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Alicia S (193 KP) rated Crow (Boston Underworld, #1) in Books
Sep 28, 2018
Tough as any Irish mobster out there, Mackenzie has been fighting her way through living on the streets of Boston since she was 13. In and out of foster homes since her father's murder, she is the daughter and granddaughter of two of the best underground Irish fighters and can surely handle herself as such. When her best friend Talia disappears from the Irish mob run strip club she started working at, Mac is determined to find out what happened. On her own she is ready to take on the Russian Mafia and Irish mobsters clearly involved in some way. Deciding to go undercover... she has no idea no idea just how deep this will take her. She finds herself working for Lachlan attempting to get answers without letting on why she is really there. This book sucked me right in from page one... Lachlan was as fierce and determined as he is sexy. Mac has never let anyone in before, determined to be the tough as fighter her Dad raised, yet she simply can't stop the feelings she that continue to grow for this ferocious man... I ABSOLUTELY loved these two!? The book was absolutely fantastic and Im SO glad to have found this author! Ill surely be back for more as the book was so well written, with a fantastic storyline and characters you can't help but fall in love with. HIGHLY, HIGHLY recommended!!
Antoine Fuqua recommended Mean Streets (1973) in Movies (curated)
BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Real Crime City Sim 3D
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Are you a fan of Russian crime, Miami crime simulators and shooting games? San Andreas Crime City...
Leanne Crabtree (480 KP) rated Clan of the Jersey Boys (Fangsters #1) in Books
Sep 6, 2019
DNF
I hate DNFs. I always feel bad for not finishing them but sometimes I just cant get into a story. I stopped at 38%.
Right. Well, I expected this to be betterthat sounds bad I knowbut I was expecting them to be these tough vampires who kicked arse while running an illegal empire. In a way it was, but it didnt seem bad-arse enough for me. Sure there were a few scenes with retribution/warnings handed out to people but I didnt feel it.
Another thing that got me was all the mention of family and its many members. Yeah I know families are important in Italian/Sicilian cultures but more people kept getting mentioned and I found myself getting confused. What with Anton and someone else being turned by one person and his dad and uncle turned by someone else and this guy turned by the brother of that guy making them cousins I got lost. It was a little too much for me to keep up with.
The relationship between Anton and Leo happened a little too fast for me to believe. Not the sexhes an attractive guy after allbut the love yous and how strong their feelings were after the one night they spent together. Or maybe I just missed something?
Its not a bad story, it was just a little different to what I normally read; the mobster/gangster bit anyway. If you like vampires, mobsters and m/m stories then you will probably like this.
I hate DNFs. I always feel bad for not finishing them but sometimes I just cant get into a story. I stopped at 38%.
Right. Well, I expected this to be betterthat sounds bad I knowbut I was expecting them to be these tough vampires who kicked arse while running an illegal empire. In a way it was, but it didnt seem bad-arse enough for me. Sure there were a few scenes with retribution/warnings handed out to people but I didnt feel it.
Another thing that got me was all the mention of family and its many members. Yeah I know families are important in Italian/Sicilian cultures but more people kept getting mentioned and I found myself getting confused. What with Anton and someone else being turned by one person and his dad and uncle turned by someone else and this guy turned by the brother of that guy making them cousins I got lost. It was a little too much for me to keep up with.
The relationship between Anton and Leo happened a little too fast for me to believe. Not the sexhes an attractive guy after allbut the love yous and how strong their feelings were after the one night they spent together. Or maybe I just missed something?
Its not a bad story, it was just a little different to what I normally read; the mobster/gangster bit anyway. If you like vampires, mobsters and m/m stories then you will probably like this.
Mark @ Carstairs Considers (2161 KP) rated Four Parties and a Funeral in Books
Mar 29, 2023 (Updated Mar 29, 2023)
Reality Show Gets Real with Murder
Even though Mia Carina has no desire to be part of the new reality show, Dons of Ditmars Boulevard, Belle View has been hired as a location for some events and to cater others. Not only that, but some mobsters she knows have been cast. She quickly learns that the drama unfolding before the cameras is no match for the drama unfolding among the crew. Still, she is surprised when a dead body turns up. With someone she knows the police’s chief suspect, Mia jumps in to find out what is really happening. Can she figure it out?
