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Daniel Boyd (1066 KP) rated The Haunting of Hill House in TV
Nov 13, 2018 (Updated Nov 13, 2018)
Predictable jumpscares (2 more)
Bad acting
Crappy script
Overhyped Garbage
The Haunting Of Hill House is a 2018 Netflix series directed by Mike Flanagan, who directed last year's fantastically creepy adaption of Stephen King's 'Gerald's Game'. Hill House even features some of the same cast members in Carla Gugino and Henry Thomas, whom I both really like. Before diving into it, I thought that this show was going to be tailor made for me, with a brilliant cast and the same subtle but terrifying horror that Flanagan used in Gerald's Game.
However, after watching the first couple of episodes, I was struggling to get into it. Due to the massive amount of hype and praise that this show was getting I decided to stick with it. By the time I got to episode 6, I was done, but then my girlfriend guilted me into watching that rest of the series because she wanted to see it and she was, "too scared to watch it alone."
What a huge waste of time that turned out to be.
If you have read any of my other reviews of horror-based media, you will know that I have a love/hate relationship with the genre. There are very few horror movies or shows that I feel indifferent about. I hate lazy, formulaic bad horror and that is exactly what Hill House is.
Every single episode consists of a jumpscare at the start of the episode, then a hard cut either forwards or backwards in the timeline. Then about 15-20 minutes of piss poor acting and boring dialogue. This is followed by another cheap jumpscare, usually a woman screaming at an obnoxiously loud volume at the camera. Then we get another hard cut back to the other timeline.
The main issue with this structure, (other than being extremely lazy and repetitive,) is that when the hard cut is made to the other timeline, the audience knows that it is done by an editor and that we are now being asked to focus on a part of the story within the other timeline, but for the characters within the show, it makes no sense. For example, two people are having a conversation when something creepy happens. They go to investigate and a screaming woman comes launching towards them or is standing at the edge of a bed or doing basically any other ghost story cliché you can think of. Then the show cuts away to show the characters as children being haunted by a different ghost, but then when we cut back to the present, we never find out how the last jumpscare was resolved. What was the aftermath of that screaming lady at the end of the bed you ask? How was that resolved? How are the character's mentalities after this happened to them? Who cares?! Say the writers, let's just move on to the next cheap jumpscare.
The script is extraordinarily lazy and the child actors are horribly bad. This is an issue that I feel that there isn't really any excuse for anymore after the brilliant child performances in shows like Stranger Things and Season 2 of the Sinner.
If you judge the quality of something based on what it sets out to do versus what it actually does, then The Haunting Of Hill House is the worst show that I have had the displeasure of sitting through this year. The scares are pathetic, the acting is atrocious in places, the script is diabolically cheesy at times, there is hardly any originality present for an, 'original series,' and the show is overflowing with clichés. Not once did a jumpscare actually scare me, because they were all either laughably predicable or they would be totally out of place just for the sake of shock value and would merit a heavy sigh rather than an legit scare. The most egregious, offensively bad example of this was when two characters were having a conversation in a car in episode 6 and a ghost randomly screams from the backseat.
Please do not waste your time with this series, 2018 had so much brilliance to offer on the small screen and despite what you might hear from big publications, this is not one of them.
However, after watching the first couple of episodes, I was struggling to get into it. Due to the massive amount of hype and praise that this show was getting I decided to stick with it. By the time I got to episode 6, I was done, but then my girlfriend guilted me into watching that rest of the series because she wanted to see it and she was, "too scared to watch it alone."
What a huge waste of time that turned out to be.
If you have read any of my other reviews of horror-based media, you will know that I have a love/hate relationship with the genre. There are very few horror movies or shows that I feel indifferent about. I hate lazy, formulaic bad horror and that is exactly what Hill House is.
