Search
Search results
Emma @ The Movies (1786 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
We left off at the end of John Wick 2 with our lead's imminent excommunication. He's been given an hours grace, in a city that's filled with assassins his odds don't look good, but even for John Wick... bad odds are still pretty good.
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
I've been contemplating the story to this since I watched it. There doesn't feel like much of one. He's attempting to save his life, sure, but that's really the only thing. It feels very much like a set up for the sequel, which depending on what you read is either already planned or not planned at all.
I don't really think we go to see John Wick movies for the plot though, do we? So on that front it delivers spectacularly. The opening was immense, we come in knowing that it's all going to kick off pretty quickly after the last instalment so the anticipation is with you from the off, and it doesn't disappoint. Sheer kick-assery that we've come to expect from the franchise.
As the clock ticks over the hour and John Wick's own time is now running out he dashes through the streets (rather bold for someone with a $14 million bounty on his head) trying to make his way to people who might actually help him. Of course he's spotted by one of the thousands of assassins and villains that seem to litter the streets of New York. He ends up in a handily weaponised building and we see him take on a gang of knife proficient bad guys. The scene in this sequence, with the weapons cupboards, had everyone in the cinema chuckling.
Laughter was a surprising feature of the film, the same chuckling rippled through several scenes and broke up the violence. Some of that violence did also bring out the odd pained "ooh" as we recoiled from the screen in sympathetic pain for the character.
The complexities of the fight scenes are epic, but there was one moment in particular that stuck out as being scripted... yes, yes, I know it's all scripted! We see a very brief pause and the reaction's slow in a moment that was such a departure from everything around it that it was very noticeable to me. (On second viewing, while I still saw it, it wasn't as bad as I had seen it the first time.)
One other fight scene made me pause with a moment of being picky. John and Sofia are fighting every bad guy in Morocco. It was epic, it was fun... but everywhere I looked, "someone's going to fall off that and land on that". The set-up of the scenery was such a giveaway to upcoming action that it took some edge of the action.
The cast is filled to the brim with wonderful actors. Ian McShane, Laurence Fishburne, Lance Reddick and Anjelica Huston were brilliant. I was a little taken aback to see Jerome Flynn appear as Sofia's old boss, Berrada. I winced a little when I noticed that he was playing it with an accent, but I had to take it back because he was rather good with it. There was no one that I thought was "letting the side down", everyone brought their A-game.
There's only one character that did something that disappointed. Zero, played by Mark Dacascos, is a very disciplined man. He's a master with the knife, a master of death, and his action sequences are incredible. He also gets a very funny moment in The Continental before my moment of disappointment. They turn him into a fanboy, and while the contrast has the potential to be amusing it's actually better achieved with characters later in the film. Zero's change felt uncomfortable and out of place.
I shouldn't put all of that in one place, there's one other very short moment in the film that seems out of character/place, and that's at the very end of the film. It felt so odd that I would have ended it a scene earlier. I liked the reveal, but it would have left a bit more intrigue without it.
We can't talk about John Wick without talking about doggos, and these ones were exceptionally good. The two new additions are very talented and look like they get to have a lot of fun. But my heart belongs to Dog though. When he turns up in a taxi... đ˘
Can we all face up to some facts at this point, please? John Wick... super assassin... well, he isn't really is he? He's just really resilient when taking a beating, and very persistent when it comes to shooting things! He'd waste a lot less ammo if he didn't put a minimum of three bullets into every body.
Parabellum was action packed and showed us some very imaginative pieces, but it didn't feel quite as well rounded as either of the other two. I'm still looking forward to what's to come, the pure action is amazing I love to see what they think of next. On the horizon we've got a fourth film, which is listed as Ballerina, and a TV series called The Continental. From this installment I could see some potential routes for the film, but it's the series I'm excited about. I would absolutely love it if each episode was in a different Continental.
What you should do
This movie is an "anyone" kind of thing. Old, young, couples, friends, lone cinema nerds... we were all there. If you love mindless violence and action then you should go and watch this, and look out for the best line of the whole film, "I get it."
If you don't like seeing bad things happen to good books, perhaps don't watch the first ten minutes or so.
Movie thing you wish you could take home
Bong Mines Entertainment (15 KP) rated Beerbongs & Bentleys by Post Malone in Music
Jun 7, 2019
Post Malone is a rapper from Syracuse, New York. Not too long ago, he released his sophomore album, entitled, âbeerbongs & bentleysâ, featuring Swae Lee, 21 Savage, Ty Dolla Sign, Nicki Minaj, G-Eazy, and YG.
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. Heâs worked so hard to become rich and successful. Now, he canât trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, heâs willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what heâs doing is wrong. But thereâs no need for these women to get star-struck. In a way, heâs suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. Sheâs the reason why he doesnât want his female fans recording him in the clubs.
Apparently, Maloneâs girl leaves him for unknown reasons. Malone claims itâs because his career is skyrocketing. So, that mightâve complicated their relationship. But the real reason is anyoneâs guess.
After her departure, Malone feels lonely and depressed, even though heâs surrounded by fame and fortune.
Malone realizes that money canât buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesnât plan on sleeping anytime soon. As long as heâs partying, he doesnât feel alone. He even addresses the current state of urban music.
TAKINâ SHOTS
Malone continues his pleasure-seeking. This time, heâs at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesnât stop him from taking more shots. Also, heâs waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he isâa Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that heâs been a begging idiot. Now, he doesnât want her anymore. Itâs over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, âCan I have some to hold?â
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesnât believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that heâs still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballinâ jersey. Heâs busy on the road getting paid. So, he doesnât have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. Heâs been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesnât answer when he calls her name.
It seems Maloneâs girl did him dirty. She left him in the cold and now heâs burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and heâs starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didnât have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when heâs in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
âCandy Paintâ was originally recorded for âThe Fate of the Furious: The Albumâ soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
âbeerbongs & bentleysâ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Maloneâs struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. Heâs worked so hard to become rich and successful. Now, he canât trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, heâs willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what heâs doing is wrong. But thereâs no need for these women to get star-struck. In a way, heâs suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. Sheâs the reason why he doesnât want his female fans recording him in the clubs.
Apparently, Maloneâs girl leaves him for unknown reasons. Malone claims itâs because his career is skyrocketing. So, that mightâve complicated their relationship. But the real reason is anyoneâs guess.
After her departure, Malone feels lonely and depressed, even though heâs surrounded by fame and fortune.
Malone realizes that money canât buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesnât plan on sleeping anytime soon. As long as heâs partying, he doesnât feel alone. He even addresses the current state of urban music.
TAKINâ SHOTS
Malone continues his pleasure-seeking. This time, heâs at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesnât stop him from taking more shots. Also, heâs waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he isâa Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that heâs been a begging idiot. Now, he doesnât want her anymore. Itâs over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, âCan I have some to hold?â
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesnât believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that heâs still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballinâ jersey. Heâs busy on the road getting paid. So, he doesnât have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. Heâs been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesnât answer when he calls her name.
It seems Maloneâs girl did him dirty. She left him in the cold and now heâs burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and heâs starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didnât have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when heâs in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
âCandy Paintâ was originally recorded for âThe Fate of the Furious: The Albumâ soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
âbeerbongs & bentleysâ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Maloneâs struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Chris Sawin (602 KP) rated Watchmen (2009) in Movies
Jun 22, 2019
**I've seen Tales of the Black Freighter, but I'm not sure I've ever seen the Ultimate Cut of this.**
A comedian died in New York. Someone threw him out of a window and when he hit the sidewalk his head was driven into his stomach. The only person that seems to care is Rorschach, the one superhero who refuses to take off his mask. The Keene Act was passed in 1977 banning all forms of costumed crimefighting. Rorschach continues to do so as he feels his mask is his true face. His theory is that someone is out to kill costumed heroes and that it's his responsibility to inform his former colleagues. There's Dan Dreiberg/Nite Owl II whom Rorschach used to be partners with before Dan retired, Adrian Veidt/Ozymondias, one of two costumed heroes to make his identity public who's also a self-made millionaire and considered to be the smartest man in the world, Dr. Jon Osterman/Dr. Manhattan, the only one of the group who has genuine super powers thanks to an accident that nearly killed him who is now commissioned by the government, Laurie Jupiter/Silk Spectre II, her mother was in the Minutemen along with The Comedian and wanted her daughter to follow in her footsteps, and finally Edward Blake/The Comedian, another superhero commissioned by the government that knows more than he should while his knowledge takes its toll on him and whoever is around him at the time thanks to his reckless and sadistic behavior. What any of them fail to realize is that there's a conspiracy going on that's bigger than any of them could have ever imagined.