It was wonderful to be back with Mia and the rest of her family and friends. Yes, I did find a few things related to the production of the show stretched believability a bit for me, but that’s mostly minor. I was having fun the entire way through the book, laughing quite a bit at the antics of the characters. I suspect if I watched the kind of show being lampooned here, I would find it even funnier. There are several sub-plots, but they never take away from the strong mystery, which goes to some rather creative places before Mia reaches the logical solution. The regular characters are up to their usual antics, which is always fun, and I loved the development that some of them got. This book will leave readers, old and new, with a grin on their face.
It was wonderful to be back with Mia and the rest of her family and friends. Yes, I did find a few things related to the production of the show stretched believability a bit for me, but that’s mostly minor. I was having fun the entire way through the book, laughing quite a bit at the antics of the characters. I suspect if I watched the kind of show being lampooned here, I would find it even funnier. There are several sub-plots, but they never take away from the strong mystery, which goes to some rather creative places before Mia reaches the logical solution. The regular characters are up to their usual antics, which is always fun, and I loved the development that some of them got. This book will leave readers, old and new, with a grin on their face.
How Hard Can It Be?
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Look, I was doing OK. I got through the oil spill on the road that is turning forty. Lost a little...
women's fiction fiction series
Charlie Cobra Reviews (1840 KP) rated The Hard Way (2019) in Movies
Jul 5, 2020
The Way Or Not The Hard Way - 6/10
The Hard Way is a 2019 action movie directed by Keoni Waxman and written by Keoni Waxman and Thomas J. Churchill; also produced by Binh Dang and Phillip B. Goldfine. Starring Michael Jai White, Luke Goss and Randy Couture.
In Romania, Cody (Grant Campbell) is killed pursuing a criminal while involved in an undercover operation. After learning of his brother's death, Payne (Michael Jai White), travels to Romania to investigate and exact revenge. He speaks with his brother's partner Mason (Luke Goss) and their employer, local chief investigator Briggs (Randy Couture) and finds possible leads while also attending the funeral.
This movie wasn't too bad but as a big fan of Michael Jai White, I was surprised I didn't like it more. Of course the fight scenes were awesome but I liked how the firefight scenes were really well done as well. That being said t wasn't one of his best movies. The acting of the two Russian mobsters in the opening scene was horrible and cliche. The casting was good as Luke Goss and Michael Jai White seem to have good chemistry on screen but the lack of a clear and captivating plot definitely brought the film down. The writing wasn't the greatest either as some dialogue said by Michael didn't come off natural. Not sure how I thought about Randy Couture being cast, his acting didn't seem to fit as well in the movie but he did kind of grow on me. Overall the film feels like it left something unfulfilled, it lacks some of the emotions that it should've had and doesn't live up to its potential. It's a good action flick if that's all you care about seeing on screen. I give it a 6/10.
In Romania, Cody (Grant Campbell) is killed pursuing a criminal while involved in an undercover operation. After learning of his brother's death, Payne (Michael Jai White), travels to Romania to investigate and exact revenge. He speaks with his brother's partner Mason (Luke Goss) and their employer, local chief investigator Briggs (Randy Couture) and finds possible leads while also attending the funeral.
This movie wasn't too bad but as a big fan of Michael Jai White, I was surprised I didn't like it more. Of course the fight scenes were awesome but I liked how the firefight scenes were really well done as well. That being said t wasn't one of his best movies. The acting of the two Russian mobsters in the opening scene was horrible and cliche. The casting was good as Luke Goss and Michael Jai White seem to have good chemistry on screen but the lack of a clear and captivating plot definitely brought the film down. The writing wasn't the greatest either as some dialogue said by Michael didn't come off natural. Not sure how I thought about Randy Couture being cast, his acting didn't seem to fit as well in the movie but he did kind of grow on me. Overall the film feels like it left something unfulfilled, it lacks some of the emotions that it should've had and doesn't live up to its potential. It's a good action flick if that's all you care about seeing on screen. I give it a 6/10.
