGE WORLD it is bad first, good second. So, if you stick through the disjointed first part of this film, you’ll be rewarded for your persistence with an interesting and satisfying finale.
A nod to the “Pulp Magazine” Science Fiction works of the 1950’s, STRANGE WORLD follows the adventures of the Clade clan as they try to find out what is beyond the hills of their land with the central conflict of this movie being that the Grandfather - the great explorer Jaeger Clade - wanting to explore. His son, Searcher Clade, wanting to stay put and the Grandson, Ethan Clade, caught between the 2.
It is pretty standard fare that is made all the more confusing by the setup of the premise and the clumsy introduction of the myriad of characters and situations that leads the audience to the exploration adventure that is to come.
Written and Co-Directed by Qui Nguyen (and directed by Don Hall) - both of whom are responsible for the criminally under-rated RAYA AND THE LAST DRAGON - Strange World stumbles out of the gate and spends the first 1/2 (maybe even the first 2/3) trying to recover from that stumble.
It finally does get it’s legs under itself and the end is worth the patience one must have to get through the beginning.
The voice cast is steady - but unspectacular. Jake Gyllenhaal (Searcher), Gabrielle Union (Meridian Clade - the Mom and pilot), Jaboukie Young-White (Ethan, the Grandson), Lucy Liu (explorer Callisto Mal) and Dennis Quaid (Jaeger, the Grandfather) all put in “professional” work, but none of them stick out - which is especially disappointing in Quaid’s case, for his character looks like it was written to be the quirky, different, interesting character.
Disney animation has had a mixed bag with “action/adventure” animated films. For every BIG HERO 6, there are TREASURE PLANET attempts that seemed earnest and well-meaning, but just don’t hit the mark.
If you are in the mood for a good Disney/Animated adventure that comes from Hall and Nguyen, skip STRANGE WORLD and, instead, check out RAYA AND THE LAST DRAGON.
Letter Grade: C+
5 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
A nod to the “Pulp Magazine” Science Fiction works of the 1950’s, STRANGE WORLD follows the adventures of the Clade clan as they try to find out what is beyond the hills of their land with the central conflict of this movie being that the Grandfather - the great explorer Jaeger Clade - wanting to explore. His son, Searcher Clade, wanting to stay put and the Grandson, Ethan Clade, caught between the 2.
It is pretty standard fare that is made all the more confusing by the setup of the premise and the clumsy introduction of the myriad of characters and situations that leads the audience to the exploration adventure that is to come.
Written and Co-Directed by Qui Nguyen (and directed by Don Hall) - both of whom are responsible for the criminally under-rated RAYA AND THE LAST DRAGON - Strange World stumbles out of the gate and spends the first 1/2 (maybe even the first 2/3) trying to recover from that stumble.
It finally does get it’s legs under itself and the end is worth the patience one must have to get through the beginning.
The voice cast is steady - but unspectacular. Jake Gyllenhaal (Searcher), Gabrielle Union (Meridian Clade - the Mom and pilot), Jaboukie Young-White (Ethan, the Grandson), Lucy Liu (explorer Callisto Mal) and Dennis Quaid (Jaeger, the Grandfather) all put in “professional” work, but none of them stick out - which is especially disappointing in Quaid’s case, for his character looks like it was written to be the quirky, different, interesting character.
Disney animation has had a mixed bag with “action/adventure” animated films. For every BIG HERO 6, there are TREASURE PLANET attempts that seemed earnest and well-meaning, but just don’t hit the mark.
If you are in the mood for a good Disney/Animated adventure that comes from Hall and Nguyen, skip STRANGE WORLD and, instead, check out RAYA AND THE LAST DRAGON.
Letter Grade: C+
5 1/2 stars (out of 10) - and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated The Happening (2008) in Movies
Mar 7, 2019
Back in 2009, when I first saw this, I wrote a review on Flixter which read "Simple question: What the hell was Happening???? More to the point
What was the point???? This movie was so diabolically pointless, self-serving and self-indulgent that words could never do it justice. Such a fall from grace from the man who brought us The Sixth Sense and Unbreakable
"
In many ways, that sums this film up perfectly. On a second viewing, an almost three years later, I feel that I have just a little more to say, but none of which is particularly good, except for the fact that I have increased my original one star/candle review to three out the maximum of ten! Shyamalan was a rising talent and now he has fallen far from grace, especially after the flop that was The Last Airbender. In this film he managed, whether by some misguided design or just by poor direction, to get some of the most amateurish performances out his cast imaginable.