I had watched the motion comic in its entirety earlier in the week to get myself ready for this and it had really gotten me excited for this film. The first time I read Watchmen, I thought it was good but not great. However, I thoroughly enjoyed it the second time through. My biggest question going into the film is how I would feel about the altered ending since I already knew about that going into it. Turns out that the ending in question wasn't so bad, but I wasn't happy with some of the other things that were changed or left out to lead up to said ending.
The film is pretty much right on the money the majority of the time. Zack Snyder continues his trend of pulling panels directly from the source material and making them a cinematic reality. The dialogue is often times word for word from the graphic novel and doesn't feel forced or out of place when something new is used. The cast left nothing to be complained about as they all did a great job. Jackie Earle Haley was a fantastic Rorschach. He sounded just the way I expected Rorschach to sound and just looked like a splitting image of Walter Kovacs. Billy Crudup's emotionless Dr. Manhattan was also pretty much just as I envisioned. Jeffrey Dean Morgan as The Comedian was the one I seemed to be most pleased with. He did a great job making you care about this costumed superhero who did brutally sadistic things to people yet somehow still made you care about his character. Snyder's use of slow motion seems to be used more efficiently this time around. It felt like it was used only when needed rather than just to be eye candy. The effects used with Dr. Manhattan are worth a mention. Even if he's just standing there, you can tell how much time and effort was put into making him look spectacular. Let alone cost quite a bit of money. Rorschach's mask was also an interesting special effect that is sure to catch anyone's eye. The effects are pretty flawless and should please most moviegoers.
There was a lot of material left out of the film or changed that I wasn't particularly happy with. I don't want to seem too nitpicky, so I'll only touch base on a few of them. I view most of the stuff that was left out as character development that was important to the overall story. Most of the material in question concerns Rorschach; he visited Adrian Veidt to warn him of his mask killer theory not Dan, his response to The Keene Act, Walter Kovac's landlady, anything concerning his apartment, and his drop box, where he hides his mask during the day, everything about his psychiatrist's relationship bending and breaking during the course of the Rorschach case, how and where he got the mask, how he disposed of the man who kidnapped that little girl, and it just keeps going. Most of that was left out of the theatrical version of the film. Around the halfway point to the end of the film, I felt like it just strayed further and further away from the source material. In the novel, Dr. Manhattan is the only superhero with superpowers. The film kind of leaves that up in the air since other characters are seen punching stone off of walls and jumping to inhuman heights into the air. It was just kind of a, "Wait...what?" kind of moment for me. I realize it was probably just the wirework used that I'm questioning, but it didn't sit well with me.
I'm hoping the final cut of the film that's rumored to be three hours to three and a half hours long puts some of these important bits (including Hollis' death and The Black Freighter storyline among other things) back into the story. It wasn't that I didn't enjoy it, but it wound up just not meeting my expectations. My recommendation is don't read the graphic novel before viewing the film. The film is worthwhile for Zack Snyder enthusiasts, comic book fans, and pretty much anyone looking for a good action film. I would recommend it to just about anyone, but I think that ultimate version of the DVD is going to be what fans will really be excited over and for good reason. As a film, it's incredibly entertaining. In comparison to the graphic novel, it comes up a bit short. For now, I just see it as a good film that could have been a lot better.
A comedian died in New York. Someone threw him out of a window and when he hit the sidewalk his head was driven into his stomach. The only person that seems to care is Rorschach, the one superhero who refuses to take off his mask. The Keene Act was passed in 1977 banning all forms of costumed crimefighting. Rorschach continues to do so as he feels his mask is his true face. His theory is that someone is out to kill costumed heroes and that it's his responsibility to inform his former colleagues. There's Dan Dreiberg/Nite Owl II whom Rorschach used to be partners with before Dan retired, Adrian Veidt/Ozymondias, one of two costumed heroes to make his identity public who's also a self-made millionaire and considered to be the smartest man in the world, Dr. Jon Osterman/Dr. Manhattan, the only one of the group who has genuine super powers thanks to an accident that nearly killed him who is now commissioned by the government, Laurie Jupiter/Silk Spectre II, her mother was in the Minutemen along with The Comedian and wanted her daughter to follow in her footsteps, and finally Edward Blake/The Comedian, another superhero commissioned by the government that knows more than he should while his knowledge takes its toll on him and whoever is around him at the time thanks to his reckless and sadistic behavior. What any of them fail to realize is that there's a conspiracy going on that's bigger than any of them could have ever imagined.
I had watched the motion comic in its entirety earlier in the week to get myself ready for this and it had really gotten me excited for this film. The first time I read Watchmen, I thought it was good but not great. However, I thoroughly enjoyed it the second time through. My biggest question going into the film is how I would feel about the altered ending since I already knew about that going into it. Turns out that the ending in question wasn't so bad, but I wasn't happy with some of the other things that were changed or left out to lead up to said ending.
The film is pretty much right on the money the majority of the time. Zack Snyder continues his trend of pulling panels directly from the source material and making them a cinematic reality. The dialogue is often times word for word from the graphic novel and doesn't feel forced or out of place when something new is used. The cast left nothing to be complained about as they all did a great job. Jackie Earle Haley was a fantastic Rorschach. He sounded just the way I expected Rorschach to sound and just looked like a splitting image of Walter Kovacs. Billy Crudup's emotionless Dr. Manhattan was also pretty much just as I envisioned. Jeffrey Dean Morgan as The Comedian was the one I seemed to be most pleased with. He did a great job making you care about this costumed superhero who did brutally sadistic things to people yet somehow still made you care about his character. Snyder's use of slow motion seems to be used more efficiently this time around. It felt like it was used only when needed rather than just to be eye candy. The effects used with Dr. Manhattan are worth a mention. Even if he's just standing there, you can tell how much time and effort was put into making him look spectacular. Let alone cost quite a bit of money. Rorschach's mask was also an interesting special effect that is sure to catch anyone's eye. The effects are pretty flawless and should please most moviegoers.
There was a lot of material left out of the film or changed that I wasn't particularly happy with. I don't want to seem too nitpicky, so I'll only touch base on a few of them. I view most of the stuff that was left out as character development that was important to the overall story. Most of the material in question concerns Rorschach; he visited Adrian Veidt to warn him of his mask killer theory not Dan, his response to The Keene Act, Walter Kovac's landlady, anything concerning his apartment, and his drop box, where he hides his mask during the day, everything about his psychiatrist's relationship bending and breaking during the course of the Rorschach case, how and where he got the mask, how he disposed of the man who kidnapped that little girl, and it just keeps going. Most of that was left out of the theatrical version of the film. Around the halfway point to the end of the film, I felt like it just strayed further and further away from the source material. In the novel, Dr. Manhattan is the only superhero with superpowers. The film kind of leaves that up in the air since other characters are seen punching stone off of walls and jumping to inhuman heights into the air. It was just kind of a, "Wait...what?" kind of moment for me. I realize it was probably just the wirework used that I'm questioning, but it didn't sit well with me.