Every single episode consists of a jumpscare at the start of the episode, then a hard cut either forwards or backwards in the timeline. Then about 15-20 minutes of piss poor acting and boring dialogue. This is followed by another cheap jumpscare, usually a woman screaming at an obnoxiously loud volume at the camera. Then we get another hard cut back to the other timeline.
The main issue with this structure, (other than being extremely lazy and repetitive,) is that when the hard cut is made to the other timeline, the audience knows that it is done by an editor and that we are now being asked to focus on a part of the story within the other timeline, but for the characters within the show, it makes no sense. For example, two people are having a conversation when something creepy happens. They go to investigate and a screaming woman comes launching towards them or is standing at the edge of a bed or doing basically any other ghost story cliché you can think of. Then the show cuts away to show the characters as children being haunted by a different ghost, but then when we cut back to the present, we never find out how the last jumpscare was resolved. What was the aftermath of that screaming lady at the end of the bed you ask? How was that resolved? How are the character's mentalities after this happened to them? Who cares?! Say the writers, let's just move on to the next cheap jumpscare.
The script is extraordinarily lazy and the child actors are horribly bad. This is an issue that I feel that there isn't really any excuse for anymore after the brilliant child performances in shows like Stranger Things and Season 2 of the Sinner.
If you judge the quality of something based on what it sets out to do versus what it actually does, then The Haunting Of Hill House is the worst show that I have had the displeasure of sitting through this year. The scares are pathetic, the acting is atrocious in places, the script is diabolically cheesy at times, there is hardly any originality present for an, 'original series,' and the show is overflowing with clichés. Not once did a jumpscare actually scare me, because they were all either laughably predicable or they would be totally out of place just for the sake of shock value and would merit a heavy sigh rather than an legit scare. The most egregious, offensively bad example of this was when two characters were having a conversation in a car in episode 6 and a ghost randomly screams from the backseat.
Please do not waste your time with this series, 2018 had so much brilliance to offer on the small screen and despite what you might hear from big publications, this is not one of them.
BankofMarquis (1832 KP) rated Doctor Sleep (2019) in Movies
Oct 5, 2020
Better Than I Expected
Over the years, there has been "cash grab" sequels thrown out onto an unsuspecting public years after the beloved original film has settled into the warm memories of time. Films like THE TWO JAKES (sequel to CHINATOWN), THE EVENING STAR (sequel to TERMS OF ENDEARMENT) and, most notably, THE GODFATHER III (sequel to the first two, terrific GODFATHER films) all were filmed more than 10 years after the original classic and quickly died at the box office.
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Harriet (2019) in Movies
Feb 29, 2020
Cynthia Erivo - mesmerising (2 more)
Great ensemble cast.
Truly uplifting story
A Crime has been committed
I'm not talking here about the criminal act of Edward Brodess (Mike Marunde) at the start of the film, tearing up perfectly legal documents that prove that slave 'Minty' (Cynthia Erivo) should be released from servitude. No. I'm talking about the 2020 Academy Awards selection.
This was just about the one and only mainstream film that I didn't get to see before this year's awards, and on catching up with it now I feel positively cross with the Academy. Were they looking for an excuse NOT to pour praise on a black-heavy film? Surely not! And yet here we have a standout performance from Cynthia Erivo, that should have been (imho) a more prominent challenger to Renée Zellweger; together with a superb supporting actor performance by Leslie Odom Jr. as her underground railway "Fat Controller" in Philadelphia.
And don't get me started on how or why Erivo didn't get the Oscar for best song with "Stand Up"! (And as both Erivo and Elton John are British, I'm not being partisan here). But did you HEAR and compare those two songs on the night?
The story is based (many would say 'very loosely based') on the amazing life story of Harriet Tubman, who in the run-up to the American Civil War made it her mission to free slaves. Illegally trapped herself on the Brodess farm in Maryland, 'Minty' plans to flee north leaving behind her husband John Tubman (Zackary Momoh), her father (an excellent Clarke Peters), her mother (Vanessa Bell Calloway) and four of her six siblings. It's a perilous pursuit, since being caught by the posse and their hunting dogs will mean severe beatings if not worse.