I mean, I know that I'm hardly Mark Wahlberg's greatest advocate but he's still miles better than this, as is his counterpart, Zooey Deschanel, who both put in embarrassingly poor performances, but not just bad, but something that I would expect to see in a church hall! This was amateur all the way, with the only saving grace being the otherwise precise Shyamalan direction. But that's not to say that it wasn't boring or that he was directing a pointless narrative. The concept was slightly interesting but handled in such a ridiculously cack-handed and misjudged manner that I doubt anyone would dare suggest this idea again, let alone finance of film it.
I won't give away the "Twist", if you would call it that, but it is original, I grant you that, but interesting enough to support a movie? No way. Nor was anything else about this film.
In many ways, that sums this film up perfectly. On a second viewing, an almost three years later, I feel that I have just a little more to say, but none of which is particularly good, except for the fact that I have increased my original one star/candle review to three out the maximum of ten! Shyamalan was a rising talent and now he has fallen far from grace, especially after the flop that was The Last Airbender. In this film he managed, whether by some misguided design or just by poor direction, to get some of the most amateurish performances out his cast imaginable.
I mean, I know that I'm hardly Mark Wahlberg's greatest advocate but he's still miles better than this, as is his counterpart, Zooey Deschanel, who both put in embarrassingly poor performances, but not just bad, but something that I would expect to see in a church hall! This was amateur all the way, with the only saving grace being the otherwise precise Shyamalan direction. But that's not to say that it wasn't boring or that he was directing a pointless narrative. The concept was slightly interesting but handled in such a ridiculously cack-handed and misjudged manner that I doubt anyone would dare suggest this idea again, let alone finance of film it.
I won't give away the "Twist", if you would call it that, but it is original, I grant you that, but interesting enough to support a movie? No way. Nor was anything else about this film.
Lots of twists and turns (1 more)
Red herrings to keep us guessing
And so the plot thickens...
The story centres around the main character Tom, who is trying to keep his family together after the death of his wife, whilst starting a new relationship with Sophie. Tom is desperately trying to find his daughter, who has gone missing from the same party where her boyfriend turns up dead.
This is a who did it series, where we are left till the very last episode to find out where Jenny (the missing daughter) is (and with whom), and also who murdered her boyfriend, as well as the reasons behind this. As much as the plot unravels in the first part of the series, we are delighted to watch as lose ends are tied up in a complex thread towards the end. As viewers we are left with the bigger picture during the last episode, where we can see just how clever the writing of this series have been at masking such a huge chain of events.
The plot is quite complex, and certainly not one that you can leave to make a cup of tea without pausing. The clues come thick and fast throughout the whole series, some have cleverly been placed as red herrings, to stop us realising the answers too soon. I am usually know for picking murderers from stories very early on in the plot, however if I were to bet on this one, I would be totally missing the mark- I was genuinely shock when the murder was revealed.
There are a lot of characters in the series, although they are subtly introduced, so they were not too overwhelming. The characters were superbly cast, being both well acted and believable. Michael C. Hall, who played Tom was exceptional in his acting, showing a complete range of emotions throughout. There were also a few smaller sub-stories within the main plot, which helped enrich the series further.
Overall, I thoroughly enjoyed the series, it was one I binged on over two days and kept me guessing throughout.
This is a who did it series, where we are left till the very last episode to find out where Jenny (the missing daughter) is (and with whom), and also who murdered her boyfriend, as well as the reasons behind this. As much as the plot unravels in the first part of the series, we are delighted to watch as lose ends are tied up in a complex thread towards the end. As viewers we are left with the bigger picture during the last episode, where we can see just how clever the writing of this series have been at masking such a huge chain of events.
The plot is quite complex, and certainly not one that you can leave to make a cup of tea without pausing. The clues come thick and fast throughout the whole series, some have cleverly been placed as red herrings, to stop us realising the answers too soon. I am usually know for picking murderers from stories very early on in the plot, however if I were to bet on this one, I would be totally missing the mark- I was genuinely shock when the murder was revealed.