I'm hoping the final cut of the film that's rumored to be three hours to three and a half hours long puts some of these important bits (including Hollis' death and The Black Freighter storyline among other things) back into the story. It wasn't that I didn't enjoy it, but it wound up just not meeting my expectations. My recommendation is don't read the graphic novel before viewing the film. The film is worthwhile for Zack Snyder enthusiasts, comic book fans, and pretty much anyone looking for a good action film. I would recommend it to just about anyone, but I think that ultimate version of the DVD is going to be what fans will really be excited over and for good reason. As a film, it's incredibly entertaining. In comparison to the graphic novel, it comes up a bit short. For now, I just see it as a good film that could have been a lot better.
Bob Mann (459 KP) rated The Post (2017) in Movies
Sep 29, 2021
Landing the Hindenburg in a Thunderstorm.
What a combination: Streep, Hanks, Spielberg, Kaminski behind the camera, Williams behind the notes. What could possibly go wrong?
Nothing as it turns out. After, for me, the disappointment of âThe BFGâ here is Spielberg on firm ground and at the height of his game.
Itâs 1971 and the New York Times is in trouble for publishing what became known as âThe Pentagon Papersâ: a damning account of multiple administrationâs dodgy dealings around the Vietnam War, put together by Robert McNamara (Bruce Greenwood, âStar Trek: Into Darknessâ) and meant for âposterityâ â not for publication! Watching from the sidelines with frustration at their competitorâs scoop are the Washington Postâs editor Ben Bradlee (Tom Hanks, âBridge of Spiesâ, âInfernoâ) and the new owner Kay Graham (Meryl Streep, âFlorence Foster Jenkinsâ, âSuffragetteâ). With immaculate timing, Graham is taking the paper public, so needs the newspaper embroiled in any sort of scandal like a hole in the head. But with the US First Amendment under pressure, will Graham and Bradlee put their business and their freedom at risk by publishing and being damned?
Bradlee (Tom Hanks) and Graham (Meryl Streep) in the Washington Postâs newsroom.
Both of the leads play characters that are quite strikingly out of character from their normal roles.
In a seamingly endless run of âkick-assâ women in the movie driving seat, here I expected Streep to be in full âIron Ladyâ mode, but in fact she starts the film as quite the opposite: nervous, timid, vascillating. For although the story is about âThe Washington Postâ and âThe Pentagon Papersâ, the real story is about Graham herself (Liz Hannahâs script is actually based on Grahamâs autobiography). In many ways itâs about a woman, in a male world, overcoming her fear and finding her own voice. As has been demonstrated in many recent films (âHidden Figuresâ for example) the working world for woman has changed so markedly since the 60âs and 70âs that itâs almost impossible to relate to these chavenistic attitudes. Graham is repeatedly downtrodden as ânot good enoughâ by her underlings within earshot, and then thanks them âfor their franknessâ. When the women folk retire at dinner, to let the men-folk talk politics, Graham meekly goes with them. Even her father, for Godâs sake, left the newspaper not to her but to her (now late) husband! Itâs no surprise then that she is coming from a pretty low base of self-confidence, and her journey in the film â as expertly played by Streep â is an extraordinarily rousing one.
The real deal: Ben Bradlee and Kay Graham.
Hanks, normally the guy youâd most like to invite round for dinner (@tomhanks if you happen to be reading this sir, thatâs a genuine invitation⌠we make a mean lasagne here!) also plays somewhat outside of his normal character here. As Bradlee, he is snappy, brusque and businesslike. Although I donât think he could ever quite match the irascibility of the characterâs portrayal by Jason Robards in the classic âAll the Presidentâs Menâ â who could? â its a character with real screen presence.
The similarities with Alan J Pakulaâs 1976 classic Watergate movie â one of my personal favourites â donât stop there. The same sets that were once populated by Redford and Hoffman are gloriously reproduced with Spielberg and Janusz Kaminski delivering great tracking shots through the newsroom. (Watch out for Sacha Spielberg â daughter of Stephen and Kate Capshaw â who also turns up there delivering a package).
The scoop revealed: Odenkirk, Hanks and David Cross get the low-down.
The supporting cast includes Sarah Paulson (so memorable in âThe Trial of O.J. Simpsonâ) as Bradleeâs wife Tony, Bradley Whitford (âThe West Wingâ, âGet Outâ) and Tracy Letts (âThe Big Shortâ) as two of Grahamâs board advisors and Jesse Plemons (âThe Programâ, âBridge of Spiesâ) as the lead legal advisor. Particularly impressive though is Bob Odenkirk (âBreaking Badâ) as Ben Bagdikian, Bradleeâs lead investigative reporter on the case: all stress, loose change and paranoia in his dealings with the leaky Daniel Ellsberg (Matthew Rhys).
Bagdikian (Bob Odenkirk) ordering a drink for himself and his travelling companion.
In a memorable piece of casting Richard Nixon is played byâŚ. Richard Nixon. Although a silluohetted Curzon Dobell stalks the Oval office, the ex-presidentâs original phone recordings are played on the soundtrack. (There, I knew those recordings would be useful for something⌠thank heavens he kept them all!)
The film also demonstrates in fascinating style the newsprint business of yesteryear. When I click a button on my PC and a beautifully laser-printed page streams out of my Epson printer, it still seems like witchcraft to me! But it is extraordinary to think that newspapers in those days were put together by typesetters manually building up the pages from embossed metal letters laboriously slotted into a frame. Brilliantly evocative.
Ellsberg (Matthew Rhys) takes a risk.
If Spielberg has a fault, it is one of sentimentality â something that is pointed out in Susan Lacyâs superb HBO documentary on Spielberg (something I have yet to write a review on, but if you like Spielberg you should definitely seek out). Here he falls into that trap again, with an unnecessary bedroom scene between Graham and her daughter tipping the screenplay into mawkishness. Itâs unnecessary since we donât need the points raised rammed down our throats again. Itâs something repeated in a rather bizarre final scene with Graham walking down the steps of the supreme court with admiring woman â only woman â watching her. These irritations tarnish for me what could have been a top-rated film.
But the movie is an impressive watch and older viewers, and anyone interested in American political history will, I think, love it. The film, especially with its nice epilogue, did make me immediately want to come home and put âAll the Presidentâs Menâ on again⌠which is never a bad thing. Highly recommended.
Nothing as it turns out. After, for me, the disappointment of âThe BFGâ here is Spielberg on firm ground and at the height of his game.
Itâs 1971 and the New York Times is in trouble for publishing what became known as âThe Pentagon Papersâ: a damning account of multiple administrationâs dodgy dealings around the Vietnam War, put together by Robert McNamara (Bruce Greenwood, âStar Trek: Into Darknessâ) and meant for âposterityâ â not for publication! Watching from the sidelines with frustration at their competitorâs scoop are the Washington Postâs editor Ben Bradlee (Tom Hanks, âBridge of Spiesâ, âInfernoâ) and the new owner Kay Graham (Meryl Streep, âFlorence Foster Jenkinsâ, âSuffragetteâ). With immaculate timing, Graham is taking the paper public, so needs the newspaper embroiled in any sort of scandal like a hole in the head. But with the US First Amendment under pressure, will Graham and Bradlee put their business and their freedom at risk by publishing and being damned?
Bradlee (Tom Hanks) and Graham (Meryl Streep) in the Washington Postâs newsroom.
Both of the leads play characters that are quite strikingly out of character from their normal roles.
In a seamingly endless run of âkick-assâ women in the movie driving seat, here I expected Streep to be in full âIron Ladyâ mode, but in fact she starts the film as quite the opposite: nervous, timid, vascillating. For although the story is about âThe Washington Postâ and âThe Pentagon Papersâ, the real story is about Graham herself (Liz Hannahâs script is actually based on Grahamâs autobiography). In many ways itâs about a woman, in a male world, overcoming her fear and finding her own voice. As has been demonstrated in many recent films (âHidden Figuresâ for example) the working world for woman has changed so markedly since the 60âs and 70âs that itâs almost impossible to relate to these chavenistic attitudes. Graham is repeatedly downtrodden as ânot good enoughâ by her underlings within earshot, and then thanks them âfor their franknessâ. When the women folk retire at dinner, to let the men-folk talk politics, Graham meekly goes with them. Even her father, for Godâs sake, left the newspaper not to her but to her (now late) husband! Itâs no surprise then that she is coming from a pretty low base of self-confidence, and her journey in the film â as expertly played by Streep â is an extraordinarily rousing one.
