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Lee KM Pallatina (951 KP) rated My Name in TV
Dec 5, 2021
Plot/story (4 more)
Cast
Stunts
Choreography
Action
Vengeance has a new vessel
My name was released in 2021 to decent reviews and a strong following.
After her somewhat absent father's murder, a young woman driven by vengeance seeks out help from a powerful crime boss. Trained by his men in close combat, she enters the police force under his orders in an attempt to find her fathers killer and exact revenge.
Starring: Han So-hee; Park Hee-soon; Ahn Bo-hyun
Available on Netflix
Directed by Kim Jin-min
After her somewhat absent father's murder, a young woman driven by vengeance seeks out help from a powerful crime boss. Trained by his men in close combat, she enters the police force under his orders in an attempt to find her fathers killer and exact revenge.
Starring: Han So-hee; Park Hee-soon; Ahn Bo-hyun
Available on Netflix
Directed by Kim Jin-min
Suswatibasu (1701 KP) rated Serial in Podcasts
Jan 4, 2018 (Updated Jan 4, 2018)
Gripping first series, second underwhelming
Serial is one of those high-trending true crime phenomena, gripping a nation similar to the likes of @Making A Murderer - Season 1. The first series follows the murder case of a young student Hae Min Lee, allegedly killed by her former boyfriend Adnan Syed and the apparent failings in the investigation. Is he guilty or innocent? Journalist Sarah Koenig tries to retrace the steps of both Adnan and other suspects to get to the bottom of this disturbing story in 12 episodes.
The first series is well-made, each episode carefully crafted to leave you on a cliffhanger. It is easy to binge-listen, but like MAM, there are parts that have been omitted from the case, so not all is what it actually seems. Either way, I fell for it hook, line and sinker.
The second series, unfortunately, is an entirely different ballgame. Unlike its true crime predecessor, Koenig looks at the infamous case of Sergeant Bowe Bergdahl, a US soldier who allegedly defected and was subsequently captured by Taliban insurgents in Afghanistan. The series focuses on his perception and experiences, and eventual vilification, as his release caused much political controversy over whether a deal should have been negotiated or not. The price of his freedom was an exchange for five Taliban-linked inmates held at maximum security prison Guantanamo Bay. The reason he says, for his defection, was that he attempted to become a whistleblower for the apparently mismanaged unit he belonged to.
Sadly, as with most popular media, the change in direction with the podcast came at a price, as many felt the subject was too dry and too heavy. With dense military language, it seem to become too bogged down with the details, losing its edge.
It's not a perfect podcast, but the first series is still worth the listen.
The first series is well-made, each episode carefully crafted to leave you on a cliffhanger. It is easy to binge-listen, but like MAM, there are parts that have been omitted from the case, so not all is what it actually seems. Either way, I fell for it hook, line and sinker.
The second series, unfortunately, is an entirely different ballgame. Unlike its true crime predecessor, Koenig looks at the infamous case of Sergeant Bowe Bergdahl, a US soldier who allegedly defected and was subsequently captured by Taliban insurgents in Afghanistan. The series focuses on his perception and experiences, and eventual vilification, as his release caused much political controversy over whether a deal should have been negotiated or not. The price of his freedom was an exchange for five Taliban-linked inmates held at maximum security prison Guantanamo Bay. The reason he says, for his defection, was that he attempted to become a whistleblower for the apparently mismanaged unit he belonged to.
Sadly, as with most popular media, the change in direction with the podcast came at a price, as many felt the subject was too dry and too heavy. With dense military language, it seem to become too bogged down with the details, losing its edge.
It's not a perfect podcast, but the first series is still worth the listen.
Bob Mann (459 KP) rated A Star Is Born (2018) in Movies
Sep 28, 2021
Dullsville Arizona.
It’s unusual for the illustrious Mrs. Movie-Man and I to disagree over our opinion of a movie. Sure, she doesn’t like some genres like horror and sci-fi that I do, and I will often go to them alone. But in the main if we sit there together then we tend to have the same general view as to whether we liked it or not. (I guess that’s why we’ve been such a good match for nearly 40 years!). Not so though with this film.
The story has been filmed three times before: in 1937 (with Janet Gaynor and Fredric March); 1954 (with Judy Garland and James Mason) and 1976 (with Barbra Streisand and Kris Kristofferson). In all of these films the story has been the same: an alcoholic and over-the-hill actor (or with Kris Kristofferson, rock star) finds a young talented ingenue to love and develop into a superstar.
The modern day remake is a little different in that Jackson Maine, our older star (now played by Bradley Cooper), is a stadium-filling mega-rock-star, recognised and idolised in every bar he goes into…. and he frequents a LOT of bars. Maine mixes the cocktail with drugs in this version meaning that as one star is ascending, his seems destined to be heading into a black hole.
At its heart, this is a good story of having self-confidence in your own abilities, no matter how people around you try to put you down. Gaga’s Ally is one such person; a waitress who is constantly being told, especially by her blue-collar dad and his boozy friends, that although she has a great voice she’s “never going to make it” because of the way she looks. In chilled fashion she meets Jackson Maine, who hears her sing and thinks she might be on the edge of glory. Not worried about her big nose, he appreciates she was born that way: in fact he likes her so much he wants to poke her face. (Sorry… couldn’t resist it).