There are a lot of characters in the series, although they are subtly introduced, so they were not too overwhelming. The characters were superbly cast, being both well acted and believable. Michael C. Hall, who played Tom was exceptional in his acting, showing a complete range of emotions throughout. There were also a few smaller sub-stories within the main plot, which helped enrich the series further.
Overall, I thoroughly enjoyed the series, it was one I binged on over two days and kept me guessing throughout.
Lyndsey Gollogly (2893 KP) rated Masters of Horror: A Horror Anthology in Books
Jun 26, 2020
112 of 200
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!
Bob Mann (459 KP) rated Ad Astra (2019) in Movies
Sep 28, 2021
Impressive visuals, but rather disappointing as an overall package.
Like father, like son?
I really love sci-fi films with high ambitions. “Psychological” sci-fi like “Solaris” for example. And “Arrival” topped my movie list for 2016. In similar vein, “Ad Astra” is also a movie concerning attempted contact with alien life. So I had high hopes for it. But would this Sci-fi epic ultimately challenge my brain again, or end up in the “Crystal Skull” sin bin with a dodgy alien meeting?
The Plot
Set a few years into the future, Roy McBride (Brad Pitt) is the son of a legend. H. Clifford McBride (Tommy Lee Jones) was a space exploration pioneer. His picture hangs in the NASA hall of fame next to Buzz Aldrin’s. McBride senior went missing presumed dead near Neptune during a mission. The mission was to get outside the Sun’s heliosphere to scan for potential alien transmissions from nearby solar systems.
But something went badly wrong, and now the earth (and potentially all human life migrating into the solar system) is at risk from massive electromagnetic bursts arising from Neptune. Is Clifford alive and involved in the emerging crisis? The authorities send Roy on a secret mission to Mars to try to communicate with his father.
Majestic cinematography
Let’s start with a real positive. The cinematography here is first rate. Hoyte Van-Hoytema – well known for “Interstellar“, “Spectre” and “Dunkirk” – knocks this out of the park. In the same manner as “Blade Runner 2049“, many of the frames of this film could be blown up and placed on art gallery walls around the world.
Add to that some cracking film editing from John Axelrad and Lee Haugen, and some beautiful sound design and I predict the movie should feature strongly in the technical awards at the Oscars.
But “science fiction” has the word “science” in it….
I’d like to park my physics brain sometimes when I go to the movies, but I just can’t. So I really need sci-fi films to live up to the science part of their name. There are a number of areas, particularly at the back end of the film, when credibility goes out the window.
I can’t really say more here without giving spoilers, so I will leave them to a “Spoiler section” below the trailer…. don’t read this if you haven’t seen the film!
What IS this movie trying to be?
In my view the film is pretty schizophrenic in nature. This is what confused me about the trailer, jumping from a cerebral sci-fi vibe to moon buggy shoot-outs.
On one hand, its the standard (but always interesting) tale of a child abandoned by a hero-father and his attempts to reconcile what that’s done to his life and relationships. How can he ever square that circle without contacting his dad? As the film’s tag-line goes “The answers we seek are just outside our reach”.
On the other there are episodes of action that would fit happily into an action scene from Star Trek.
The two elements never really gel, leading to the feeling of the film having been written as a set of disconnected pages and the writers then saying “Hey, Jimmy, once you’ve finished making us the tea, could you just write a few lines to join those pages up into a shooting script?”. Then later, “What do you mean Jimmy you used BOTH piles of paper?!”.
The greatest sin of all
Unfortunately, the film commits a cardinal sin in my book. Those of you who follow my blog regularly might know what I’m going to say….
Voiceovers! I BLOODY HATE THEM!! It’s at the very extreme of what the great Mark Kermode calls “show don’t tell”.
Here, we don’t just have a little Brad Pitt set-up intro and he then shuts up. He just drones on and on and on with his inner thoughts. At least Matt Damon in “The Martian” got away with it by cleverly filming his video blog. And it’s not as if there isn’t a prime opportunity to use that device here! He is constantly having to talk to a computer to do his regular psychological tests! But that option is not picked up.