The real deal: Ben Bradlee and Kay Graham.
Hanks, normally the guy youâd most like to invite round for dinner (@tomhanks if you happen to be reading this sir, thatâs a genuine invitation⌠we make a mean lasagne here!) also plays somewhat outside of his normal character here. As Bradlee, he is snappy, brusque and businesslike. Although I donât think he could ever quite match the irascibility of the characterâs portrayal by Jason Robards in the classic âAll the Presidentâs Menâ â who could? â its a character with real screen presence.
The similarities with Alan J Pakulaâs 1976 classic Watergate movie â one of my personal favourites â donât stop there. The same sets that were once populated by Redford and Hoffman are gloriously reproduced with Spielberg and Janusz Kaminski delivering great tracking shots through the newsroom. (Watch out for Sacha Spielberg â daughter of Stephen and Kate Capshaw â who also turns up there delivering a package).
The scoop revealed: Odenkirk, Hanks and David Cross get the low-down.
The supporting cast includes Sarah Paulson (so memorable in âThe Trial of O.J. Simpsonâ) as Bradleeâs wife Tony, Bradley Whitford (âThe West Wingâ, âGet Outâ) and Tracy Letts (âThe Big Shortâ) as two of Grahamâs board advisors and Jesse Plemons (âThe Programâ, âBridge of Spiesâ) as the lead legal advisor. Particularly impressive though is Bob Odenkirk (âBreaking Badâ) as Ben Bagdikian, Bradleeâs lead investigative reporter on the case: all stress, loose change and paranoia in his dealings with the leaky Daniel Ellsberg (Matthew Rhys).
Bagdikian (Bob Odenkirk) ordering a drink for himself and his travelling companion.
In a memorable piece of casting Richard Nixon is played byâŚ. Richard Nixon. Although a silluohetted Curzon Dobell stalks the Oval office, the ex-presidentâs original phone recordings are played on the soundtrack. (There, I knew those recordings would be useful for something⌠thank heavens he kept them all!)
The film also demonstrates in fascinating style the newsprint business of yesteryear. When I click a button on my PC and a beautifully laser-printed page streams out of my Epson printer, it still seems like witchcraft to me! But it is extraordinary to think that newspapers in those days were put together by typesetters manually building up the pages from embossed metal letters laboriously slotted into a frame. Brilliantly evocative.
Ellsberg (Matthew Rhys) takes a risk.
If Spielberg has a fault, it is one of sentimentality â something that is pointed out in Susan Lacyâs superb HBO documentary on Spielberg (something I have yet to write a review on, but if you like Spielberg you should definitely seek out). Here he falls into that trap again, with an unnecessary bedroom scene between Graham and her daughter tipping the screenplay into mawkishness. Itâs unnecessary since we donât need the points raised rammed down our throats again. Itâs something repeated in a rather bizarre final scene with Graham walking down the steps of the supreme court with admiring woman â only woman â watching her. These irritations tarnish for me what could have been a top-rated film.
But the movie is an impressive watch and older viewers, and anyone interested in American political history will, I think, love it. The film, especially with its nice epilogue, did make me immediately want to come home and put âAll the Presidentâs Menâ on again⌠which is never a bad thing. Highly recommended.
Phillip McSween (751 KP) rated The Godfather (1972) in Movies
Dec 3, 2018
Epic Indeed
What makes a film stand the test of time? How do you create a movie that will have the same impact today as it will fifty years from now? Thatâs almost how long itâs been since The Godfather was released. Can you believe that? It was a classic then and still remains to be so. It follows the story of the Corleone family, a prominent mob family in New York. Michael (Al Pacino), youngest son of Godfather Vito (Marlon Brando), is trying to stay away from the âfamily businessâ but finds himself thrust right in the middle after a mob war erupts.
Acting: 10You couldnât ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesnât need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where itâs stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. Itâs incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. Youâve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sisterâs abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but canât because of his Irish descent. As a result, it makes him work twice as hard.
These characters arenât just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times itâs loud and boisterous. Itâs always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, Iâm usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, âThank God the entire movie is not like this! I would have a heartattack.â Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. Itâs the passing of a torch, but the way is unfolds is just so damn cool! I donât want to ruin it for those that havenât seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I canât believe it took me this long to watch it. I have to say, it was well worth the wait.
Acting: 10You couldnât ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesnât need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where itâs stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. Itâs incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. Youâve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sisterâs abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but canât because of his Irish descent. As a result, it makes him work twice as hard.
These characters arenât just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times itâs loud and boisterous. Itâs always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, Iâm usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, âThank God the entire movie is not like this! I would have a heartattack.â Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. Itâs the passing of a torch, but the way is unfolds is just so damn cool! I donât want to ruin it for those that havenât seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I canât believe it took me this long to watch it. I have to say, it was well worth the wait.
Gareth von Kallenbach (965 KP) rated By The Sea (2015) in Movies
Aug 6, 2019
Today, we have yet another film that strays from âthe normâ. A film that not only stars one of the most beloved celebrity couples on the planet but also harkens back to the Italian dramatic films of the late 1960s/early 70s. It most definitely qualifies as an âart houseâ film.
Since the world saw Angelina Jolie and Brad Pitt together in âMr. & Mrs. Smithâ it has awaited the day when the couple would appear together again in another film. Although itâs not the sequel to THAT film many had hoped for, it is most definitely and intriguing look at how the couple appear together in a movie in a completely genre with the creative control Angelina had.
âBy the Seaâ stars Angelina Jolie Pitt, Brad Pitt, MĂŠlanie Laurent, Melvil Poupaud, Niels Arestrup, and Richard Bohringer. The film was also written, directed, and co-produced by Angelina with Brad Pitt serving as co-producer.
The film opens in the south of France in the mid-1970s. Roland (Brad Pitt), a writer from New York City and his wife Vannessa (Angelina Jolie Pitt), a former dancer, have traveled to a seaside town to quote,âGet away from it allâ. Their marriage is strained and there is a distance between the two that is sometimes obvious to those around them and hidden at other times. The trip is clearly an effort by them to reconnect with one another but they spend much of their time apart once they get settled. Rolland is attempting to write another book but he cannot find anything as inspiration and Vanessa is using drugs and alcohol to numb the pain of a recent trauma. When theyâre not spending their time alone they associate with some of the towns more colorful characters including the local barkeeper/cafe owner, the hotel manager, and a newlywed couple who are spending their honeymoon not only in the same town but in the room next door. One night, just when it seems like the strain of their marriage will finally snap a bizarre occurrence in their hotel room leads to a reconnection despite its volatile nature.
First off, I have not seen all the films that Angelina and Brad have appeared in but I must say I the both of them were almost completely unrecognizable in the way they portray the characters. Second, I believe this is Angelinaâs second run as director and if this film and her previous film âUnbrokenâ are any Indiction I believe weâll see her directing movies in the future more than acting.
This film was a true homage the the Italian dramatic films of the 1970s I mentioned earlier.
The only way I believe they couldâve âreplicatedâ that so precisely would be to have filmed the movie with the cameras and equipment available to film makers during that period. Christian Berger the filmâs cinematographer used mostly natural light throughout the filming process which was also one of the most impressive qualities of the movie which is not done nearly enough with modern film in my opinion.
Not everyone is going to like this film. Itâs quite unique when put side by side with âmodern day American moviesâ. Even if you are a die hard fan of either Angelina and or Bradâs work that alone might not save the film in your eyes. Some critics are calling this film a âvanity projectâ on the part of Jolie and Pitt. I find that to be ridiculous. No sane person wouldâve made that accusation against Humphrey Bogart and Lauren Bacall. Everyoneâs been screaming for Angelina and Brad to make another film together. Big deal if they want to have creative control over it too. Theyâre both accomplished actors and decided to put together a film themselves and and get other accomplished cast and crew members to sign on for the project. Honestly what the hell more do the critics want? If you are a fan of foreign movies or curious about the second acting collaboration between the husband and wife power couple though you should see it. Iâd actually recommend checking out one or two films from the genre/era it represents before going to see this one.