Fortunately, Minty has an ally.... God. For since a skull fracture, handed out by Gideon Brodess (Joe Alwyn, on great form), at the age of 13, Minty has had seizures where God has shown her flashes of future events.
"Be Free or Die" are the options. Which way will the dice fall for Minty, now reborn as Harriet, as she embarks on ever more perilous missions?
I just loved this movie. I thought Cynthia Erivo was mesmerising as the woman of great substance (you might say, 'True Brit'). There's not been a single Erivo film yet shown that I haven't been impressed with, with "Bad Times at the El Royale" being a particular favourite.
And what a fabulous ensemble cast! Aside from the folks mentioned above, other key performances come from Vondie Curtis-Hall as the Reverend Green (no, not "in the conservatory, with the lead piping") who delivers some fabulous gospel singing, Janelle Monáe (of "Hidden Figures" fame) as the kindly (but fictional) Marie Buchanon who is a friend in need, and Henry Hunter Hall who we first meet as the tricksy bounty hunter Walter.
Also praiseworthy is the score by Terence Blanchard, which seems to completely fit the mood of the movie, and the slightly blue-washed landscape cinematography of John Toll.
Kasi Lemmons - a lady whose previous work I'm not familiar with - directs with style, and (although I appreciate that the Best Director Oscar category only has five names in it) she must have been disappointed not to have been nominated for this. Lemmons also contributed to the story/script from Gregory Allen Howard ("Remember the Titans").
Why the hate on IMDB for this? The user reviews seem to be full of hateful 1* reviews, complaining of perverting the historical record. I can only conclude that this cohort is composed of a) black people genuinely upset about the portrayal of Tubman (which I can respect) and b) racists who are deadly opposed to the message the film portrays and looking for an excuse to bring it down.
Ignore them! If you change the name of the lead character to a fictional one and ignore the "based on a true story" angle, this is a genuinely uplifting and inspiring film. I was sat on a crowded plane, but I genuinely teared up at the finale (and particularly the very final shot) of this movie. It really spoke to me.
Recommended..... dig it out on a streaming service near you and make your own mind up.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2020/02/29/one-manns-movies-dvd-review-harriet-2019/. Thanks).
This was just about the one and only mainstream film that I didn't get to see before this year's awards, and on catching up with it now I feel positively cross with the Academy. Were they looking for an excuse NOT to pour praise on a black-heavy film? Surely not! And yet here we have a standout performance from Cynthia Erivo, that should have been (imho) a more prominent challenger to Renée Zellweger; together with a superb supporting actor performance by Leslie Odom Jr. as her underground railway "Fat Controller" in Philadelphia.
And don't get me started on how or why Erivo didn't get the Oscar for best song with "Stand Up"! (And as both Erivo and Elton John are British, I'm not being partisan here). But did you HEAR and compare those two songs on the night?
The story is based (many would say 'very loosely based') on the amazing life story of Harriet Tubman, who in the run-up to the American Civil War made it her mission to free slaves. Illegally trapped herself on the Brodess farm in Maryland, 'Minty' plans to flee north leaving behind her husband John Tubman (Zackary Momoh), her father (an excellent Clarke Peters), her mother (Vanessa Bell Calloway) and four of her six siblings. It's a perilous pursuit, since being caught by the posse and their hunting dogs will mean severe beatings if not worse.
Fortunately, Minty has an ally.... God. For since a skull fracture, handed out by Gideon Brodess (Joe Alwyn, on great form), at the age of 13, Minty has had seizures where God has shown her flashes of future events.
"Be Free or Die" are the options. Which way will the dice fall for Minty, now reborn as Harriet, as she embarks on ever more perilous missions?