BIG BLACK MARK!
But the film has its moments
Bubbling under all of this are some stand-out moments where, for me, the film soared. One of them (ultimately setting me up for as much of a disappointing fall as some of the characters!) is the stunning opening shots aboard the “Sky Antenna” structure. Impressive and exciting, with falling bits of metal playing Russian Roulette with Roy’s iife.
Another strength for me is Brad Pitt. I’ve seen wildly differing views on this, but for me its a quiet but strong acting performance. There are many scenes when he has no lines, his inner (and our outer) voice gives it a miss, and he acts the socks off his peers. What with “Once Upon A Time… In Hollywood” its been a really good year for Pitt. I suspect “Hollywood” might be the one though that gets him his fourth acting Oscar nomination.
For a 2019 film, it’s actually a very male-heavy film, made more so by Pitt’s love-interest (Liv Tyler) being given virtually nothing to do other that look a bit sulky from a distance. I’m not even sure she gets a single line in the whole film! (“Miss Tyler – please sign for your script”. “But, there’s nothing in the envelope?”. “Quite Miss Tyler, Quite”).
The only decent female role goes to Ruth Negga as the Mars colony leader. Even then, she only has limited screen time and although having the title “Mars CEO” really doesn’t seem to have much power.
Elsewhere, its great to see both Tommy Lee Jones and Donald Sutherland back on the big screen again.
Final Thoughts
As any veteran RAF person will know, “Ad Astra” is Latin for “To the stars”. In space terms this is less “to the stars” and more “just beyond your front door”.
James Gray‘s film undoubtedly has high ambitions but, through its spasmodic script, never really gets there. It has the beauty of “Gravity” but none of the refinement; there’s an essence of “Space Odyssey” in places, but it never goes for the mystical angle; it has the potential to reflect the near-insanity through loneliness of “Silent Running” but never commits fully to that storyline. But if its novelty you’re looking for, it ticks the “floating monkeys in space” box!
I think it’s worth seeing on the big screen just for its visual beauty and Pitt’s performance. And as a major block-buster sci-fi film I enjoyed it to a degree. But for me it had just so many irritations that it failed to live up to my high expectations. A great shame and a frustrating disappointment.
But at least it’s great news for Richard Branson and Virgin Atlantic shareholders. They can be assured that the future is bright for their “long distance” flights in the future!
I really love sci-fi films with high ambitions. “Psychological” sci-fi like “Solaris” for example. And “Arrival” topped my movie list for 2016. In similar vein, “Ad Astra” is also a movie concerning attempted contact with alien life. So I had high hopes for it. But would this Sci-fi epic ultimately challenge my brain again, or end up in the “Crystal Skull” sin bin with a dodgy alien meeting?
The Plot
Set a few years into the future, Roy McBride (Brad Pitt) is the son of a legend. H. Clifford McBride (Tommy Lee Jones) was a space exploration pioneer. His picture hangs in the NASA hall of fame next to Buzz Aldrin’s. McBride senior went missing presumed dead near Neptune during a mission. The mission was to get outside the Sun’s heliosphere to scan for potential alien transmissions from nearby solar systems.
But something went badly wrong, and now the earth (and potentially all human life migrating into the solar system) is at risk from massive electromagnetic bursts arising from Neptune. Is Clifford alive and involved in the emerging crisis? The authorities send Roy on a secret mission to Mars to try to communicate with his father.
Majestic cinematography
Let’s start with a real positive. The cinematography here is first rate. Hoyte Van-Hoytema – well known for “Interstellar“, “Spectre” and “Dunkirk” – knocks this out of the park. In the same manner as “Blade Runner 2049“, many of the frames of this film could be blown up and placed on art gallery walls around the world.
Add to that some cracking film editing from John Axelrad and Lee Haugen, and some beautiful sound design and I predict the movie should feature strongly in the technical awards at the Oscars.
But “science fiction” has the word “science” in it….
I’d like to park my physics brain sometimes when I go to the movies, but I just can’t. So I really need sci-fi films to live up to the science part of their name. There are a number of areas, particularly at the back end of the film, when credibility goes out the window.
I can’t really say more here without giving spoilers, so I will leave them to a “Spoiler section” below the trailer…. don’t read this if you haven’t seen the film!