The film is rated R and clocks in at 132 minutes. Iâd recommend catching it at a small indie or art house theater and make sure you grab some snacks and a drink for this one. It opens in all the major theaters Friday the 18th of November but you can catch in those smaller theaters now.
Itâs not my normal âcup of coffeeâ but I will give the film 4 stars.
Since the world saw Angelina Jolie and Brad Pitt together in âMr. & Mrs. Smithâ it has awaited the day when the couple would appear together again in another film. Although itâs not the sequel to THAT film many had hoped for, it is most definitely and intriguing look at how the couple appear together in a movie in a completely genre with the creative control Angelina had.
âBy the Seaâ stars Angelina Jolie Pitt, Brad Pitt, MĂŠlanie Laurent, Melvil Poupaud, Niels Arestrup, and Richard Bohringer. The film was also written, directed, and co-produced by Angelina with Brad Pitt serving as co-producer.
The film opens in the south of France in the mid-1970s. Roland (Brad Pitt), a writer from New York City and his wife Vannessa (Angelina Jolie Pitt), a former dancer, have traveled to a seaside town to quote,âGet away from it allâ. Their marriage is strained and there is a distance between the two that is sometimes obvious to those around them and hidden at other times. The trip is clearly an effort by them to reconnect with one another but they spend much of their time apart once they get settled. Rolland is attempting to write another book but he cannot find anything as inspiration and Vanessa is using drugs and alcohol to numb the pain of a recent trauma. When theyâre not spending their time alone they associate with some of the towns more colorful characters including the local barkeeper/cafe owner, the hotel manager, and a newlywed couple who are spending their honeymoon not only in the same town but in the room next door. One night, just when it seems like the strain of their marriage will finally snap a bizarre occurrence in their hotel room leads to a reconnection despite its volatile nature.
First off, I have not seen all the films that Angelina and Brad have appeared in but I must say I the both of them were almost completely unrecognizable in the way they portray the characters. Second, I believe this is Angelinaâs second run as director and if this film and her previous film âUnbrokenâ are any Indiction I believe weâll see her directing movies in the future more than acting.
This film was a true homage the the Italian dramatic films of the 1970s I mentioned earlier.
The only way I believe they couldâve âreplicatedâ that so precisely would be to have filmed the movie with the cameras and equipment available to film makers during that period. Christian Berger the filmâs cinematographer used mostly natural light throughout the filming process which was also one of the most impressive qualities of the movie which is not done nearly enough with modern film in my opinion.
Not everyone is going to like this film. Itâs quite unique when put side by side with âmodern day American moviesâ. Even if you are a die hard fan of either Angelina and or Bradâs work that alone might not save the film in your eyes. Some critics are calling this film a âvanity projectâ on the part of Jolie and Pitt. I find that to be ridiculous. No sane person wouldâve made that accusation against Humphrey Bogart and Lauren Bacall. Everyoneâs been screaming for Angelina and Brad to make another film together. Big deal if they want to have creative control over it too. Theyâre both accomplished actors and decided to put together a film themselves and and get other accomplished cast and crew members to sign on for the project. Honestly what the hell more do the critics want? If you are a fan of foreign movies or curious about the second acting collaboration between the husband and wife power couple though you should see it. Iâd actually recommend checking out one or two films from the genre/era it represents before going to see this one.
The film is rated R and clocks in at 132 minutes. Iâd recommend catching it at a small indie or art house theater and make sure you grab some snacks and a drink for this one. It opens in all the major theaters Friday the 18th of November but you can catch in those smaller theaters now.
Itâs not my normal âcup of coffeeâ but I will give the film 4 stars.
Gareth von Kallenbach (965 KP) rated Elle (2016) in Movies
Jul 12, 2019
The end of 2016 is just a few short weeks away. That being said, studios and filmmakers across the world are rolling out the few remaining big budget blockbusters and potential breakout independent masterpieces before yearâs end. Among them is todayâs film for your consideration. A film that has already received international acclaim when it premiered in competition for the Palme dâOr at the 2016 Cannes Film Festival as well as several awards including the Gotham Independent Film Award For Best Actress, the Los Angeles Film Critics Association Award for Best Actress, a New York Film Critics Association Award for Best Actress, and a Golden Globe Award Nomination for Best Actress for the filmâs star, celebrated French film and stage actress Isabelle Huppert. The film would later go on to be selected as the French entry for Best Foreign Language Film at the 89th Academy Awards.
âElleâ ( meaning âherâ or âsheâ in French) is an internationally co-produced psychological thriller directed by Paul Verhoeven. Yes, THAT Paul Verhoeven of âRoboCopâ , âBasic Instinctâ, âStarship Troopersâ, âShowgirlsâ, and âTotal Recallâ fame. Hold on a second. Before you take his track record of recent works into account just hear me out. The film is based on the 2012 novel âOh âŚ. â by French/Armenian author Philippe Djian which won the prix Interallie literary award for a novel written by journalist. âElleâ is Verhoevenâs first French language film and his first film since 2006âs âBlack Bookâ.
The film stars Isabelle Huppert as business woman Michele Leblanc. Mother, divorce, and head of a video game company who is viciously attacked and raped in her home late one night by an unknown assailant wearing a ski mask. Rather than report this to the police, she quickly âcleans up the messâ and carries on with life as usual. The film also features several subplots that intricately weave into the filmâs main storyline. Michele has a son Vincent (Jonas Bloquet) who is engaged to his unfaithful and domineering girlfriend Josie (Alice Isaac). Their relationship is strained due to Vincentâs lack of direction and his refusal to break off the relationship with Josie who is pregnant by the man she cheated on Vincent with. Micheleâs relationship with her mother is also strained due to her motherâs narcissism and preference for younger men. A point of increasing animosity between Michelle and her mother is the fact that Michelle refuses her motherâs request to visit Michelleâs father, a convicted cereal killer, in prison. Meanwhile, Michele is carrying on an affair with Robert (Christian Berkele). The husband of her business partner and best friend Anna (Anne Consigny) while at the same time developing a fixation with Patrick (Laurent Lafitte). A banker and husband of Micheleâs religiously devout neighbor Rebecca (Virginie Efira). All this, combined with the turmoil going on within Micheleâs company make her reluctant to involve the police in anyway.
Soon Michele grows suspicious of all the men in her life and begins to âstalk in reverseâ those in particular might have the strongest motivation to do her harm. At first she suspects Kurt (Lucas Prisor). A particularly resentful employee of her company and even her ex-husband Richard (Charles Berling) who Michele inadvertently pepper-sprays while he was hiding outside her home checking on her safety. Despite pleas from Richard, her friends, and fearing another media frenzy similar to the one that occurred during her childhood when her father was arrested Michele continues with life as usual on the surface. In secret though, Michele is arming herself and using her companyâs resources in an attempt to find her attacker and exact her own vision of retribution in this twisted cat and mouse game.
This film is by far one of the best thrillers Iâve seen in the last few years. In my opinion, we here in America donât partake in enough of the films our neighbors in other countries have to offer. This film doesnât âplay it safeâ. The story plays out in a realistic and believable manner. This is another one of those rare stories where there are really no âhappy endingsâ in the situation such as depicted in the film. Itâs harsh, itâs in your face, itâs plausible, the innocent unfortunately suffer along with the guilty. Punishing the guilty is never enough and sometimes harms the victim(s) even more over the course of time. The film is rated R for depictions of physical and sexual violence and clocks in just past 2 hours. If youâre searching for a well written, well directed, and even better acted film. This psychological thriller is definitely for you. I expect this film will continue to garner more acclaim and even more awards. Iâm giving this one 4 out of 5 stars.