RA
Rockne and Jones: Notre Dame, USC, and the Greatest Rivalry of the Roaring Twenties
Book
Notre Dame's rallying cry was once "Win one for the Gipper." e football series with Army that...
Johnny Messias (25 KP) rated The Irishman (2019) in Movies
Oct 14, 2019
Al Pacino as Hoffa (6 more)
Joe Pesci is wonderful
De Niro anchors the film
Scorsese on top form
Thelma Schoonmaker’s editing
Steve Zaillian’s script
De Niro and Pacino together
Marty’s marvellous Oldfellas
The Irishman – BFI London Film Festival Review Oct 13th 2019.
An extended cinematic love letter to some of the finest actors of the last 40 years, and to a bygone era of US history, The Irishman is reassuringly brilliant. Like the best Scorsese joints, its business is power brokers, mobsters and underground schemers, but often as a comedy of manners. De Niro anchors the story, yes as mob enforcer but also as a kind of killer Forrest Gump; “connected” to some key milestones in 1960s America; Bay of Pigs, Jimmy Hoffa’s teamsters, RFK, then later the shadow of Nixon. Famously, we see De Niro’s titular character Frank in his 20s, 30s, 40s, right up until the old age home. Scorsese uses computerised de-aging technology to achieve the effect make-up artists might have parlayed. It works well—mostly. What grips you and takes you in is the bravura acting. Al Pacino gives a wonderful performance as Jimmy Hoffa. He goes full “Pacino” with speeches and grandstanding but it is the lilt of this voice (all sing song) in quiet moments that makes this the best we’ve seen from Al in many a year. Joe Pesci as well. He’s kind of the centre of this world, as the mobster who links up De Niro to Pacino’s Hoffa. Pesci speaks quietly and carefully; you sense how much power he has without any of the violence that was trademark in his famous Casino and Goodfellas roles. Over nearly 3.5 hours (never seems long) what you get is a beautifully written, shot, edited and performed drama about loyalty, friendship and a creeping sense of regret. All with the backdrop of this fascinating period: JFK, Union movements, Cuba, Fidel Castro. It lingers long in the memory and it’s one to cherish, since we surely won’t see its like again.
An extended cinematic love letter to some of the finest actors of the last 40 years, and to a bygone era of US history, The Irishman is reassuringly brilliant. Like the best Scorsese joints, its business is power brokers, mobsters and underground schemers, but often as a comedy of manners. De Niro anchors the story, yes as mob enforcer but also as a kind of killer Forrest Gump; “connected” to some key milestones in 1960s America; Bay of Pigs, Jimmy Hoffa’s teamsters, RFK, then later the shadow of Nixon. Famously, we see De Niro’s titular character Frank in his 20s, 30s, 40s, right up until the old age home. Scorsese uses computerised de-aging technology to achieve the effect make-up artists might have parlayed. It works well—mostly. What grips you and takes you in is the bravura acting. Al Pacino gives a wonderful performance as Jimmy Hoffa. He goes full “Pacino” with speeches and grandstanding but it is the lilt of this voice (all sing song) in quiet moments that makes this the best we’ve seen from Al in many a year. Joe Pesci as well. He’s kind of the centre of this world, as the mobster who links up De Niro to Pacino’s Hoffa. Pesci speaks quietly and carefully; you sense how much power he has without any of the violence that was trademark in his famous Casino and Goodfellas roles. Over nearly 3.5 hours (never seems long) what you get is a beautifully written, shot, edited and performed drama about loyalty, friendship and a creeping sense of regret. All with the backdrop of this fascinating period: JFK, Union movements, Cuba, Fidel Castro. It lingers long in the memory and it’s one to cherish, since we surely won’t see its like again.