I appreciate from the IMDB rating that I am probably in a minority here. (At the time of writing this – pre-general release – it is a ridiculously high – and I suspect artificially pumped up – 8.8). But for me, I found the whole thing a dull affair. I can’t remember the last time I went to a film when I actively looked at my watch… but 1 hour 45 into this, I did (it had another 30 minutes to run).
For one thing, I just didn’t believe Bradley Cooper as the rock star character. He just came across as totally false and unbelievable to me. I had more resonance with Gaga’s Ally. Even though she is a novice actor (and it showed at times) in general I thought she did a creditable job. But given these two factors together, there are long and indulgent exchanges between the pair that seemed to me to go on in–ter–min–ably. Best actor in the film for me was Sam Elliott as Jackson’s brother Bobby. The mellowing of the brothers is a scene that I found genuinely touching.
I’d also like a glance at the original script, since there are some passages (the “boyfriend/husband” lines is a case in point) where it felt like one of them made an script mistake and, instead of Cooper (as director) shouting “cut”, they kept it going as some sort of half-arsed improv.
What is impressive is that they got to film at live concerts (including at Glastonbury), although most of this footage is of the hand-held nausea-inducing variety. There is zero doubt that Gaga can belt out a song better than anyone. But I didn’t get that same feeling about Bradley Cooper’s singing: like a lot of this film (with Cooper as co-producer, co-screenwriter AND director) it felt to me like a self-indulgent piece of casting.
I know music is extremely subjective, and “country” isnt really my think anyway. But the songs by Gaga and Lukas Nelson were – “Shallow” aside – for me rather forgetable.
Overall, in a couple of years that have brought us some great musicals – “La La Land“; “Sing Street“; “The Greatest Showman” – here’s a film about the music industry that did nothing for me I’m afraid.
But with my new user-rating system (this is the first post on the new web site) you have a chance to have YOUR say, so vote away!
The story has been filmed three times before: in 1937 (with Janet Gaynor and Fredric March); 1954 (with Judy Garland and James Mason) and 1976 (with Barbra Streisand and Kris Kristofferson). In all of these films the story has been the same: an alcoholic and over-the-hill actor (or with Kris Kristofferson, rock star) finds a young talented ingenue to love and develop into a superstar.
The modern day remake is a little different in that Jackson Maine, our older star (now played by Bradley Cooper), is a stadium-filling mega-rock-star, recognised and idolised in every bar he goes into…. and he frequents a LOT of bars. Maine mixes the cocktail with drugs in this version meaning that as one star is ascending, his seems destined to be heading into a black hole.
At its heart, this is a good story of having self-confidence in your own abilities, no matter how people around you try to put you down. Gaga’s Ally is one such person; a waitress who is constantly being told, especially by her blue-collar dad and his boozy friends, that although she has a great voice she’s “never going to make it” because of the way she looks. In chilled fashion she meets Jackson Maine, who hears her sing and thinks she might be on the edge of glory. Not worried about her big nose, he appreciates she was born that way: in fact he likes her so much he wants to poke her face. (Sorry… couldn’t resist it).
I appreciate from the IMDB rating that I am probably in a minority here. (At the time of writing this – pre-general release – it is a ridiculously high – and I suspect artificially pumped up – 8.8). But for me, I found the whole thing a dull affair. I can’t remember the last time I went to a film when I actively looked at my watch… but 1 hour 45 into this, I did (it had another 30 minutes to run).
For one thing, I just didn’t believe Bradley Cooper as the rock star character. He just came across as totally false and unbelievable to me. I had more resonance with Gaga’s Ally. Even though she is a novice actor (and it showed at times) in general I thought she did a creditable job. But given these two factors together, there are long and indulgent exchanges between the pair that seemed to me to go on in–ter–min–ably. Best actor in the film for me was Sam Elliott as Jackson’s brother Bobby. The mellowing of the brothers is a scene that I found genuinely touching.
I’d also like a glance at the original script, since there are some passages (the “boyfriend/husband” lines is a case in point) where it felt like one of them made an script mistake and, instead of Cooper (as director) shouting “cut”, they kept it going as some sort of half-arsed improv.
What is impressive is that they got to film at live concerts (including at Glastonbury), although most of this footage is of the hand-held nausea-inducing variety. There is zero doubt that Gaga can belt out a song better than anyone. But I didn’t get that same feeling about Bradley Cooper’s singing: like a lot of this film (with Cooper as co-producer, co-screenwriter AND director) it felt to me like a self-indulgent piece of casting.
I know music is extremely subjective, and “country” isnt really my think anyway. But the songs by Gaga and Lukas Nelson were – “Shallow” aside – for me rather forgetable.
Overall, in a couple of years that have brought us some great musicals – “La La Land“; “Sing Street“; “The Greatest Showman” – here’s a film about the music industry that did nothing for me I’m afraid.
But with my new user-rating system (this is the first post on the new web site) you have a chance to have YOUR say, so vote away!