âElleâ ( meaning âherâ or âsheâ in French) is an internationally co-produced psychological thriller directed by Paul Verhoeven. Yes, THAT Paul Verhoeven of âRoboCopâ , âBasic Instinctâ, âStarship Troopersâ, âShowgirlsâ, and âTotal Recallâ fame. Hold on a second. Before you take his track record of recent works into account just hear me out. The film is based on the 2012 novel âOh âŚ. â by French/Armenian author Philippe Djian which won the prix Interallie literary award for a novel written by journalist. âElleâ is Verhoevenâs first French language film and his first film since 2006âs âBlack Bookâ.
The film stars Isabelle Huppert as business woman Michele Leblanc. Mother, divorce, and head of a video game company who is viciously attacked and raped in her home late one night by an unknown assailant wearing a ski mask. Rather than report this to the police, she quickly âcleans up the messâ and carries on with life as usual. The film also features several subplots that intricately weave into the filmâs main storyline. Michele has a son Vincent (Jonas Bloquet) who is engaged to his unfaithful and domineering girlfriend Josie (Alice Isaac). Their relationship is strained due to Vincentâs lack of direction and his refusal to break off the relationship with Josie who is pregnant by the man she cheated on Vincent with. Micheleâs relationship with her mother is also strained due to her motherâs narcissism and preference for younger men. A point of increasing animosity between Michelle and her mother is the fact that Michelle refuses her motherâs request to visit Michelleâs father, a convicted cereal killer, in prison. Meanwhile, Michele is carrying on an affair with Robert (Christian Berkele). The husband of her business partner and best friend Anna (Anne Consigny) while at the same time developing a fixation with Patrick (Laurent Lafitte). A banker and husband of Micheleâs religiously devout neighbor Rebecca (Virginie Efira). All this, combined with the turmoil going on within Micheleâs company make her reluctant to involve the police in anyway.
Soon Michele grows suspicious of all the men in her life and begins to âstalk in reverseâ those in particular might have the strongest motivation to do her harm. At first she suspects Kurt (Lucas Prisor). A particularly resentful employee of her company and even her ex-husband Richard (Charles Berling) who Michele inadvertently pepper-sprays while he was hiding outside her home checking on her safety. Despite pleas from Richard, her friends, and fearing another media frenzy similar to the one that occurred during her childhood when her father was arrested Michele continues with life as usual on the surface. In secret though, Michele is arming herself and using her companyâs resources in an attempt to find her attacker and exact her own vision of retribution in this twisted cat and mouse game.
This film is by far one of the best thrillers Iâve seen in the last few years. In my opinion, we here in America donât partake in enough of the films our neighbors in other countries have to offer. This film doesnât âplay it safeâ. The story plays out in a realistic and believable manner. This is another one of those rare stories where there are really no âhappy endingsâ in the situation such as depicted in the film. Itâs harsh, itâs in your face, itâs plausible, the innocent unfortunately suffer along with the guilty. Punishing the guilty is never enough and sometimes harms the victim(s) even more over the course of time. The film is rated R for depictions of physical and sexual violence and clocks in just past 2 hours. If youâre searching for a well written, well directed, and even better acted film. This psychological thriller is definitely for you. I expect this film will continue to garner more acclaim and even more awards. Iâm giving this one 4 out of 5 stars.
Kara Skinner (332 KP) rated Fallen Angel in Books
Sep 10, 2019
Genre: Contemporary Adult
Average Goodreads Rating: 4.27
My Rating: 2.5
âWhat do you see when you look into my eyes?â I asked breathlessly and not entirely sure where the question had come from.
âAll there is to know,â was his reply. âWhat do you see when you look into my eyes, Brooke?â he whispered, there was a slight anger to his voice.
I trembled. âAn abyss and danger,â was all I could say.
I found Fallen Angel when I was looking for angel/mortal romance novels. Even though Fallen Angel was listed as a mafia romance and not not the supernatural romance I was looking for, I picked it up anyway. And at first it was great.
It immediately started out with a strong love story. Brooke is in the midst of an existential crisis after breaking up with her long-time boyfriend. When she visits her best friend Sam in New York, she ends up meeting billionaire Robert Stone, a handsome CEO who doesnât know how to take no for an answer. To the point of being a jerk about it. But at least heâs self aware about that.
âIâm worried that I might hurt you. I have a knack of doing that when people get too close to me, a defense mechanism, I guess.â
No one pretends Robert is a great boyfriend, which I love. There are too many alpha billionaires out there that are disturbingly abusive while everyone pretends itâs a normal relationship. Not here. Robertâs actually one of the first to admit that heâs not a good boyfriend and heâs never had a real relationship. Which is great. I love flawed heroes. And when Robert does get better at communicating his feelings, itâs worth it.
âI love you, Brooke. Youâll never know just how much because there are no words.â
And Brooke is strong enough to handle him. She stands up to Robert when he disses Sam for being gay (which, by the way, I hated a lot. You can be a flawed badass without being a homophobe. Ugh. Major turn-off for me) and when he makes a big deal about her wearing a revealing dress.
âI wore it for you and not for anyone else. If people can see my body, so what? Youâre the only one touching it,â I told him.
Brookeâs even a trained kick boxer. Sheâs incredibly strong and perfect to help Robert get over his past.
Then the story falls flat.
tired-and-bored-boy-sleep-014
After their second fight and make up, the story gets monotonous real fast. A lot of sex scenesâ which, to be fair, were actually hot and well-writtenâ and a lot of the mundane stuff. Brooke hanging out with Sam and Scott, Brooke working, Brooke attending one event or another with Robert. The story just dragged. And with the actual story dragging, the amount of comma splices and run-on sentences became more noticeable to me and book was practically unreadable. I had to make myself finish because I had already invested so much time into it.
Itâs not like there wasnât potential for more plot. Thereâs a jealous ex girlfriend out to steal Robert back and Brookeâs ex boyfriend canât accept their break up. Brooke takes a troubled teen under her wing and isnât this supposed to be a mafia romance?
And yet the majority of the middle of the book is sex, clothes, work days, and how great Brooke is for Robert. On top of that, Brooke loses a lot of the strength and independence I saw earlier in the book. In fact, she turned into a love sick teen.
Our souls, so entwined, were part of each other, true soul mates. Not even death would separate us.
marrypoppinsareyouill
To make matters worse, Robertâs criminal background isnât revealed until three quarters of the way through the story! And since he got out of illegal activities years before he met Brooke, itâs really anticlimactic. Brooke makes a huge deal out of it and almost leaves him because of his past, which makes me dislike her even more. The criminal element actually seems more like an after thought to this so-called mafia romance. Iâm really surprised it has such a high rating on Goodreads because I found it pretty disappointing. My rating is 2.5 stars because of the strong beginning, but I definitely wonât be reading any more of the Fallen Angel series.
Average Goodreads Rating: 4.27
My Rating: 2.5
âWhat do you see when you look into my eyes?â I asked breathlessly and not entirely sure where the question had come from.
âAll there is to know,â was his reply. âWhat do you see when you look into my eyes, Brooke?â he whispered, there was a slight anger to his voice.
I trembled. âAn abyss and danger,â was all I could say.
I found Fallen Angel when I was looking for angel/mortal romance novels. Even though Fallen Angel was listed as a mafia romance and not not the supernatural romance I was looking for, I picked it up anyway. And at first it was great.
It immediately started out with a strong love story. Brooke is in the midst of an existential crisis after breaking up with her long-time boyfriend. When she visits her best friend Sam in New York, she ends up meeting billionaire Robert Stone, a handsome CEO who doesnât know how to take no for an answer. To the point of being a jerk about it. But at least heâs self aware about that.
âIâm worried that I might hurt you. I have a knack of doing that when people get too close to me, a defense mechanism, I guess.â
No one pretends Robert is a great boyfriend, which I love. There are too many alpha billionaires out there that are disturbingly abusive while everyone pretends itâs a normal relationship. Not here. Robertâs actually one of the first to admit that heâs not a good boyfriend and heâs never had a real relationship. Which is great. I love flawed heroes. And when Robert does get better at communicating his feelings, itâs worth it.