I just loved this movie. I thought Cynthia Erivo was mesmerising as the woman of great substance (you might say, 'True Brit'). There's not been a single Erivo film yet shown that I haven't been impressed with, with "Bad Times at the El Royale" being a particular favourite.
And what a fabulous ensemble cast! Aside from the folks mentioned above, other key performances come from Vondie Curtis-Hall as the Reverend Green (no, not "in the conservatory, with the lead piping") who delivers some fabulous gospel singing, Janelle Monáe (of "Hidden Figures" fame) as the kindly (but fictional) Marie Buchanon who is a friend in need, and Henry Hunter Hall who we first meet as the tricksy bounty hunter Walter.
Also praiseworthy is the score by Terence Blanchard, which seems to completely fit the mood of the movie, and the slightly blue-washed landscape cinematography of John Toll.
Kasi Lemmons - a lady whose previous work I'm not familiar with - directs with style, and (although I appreciate that the Best Director Oscar category only has five names in it) she must have been disappointed not to have been nominated for this. Lemmons also contributed to the story/script from Gregory Allen Howard ("Remember the Titans").
Why the hate on IMDB for this? The user reviews seem to be full of hateful 1* reviews, complaining of perverting the historical record. I can only conclude that this cohort is composed of a) black people genuinely upset about the portrayal of Tubman (which I can respect) and b) racists who are deadly opposed to the message the film portrays and looking for an excuse to bring it down.
Ignore them! If you change the name of the lead character to a fictional one and ignore the "based on a true story" angle, this is a genuinely uplifting and inspiring film. I was sat on a crowded plane, but I genuinely teared up at the finale (and particularly the very final shot) of this movie. It really spoke to me.
Recommended..... dig it out on a streaming service near you and make your own mind up.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2020/02/29/one-manns-movies-dvd-review-harriet-2019/. Thanks).
BankofMarquis (1832 KP) rated The Graduate (1967) in Movies
Jun 16, 2019
Career Defining Turn by Bancroft
On the surface, THE GRADUATE is a story of a young college graduate who has an affair with an older woman. But look beneath the surface and this film becomes much, much more.
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Gareth von Kallenbach (971 KP) rated Harriet (2019) in Movies
Nov 7, 2019
Harriet Tubman was among one of the most significant abolitionists in United States history. This film tells the story of her life where she was born in Maryland as a plantation slave. Named Araminta at “Minty” Ross, she transforms throughout her journey, becoming Harriet Tubman as well as transforming into Moses, the appropriate name for the person who leads.
The story begins after church services where Minty’s husband John Tubman who was a free slave asks the plantation owner to allow Minty to be freed so their children would be born free instead of slaves. The slave owner, Henry Broadess (Mike Marunde played with a gleeful abundance of entitlement) denies the request. This is the spark where Araminta decides to run away to live as a free person.
Minty was known for her “spells” since the accident, where she was hit in the forehead by a thrown weight. The film interprets seizures as her conversation with God. The film uses these spells as her talks with and messages received from God. That is how Harriett’s visions are explained. That she has an ability to know where to go and what to from what she sees when she has an episode.
Harriet had saved herself from slavery. She made it to the State of Pennsylvania where she would be free. After a year or so, Harriet decided that she would not be able to rest comfortably as a “free slave” without her husband and her family. That is when she decided that she would go get her loved ones.
As we know from history, she saved her family and many others through the Underground Railroad. All her rescues were successful, totaling 70 that she brought to freedom. The Civil War began a few years later. We are shown Harriet, working with the Union Army to save the lives of about 700 slaves.
The film celebrates Harriet Tubman and provides a beautiful biographical film of this amazing woman. Cynthia Erivo should get a nomination or two come award season. Pssst, she already has a Tony from her performance of The Color Purple on Broadway and a Grammy. She is already halfway to an EGOT. The cast of the film is fantastic. Leslie Odom Jr. as William Still, the man who kept the records of each emancipated slave and provided new identities to help them. Then there is Janelle Monae, as Mary Buchanon, born a free woman. She was among the group that helped Harriet make a new life in Philadelphia.