What IS this movie trying to be?
In my view the film is pretty schizophrenic in nature. This is what confused me about the trailer, jumping from a cerebral sci-fi vibe to moon buggy shoot-outs.
On one hand, its the standard (but always interesting) tale of a child abandoned by a hero-father and his attempts to reconcile what that’s done to his life and relationships. How can he ever square that circle without contacting his dad? As the film’s tag-line goes “The answers we seek are just outside our reach”.
On the other there are episodes of action that would fit happily into an action scene from Star Trek.
The two elements never really gel, leading to the feeling of the film having been written as a set of disconnected pages and the writers then saying “Hey, Jimmy, once you’ve finished making us the tea, could you just write a few lines to join those pages up into a shooting script?”. Then later, “What do you mean Jimmy you used BOTH piles of paper?!”.
The greatest sin of all
Unfortunately, the film commits a cardinal sin in my book. Those of you who follow my blog regularly might know what I’m going to say….
Voiceovers! I BLOODY HATE THEM!! It’s at the very extreme of what the great Mark Kermode calls “show don’t tell”.
Here, we don’t just have a little Brad Pitt set-up intro and he then shuts up. He just drones on and on and on with his inner thoughts. At least Matt Damon in “The Martian” got away with it by cleverly filming his video blog. And it’s not as if there isn’t a prime opportunity to use that device here! He is constantly having to talk to a computer to do his regular psychological tests! But that option is not picked up.
BIG BLACK MARK!
But the film has its moments
Bubbling under all of this are some stand-out moments where, for me, the film soared. One of them (ultimately setting me up for as much of a disappointing fall as some of the characters!) is the stunning opening shots aboard the “Sky Antenna” structure. Impressive and exciting, with falling bits of metal playing Russian Roulette with Roy’s iife.
Another strength for me is Brad Pitt. I’ve seen wildly differing views on this, but for me its a quiet but strong acting performance. There are many scenes when he has no lines, his inner (and our outer) voice gives it a miss, and he acts the socks off his peers. What with “Once Upon A Time… In Hollywood” its been a really good year for Pitt. I suspect “Hollywood” might be the one though that gets him his fourth acting Oscar nomination.
For a 2019 film, it’s actually a very male-heavy film, made more so by Pitt’s love-interest (Liv Tyler) being given virtually nothing to do other that look a bit sulky from a distance. I’m not even sure she gets a single line in the whole film! (“Miss Tyler – please sign for your script”. “But, there’s nothing in the envelope?”. “Quite Miss Tyler, Quite”).
The only decent female role goes to Ruth Negga as the Mars colony leader. Even then, she only has limited screen time and although having the title “Mars CEO” really doesn’t seem to have much power.
Elsewhere, its great to see both Tommy Lee Jones and Donald Sutherland back on the big screen again.
Final Thoughts
As any veteran RAF person will know, “Ad Astra” is Latin for “To the stars”. In space terms this is less “to the stars” and more “just beyond your front door”.
James Gray‘s film undoubtedly has high ambitions but, through its spasmodic script, never really gets there. It has the beauty of “Gravity” but none of the refinement; there’s an essence of “Space Odyssey” in places, but it never goes for the mystical angle; it has the potential to reflect the near-insanity through loneliness of “Silent Running” but never commits fully to that storyline. But if its novelty you’re looking for, it ticks the “floating monkeys in space” box!
I think it’s worth seeing on the big screen just for its visual beauty and Pitt’s performance. And as a major block-buster sci-fi film I enjoyed it to a degree. But for me it had just so many irritations that it failed to live up to my high expectations. A great shame and a frustrating disappointment.
But at least it’s great news for Richard Branson and Virgin Atlantic shareholders. They can be assured that the future is bright for their “long distance” flights in the future!
Kirk Bage (1775 KP) rated Tales from the Loop in TV
Jan 22, 2021
Such is the competition for our attention on the major streaming services, and such is the daunting depth of choice, that sometimes something of real quality can slip through the net for a while. I like to think that eventually, everything gets the audience it deserves, because eventually enough people that appreciated it will find it and pass it on. But it is apparent that good things can go under the radar very easily for one reason or another.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.