âI love you, Brooke. Youâll never know just how much because there are no words.â
And Brooke is strong enough to handle him. She stands up to Robert when he disses Sam for being gay (which, by the way, I hated a lot. You can be a flawed badass without being a homophobe. Ugh. Major turn-off for me) and when he makes a big deal about her wearing a revealing dress.
âI wore it for you and not for anyone else. If people can see my body, so what? Youâre the only one touching it,â I told him.
Brookeâs even a trained kick boxer. Sheâs incredibly strong and perfect to help Robert get over his past.
Then the story falls flat.
tired-and-bored-boy-sleep-014
After their second fight and make up, the story gets monotonous real fast. A lot of sex scenesâ which, to be fair, were actually hot and well-writtenâ and a lot of the mundane stuff. Brooke hanging out with Sam and Scott, Brooke working, Brooke attending one event or another with Robert. The story just dragged. And with the actual story dragging, the amount of comma splices and run-on sentences became more noticeable to me and book was practically unreadable. I had to make myself finish because I had already invested so much time into it.
Itâs not like there wasnât potential for more plot. Thereâs a jealous ex girlfriend out to steal Robert back and Brookeâs ex boyfriend canât accept their break up. Brooke takes a troubled teen under her wing and isnât this supposed to be a mafia romance?
And yet the majority of the middle of the book is sex, clothes, work days, and how great Brooke is for Robert. On top of that, Brooke loses a lot of the strength and independence I saw earlier in the book. In fact, she turned into a love sick teen.
Our souls, so entwined, were part of each other, true soul mates. Not even death would separate us.
marrypoppinsareyouill
To make matters worse, Robertâs criminal background isnât revealed until three quarters of the way through the story! And since he got out of illegal activities years before he met Brooke, itâs really anticlimactic. Brooke makes a huge deal out of it and almost leaves him because of his past, which makes me dislike her even more. The criminal element actually seems more like an after thought to this so-called mafia romance. Iâm really surprised it has such a high rating on Goodreads because I found it pretty disappointing. My rating is 2.5 stars because of the strong beginning, but I definitely wonât be reading any more of the Fallen Angel series.
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
Youâll never guess who dunnitâŚ
Thereâs a big problem with Kenneth Branaghâs 2017 filming of the Hercule Poirot-based murder mysteryâŚ. and thatâs the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable â at least, the âwhoâ of the âwhodunnitâ (no spoilers here) was so memorable â that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in âThe Gangs of New Yorkâ. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40âs. Cinematography was by Haris Zambarloukos (âMamma Miaâ and who also collaborated with Branagh on âThor) with lots of innovative âceiling downâ shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branaghâs âThorâ). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the filmâs early stages look and feel truly epic.
And the cast⌠what a cast! Dame Judi Dench (âVictoria and Abdulâ); Olivia Coleman (âThe Lobsterâ); Johnny Depp (âBlack Massâ); Daisy Ridley (âStar Wars: The Force Awakensâ); PenĂŠlope Cruz (âZoolander 2â); Josh Gad (Olaf!); Derek Jacobi (âI, Claudiusâ); Willem Dafoe (âThe Great Wallâ) and Michelle Pfeiffer (âmother!â). A real case again of an âoh, itâs youâ film again at the cinema â whenâs the last time we saw that?
Itâs also great to see young Lucy Boynton, so magnificent in last yearâs excellent âSing Streetâ, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The filmâs opening momentum is really not maintained by the screenplay by Michael Green (âBlade Runner 2049â; âLoganâ). At heart, itâs a fairly static and âstageyâ piece at best, set as it is on the rather claustrophobic train (just three carriages⌠on the Orient Express⌠really?). But the tale is made even more static by the trainâs derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasnât always looking on to yell âCutâ!
All this leads to the ârevelationâ of the murderer as being a bit of an anticlimactic âthank heavens for thatâ rather than the gasping denouement it should have been. (Perhaps this would be different if you didnât know the twist).
However, these reservations aside, itâs an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I canât be too grumpy about it, given itâs a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some âtuning inâ to. There was a suggestion at the end of the film that we might be seeing his return in âDeath on the Nileâ â the most lush and decorous of Peter Ustinovâs outings â which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in âThe Gangs of New Yorkâ. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40âs. Cinematography was by Haris Zambarloukos (âMamma Miaâ and who also collaborated with Branagh on âThor) with lots of innovative âceiling downâ shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branaghâs âThorâ). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the filmâs early stages look and feel truly epic.
And the cast⌠what a cast! Dame Judi Dench (âVictoria and Abdulâ); Olivia Coleman (âThe Lobsterâ); Johnny Depp (âBlack Massâ); Daisy Ridley (âStar Wars: The Force Awakensâ); PenĂŠlope Cruz (âZoolander 2â); Josh Gad (Olaf!); Derek Jacobi (âI, Claudiusâ); Willem Dafoe (âThe Great Wallâ) and Michelle Pfeiffer (âmother!â). A real case again of an âoh, itâs youâ film again at the cinema â whenâs the last time we saw that?
Itâs also great to see young Lucy Boynton, so magnificent in last yearâs excellent âSing Streetâ, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The filmâs opening momentum is really not maintained by the screenplay by Michael Green (âBlade Runner 2049â; âLoganâ). At heart, itâs a fairly static and âstageyâ piece at best, set as it is on the rather claustrophobic train (just three carriages⌠on the Orient Express⌠really?). But the tale is made even more static by the trainâs derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasnât always looking on to yell âCutâ!
All this leads to the ârevelationâ of the murderer as being a bit of an anticlimactic âthank heavens for thatâ rather than the gasping denouement it should have been. (Perhaps this would be different if you didnât know the twist).
However, these reservations aside, itâs an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I canât be too grumpy about it, given itâs a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some âtuning inâ to. There was a suggestion at the end of the film that we might be seeing his return in âDeath on the Nileâ â the most lush and decorous of Peter Ustinovâs outings â which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
Lottie disney bookworm (1056 KP) rated Stepsister in Books
Aug 16, 2019
Review by Disney Bookworm
I took a break from the Disney Twisted Tales collection to check out a new novel by the New York Times best-selling author Jennifer Donnelly and wow am I glad I did!
Judging purely by the title of the book: the cynical side of me expected this to be a retelling of the traditional fairy tale from the viewpoint of the âugly stepsistersâ. Perhaps with a remorseful twist and a concluding reconciliation. I could not have been more wrong.
This is possibly the first time I should have judged a book by its cover: the iconic glass slipper casting fragmented shards across the jacket should have certainly forewarned me that this will not be just another Cinderella story.
Unlike the twisted tales and the villain series, Step Sister is, as far as I know, not connected to the Disney enterprise at all. This makes it an edgier read by far but also allows the novel to lean as far away from the traditional fairy tale as it dares: smashing just a couple of stereotypes along the way.
Oh, and just a quick point: the novel opens on Isabelle and Octavia disfiguring their own feet, at the command of their mother, with the aim to fit into the glass slipper and marry the Prince. See what I mean- edgy right?
Stepsister is told from the viewpoint of Isabelle: a headstrong girl with an ambitious mother, an intelligent sister Octavia and a kind, sweet sister, Ella. Isabelle is a disappointment to her mother: a plain girl who prefers riding and fencing to corsets and suitors. A number of flashbacks to the girlsâ childhood also suggests that Isabelle, Octavia and Ella were once very close, leading the reader to wonder how the relationship became the poisonous one we are so familiar with.
Unsurprisingly, their Mamanâs plan to mutilate her way to the palace does not succeed and Ella takes her rightful place by the Princeâs side, claiming her âhappily ever afterâ. But what is to become of the family she leaves behind? Maimed and outcast, Isabelle and Octavia struggle to carry on once their actions are brought to light and they are promptly labelled the âugly stepsistersâ by all around them.
Desolate and lost, Isabelle mistakenly believes that her life would improve if she were more attractive and makes a wish to the fairy queen Tanaquill, who promises to grant her desire when Isabelle finds the three missing parts of her heart.