The film tells a brave tale, but it glosses over the dark history of slavery. Yes, it is one of the dark chapters in humanity. The atrocities committed in the name of self-preservation are despicable. The creators of the movie could have provided a more realistic representation of a picture of slavery.
This film is very good. Ms. Erivo performs effortlessly as Harriet. The supporting cast are very good. Harriet Tubman was a hell of a woman back in the day. I liked the movie. I also would have liked to have slavery shown in stark reality, not coated in idealism.
The story begins after church services where Minty’s husband John Tubman who was a free slave asks the plantation owner to allow Minty to be freed so their children would be born free instead of slaves. The slave owner, Henry Broadess (Mike Marunde played with a gleeful abundance of entitlement) denies the request. This is the spark where Araminta decides to run away to live as a free person.
Minty was known for her “spells” since the accident, where she was hit in the forehead by a thrown weight. The film interprets seizures as her conversation with God. The film uses these spells as her talks with and messages received from God. That is how Harriett’s visions are explained. That she has an ability to know where to go and what to from what she sees when she has an episode.
Harriet had saved herself from slavery. She made it to the State of Pennsylvania where she would be free. After a year or so, Harriet decided that she would not be able to rest comfortably as a “free slave” without her husband and her family. That is when she decided that she would go get her loved ones.
As we know from history, she saved her family and many others through the Underground Railroad. All her rescues were successful, totaling 70 that she brought to freedom. The Civil War began a few years later. We are shown Harriet, working with the Union Army to save the lives of about 700 slaves.
The film celebrates Harriet Tubman and provides a beautiful biographical film of this amazing woman. Cynthia Erivo should get a nomination or two come award season. Pssst, she already has a Tony from her performance of The Color Purple on Broadway and a Grammy. She is already halfway to an EGOT. The cast of the film is fantastic. Leslie Odom Jr. as William Still, the man who kept the records of each emancipated slave and provided new identities to help them. Then there is Janelle Monae, as Mary Buchanon, born a free woman. She was among the group that helped Harriet make a new life in Philadelphia.
The film tells a brave tale, but it glosses over the dark history of slavery. Yes, it is one of the dark chapters in humanity. The atrocities committed in the name of self-preservation are despicable. The creators of the movie could have provided a more realistic representation of a picture of slavery.
This film is very good. Ms. Erivo performs effortlessly as Harriet. The supporting cast are very good. Harriet Tubman was a hell of a woman back in the day. I liked the movie. I also would have liked to have slavery shown in stark reality, not coated in idealism.
BackToTheMovies (56 KP) rated Child's Play (2019) in Movies
Jun 21, 2019
After moving to a new city, young Andy Barclay receives a special present from his mother. A seemingly innocent Buddi doll that becomes his best friend. When the doll suddenly takes on a life of its own, Andy unites with other neighborhood children to stop the sinister toy from wreaking bloody havoc.
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
Gareth von Kallenbach (971 KP) rated Doctor Sleep (2019) in Movies
Nov 7, 2019
Some nightmares you wake up from, wipe the sweat from your brow, and go back to wonderful slumber as though it never occurred. Others follow you in both your sleep and waking hours. For Dan Torrance (Ewan McGregor) the nightmare that began at the Overlook Hotel in Stephen King’s best-selling novel (and movie directed by Stanley Kubrick) The Shining continue to follow him through his childhood years. With the help of a friendly spirit (Carl Lumbly) Dan learns how to contain the malevolent spirits that followed him from his nightmarish experience, but at almost the cost of his sanity. Falling back on his fathers’ previous crutch, Dan drinks and fights his demons away every night, consumed by a different type of spirit to manage the pain and fear that he has been running from.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Lee (2222 KP) Nov 13, 2018