Thus, begins Isabelleâs mission to reclaim her heart and turn her life around. The stepsisterâs road of discovery is a bumpy one however, and is not made any easier by an old crone named Fate and a young man named Chance, both of whom seem to have an unhealthy obsession with her progress and a strange, almost friendly rivalry over the possession of Isabelleâs life map.
Jennifer Donnelly introduces us to a number of characters throughout Isabelleâs journey, all of whom are exquisite: Chance is an eccentric debonair with an entourage that may have just stepped out of The Greatest Showman; Octavia is every nerdy, sarcastic girlâs dream and even Fate is strangely likeable. It is truly impressive how Donnelly can make us feel like we know these people within the space of 470 pages.
I was also impressed with how different Jennifer Donnellyâs characters are from everything I have read before. Even Tanaquill is not the fairy godmother we all know and love. She isnât even the slightly bonkers Helena Bonham-Carter version! There isnât a bibbidi bobbidi boo in sight for this talon-fingered shapeshifter and she certainly does not grant wishes easily.
As a result, the reader does not quite trust the fairy queen: there is always an aspect of her that seems evil. Alas, this is another stroke of genius by Donnelly: the fairy queen doesnât look like Tinkerbell or the Blue Fairy and so we donât trust her- even when she is helping Isabelle and why is that? Because of her appearance? Well that makes us just as bad as those who persecute Isabelle!
Ella features very little in the novel. This is not wholly unexpected: it is not her story after all. She is frequently referred to and heavily present in Isabelleâs evolution but, out of all the characters, we know Ella the least. This is not to say that Donnelly presents Ella as a 2D character in order to prevent us from preferring her to our feistier protagonist: in fact, Ella slowly reveals a darker side to her own tale. Simply put, she does not have the depth and human rawness that Isabelle has. Isabelle appeals to the insecure teenager in us all: never believing that she is good enough, focusing on her flaws and judging herself based on the opinions of others.
When Isabelle finally finds the pieces of her heart and has to literally fight to achieve her happy ending, she automatically looks to one of the male characters to lead. After all, it has always been instilled into her that she is âjust a girlâ. However, Chance and his entourage have educated Isabelle as to the potential of her sex and it is through this inspiration that Isabelle and the reader realise that the answer has been there all along: the answer is Isabelle. All the childhood flashbacks of riding and fighting have been breadcrumbs for the reader: Isabelle is a warrior- her life is not mapped out by Fate or Chance anymore; she can decide her own path.
Step Sister holds up a gigantic mirror to the way we judge beauty and shows us what it really means to be a girl. Jennifer Donnelly proves that being strong, brave and, most importantly, true to yourself is what makes you beautiful. In fact, it is not until Isabelle accepts herself that she is described as beautiful and, by standing up for what she believes in, everyone achieves their own happy endings. As a mum of two young boys I really appreciated how Octaviaâs love of science and math and Felixâs creativity and love of art directly contrasted with Mamanâs old-fashioned desire to âmarry offâ her daughters. This story is no fairy tale: it is real, it is edgy and it is telling all generations that life is what you make it.
Judging purely by the title of the book: the cynical side of me expected this to be a retelling of the traditional fairy tale from the viewpoint of the âugly stepsistersâ. Perhaps with a remorseful twist and a concluding reconciliation. I could not have been more wrong.
This is possibly the first time I should have judged a book by its cover: the iconic glass slipper casting fragmented shards across the jacket should have certainly forewarned me that this will not be just another Cinderella story.
Unlike the twisted tales and the villain series, Step Sister is, as far as I know, not connected to the Disney enterprise at all. This makes it an edgier read by far but also allows the novel to lean as far away from the traditional fairy tale as it dares: smashing just a couple of stereotypes along the way.
Oh, and just a quick point: the novel opens on Isabelle and Octavia disfiguring their own feet, at the command of their mother, with the aim to fit into the glass slipper and marry the Prince. See what I mean- edgy right?
Stepsister is told from the viewpoint of Isabelle: a headstrong girl with an ambitious mother, an intelligent sister Octavia and a kind, sweet sister, Ella. Isabelle is a disappointment to her mother: a plain girl who prefers riding and fencing to corsets and suitors. A number of flashbacks to the girlsâ childhood also suggests that Isabelle, Octavia and Ella were once very close, leading the reader to wonder how the relationship became the poisonous one we are so familiar with.
Unsurprisingly, their Mamanâs plan to mutilate her way to the palace does not succeed and Ella takes her rightful place by the Princeâs side, claiming her âhappily ever afterâ. But what is to become of the family she leaves behind? Maimed and outcast, Isabelle and Octavia struggle to carry on once their actions are brought to light and they are promptly labelled the âugly stepsistersâ by all around them.
Desolate and lost, Isabelle mistakenly believes that her life would improve if she were more attractive and makes a wish to the fairy queen Tanaquill, who promises to grant her desire when Isabelle finds the three missing parts of her heart.
Thus, begins Isabelleâs mission to reclaim her heart and turn her life around. The stepsisterâs road of discovery is a bumpy one however, and is not made any easier by an old crone named Fate and a young man named Chance, both of whom seem to have an unhealthy obsession with her progress and a strange, almost friendly rivalry over the possession of Isabelleâs life map.
Jennifer Donnelly introduces us to a number of characters throughout Isabelleâs journey, all of whom are exquisite: Chance is an eccentric debonair with an entourage that may have just stepped out of The Greatest Showman; Octavia is every nerdy, sarcastic girlâs dream and even Fate is strangely likeable. It is truly impressive how Donnelly can make us feel like we know these people within the space of 470 pages.
I was also impressed with how different Jennifer Donnellyâs characters are from everything I have read before. Even Tanaquill is not the fairy godmother we all know and love. She isnât even the slightly bonkers Helena Bonham-Carter version! There isnât a bibbidi bobbidi boo in sight for this talon-fingered shapeshifter and she certainly does not grant wishes easily.
As a result, the reader does not quite trust the fairy queen: there is always an aspect of her that seems evil. Alas, this is another stroke of genius by Donnelly: the fairy queen doesnât look like Tinkerbell or the Blue Fairy and so we donât trust her- even when she is helping Isabelle and why is that? Because of her appearance? Well that makes us just as bad as those who persecute Isabelle!
Ella features very little in the novel. This is not wholly unexpected: it is not her story after all. She is frequently referred to and heavily present in Isabelleâs evolution but, out of all the characters, we know Ella the least. This is not to say that Donnelly presents Ella as a 2D character in order to prevent us from preferring her to our feistier protagonist: in fact, Ella slowly reveals a darker side to her own tale. Simply put, she does not have the depth and human rawness that Isabelle has. Isabelle appeals to the insecure teenager in us all: never believing that she is good enough, focusing on her flaws and judging herself based on the opinions of others.
When Isabelle finally finds the pieces of her heart and has to literally fight to achieve her happy ending, she automatically looks to one of the male characters to lead. After all, it has always been instilled into her that she is âjust a girlâ. However, Chance and his entourage have educated Isabelle as to the potential of her sex and it is through this inspiration that Isabelle and the reader realise that the answer has been there all along: the answer is Isabelle. All the childhood flashbacks of riding and fighting have been breadcrumbs for the reader: Isabelle is a warrior- her life is not mapped out by Fate or Chance anymore; she can decide her own path.
Step Sister holds up a gigantic mirror to the way we judge beauty and shows us what it really means to be a girl. Jennifer Donnelly proves that being strong, brave and, most importantly, true to yourself is what makes you beautiful. In fact, it is not until Isabelle accepts herself that she is described as beautiful and, by standing up for what she believes in, everyone achieves their own happy endings. As a mum of two young boys I really appreciated how Octaviaâs love of science and math and Felixâs creativity and love of art directly contrasted with Mamanâs old-fashioned desire to âmarry offâ her daughters. This story is no fairy tale: it is real, it is edgy and it is telling all generations that life is what you make it.
