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Phillip McSween (751 KP) rated St. Vincent (2014) in Movies
May 13, 2018
Another Murray Classic
When a single mother moves into a new neighborhood and gets overwhelmed with her taxing job, she relies on her crude, foul-mouthed neighbor Vincent (Bill Murray) to watch over her kid while she's gone.
Acting: 10
Beginning: 6
Characters: 10
Cinematography/Visuals: 7
Conflict: 9
Vincent basically creates conflict everywhere he goes. Between his actions, decisions, and mouth, something is always getting him into trouble with those around him. It's hard to watch at times, funny during other times. His life is crumbling, but he brings most of it on himself. Throw in Maggie's (Melissa McCarthy) custody battle for her son and the film gives you more than enough conflict to drive the story.
Genre: 9
St. Vincent hails itself as a comedy. It's certainly going to make you laugh, but it succeeds in how dark and truthful it can be at times. I love that the film never cuts corners with Vincent's character. His life is cringeworthy and sad, yet the audience is still given avenues to laughter.
Memorability: 8
Once again, Murray manages to make a film memorable with his character alone. He doesn't care about the people he hurts or at least that's what he would have you believe. His destructive attitude oftentimes results in a finished product that will either make you shake your head or bust out laughing. I enjoyed watching the relationship develop between him and Oliver (Jaeden Lieberher). They were made for each other yet neither one of them realize it at first. The film as a whole makes you contemplate what constitutes being a good person versus a bad person.
Pace: 10
Plot: 10
Even as Vincent's life tailspins out of control, he manages to touch the lives of those around them in ways they never imagined. He is a ball of chaos, but in the heart of that chaos, the plot shows the semblance of a good man. Again, it's ugly but real at the same time. And that's what makes it beautiful.
Resolution: 10
Overall: 89
If nothing else, St. Vincent shows us that sometimes the funniest things are those mired in reality. Another Murray classic.
Acting: 10
Beginning: 6
Characters: 10
Cinematography/Visuals: 7
Conflict: 9
Vincent basically creates conflict everywhere he goes. Between his actions, decisions, and mouth, something is always getting him into trouble with those around him. It's hard to watch at times, funny during other times. His life is crumbling, but he brings most of it on himself. Throw in Maggie's (Melissa McCarthy) custody battle for her son and the film gives you more than enough conflict to drive the story.
Genre: 9
St. Vincent hails itself as a comedy. It's certainly going to make you laugh, but it succeeds in how dark and truthful it can be at times. I love that the film never cuts corners with Vincent's character. His life is cringeworthy and sad, yet the audience is still given avenues to laughter.
Memorability: 8
Once again, Murray manages to make a film memorable with his character alone. He doesn't care about the people he hurts or at least that's what he would have you believe. His destructive attitude oftentimes results in a finished product that will either make you shake your head or bust out laughing. I enjoyed watching the relationship develop between him and Oliver (Jaeden Lieberher). They were made for each other yet neither one of them realize it at first. The film as a whole makes you contemplate what constitutes being a good person versus a bad person.
Pace: 10
Plot: 10
Even as Vincent's life tailspins out of control, he manages to touch the lives of those around them in ways they never imagined. He is a ball of chaos, but in the heart of that chaos, the plot shows the semblance of a good man. Again, it's ugly but real at the same time. And that's what makes it beautiful.
Resolution: 10
Overall: 89
If nothing else, St. Vincent shows us that sometimes the funniest things are those mired in reality. Another Murray classic.
StorybookConfectionary (1 KP) rated Call Me by Your Name (2017) in Movies
Mar 9, 2018
The pace is supposed to feel languid like the summer vacation they are having. (11 more)
The characters are developed early on, like Oliver's knowledge of etymology that would be a cliché of the "protagonist as genius" had it not been a simply test.
Elio's name comes from 'helios' or sun and fits his personality in the sense that he is generous with his time, brilliant by definition of his current state of youth in mind and body, and he is restless in love.
The peach scene is heartbreaking.
The fireplace is a cinematographic style we don't see a lot as an Ameeican audience, where the camera stays in one place and we look through Elios for a long time. It should feel discomforting.
Elios' girl approaches him first even though she recognizes he used her and even when she said she was most afraid of getting hurt. She tells him she's sorry to see him sad, that she loves him, and then extends her hand for a reconciliation.
Elios takes her hand only when she promises her friendship is forever. So while romance is fleeting and he has the courage to proceed, he cannot give up the commitment of duration as prerequisite in a friendship.
The flies throughout the movie feel natural to the countryside but can also signify the attraction to: the sweetness of fruit, the rotting of fruit, and the indiscriminatory chances that warmth gives to living things.
These flies deserve an additional block for their amount of screentime, a motif of desire that obstructs the viewer's sight and buzzes us into a haze. We are, unbeknownst to ourselves, directed towards empathy for the characters.
Romance should be prolonged. Teased until it hits a climax and cannot be resisted anymore. Elio and everyone else hits a note of ecstasy once Oliver gives into the beauty of a body.
It's amazing how this story is founded on and driven by the conversations between Greek philosophy and Roman conquests. The Greeks thought sculpture could answer their question about knowledge/beauty.
Romance, because it ends, remains so good, nostalgic, and desirable.
Summer love
Gareth von Kallenbach (980 KP) rated Year One (2009) in Movies
Aug 9, 2019
I had no idea what to expect with “Year One”. Would it be another flop like “Nacho Libre”? How does Michael Cera fit into this kind of film? Could this be unexpected comedy gold reminiscent of the 1981 Mel Brook’s classic “History of the World: Part I”?
“Year One” follows the journey of two cavemen, Zed (Jack Black) and Oh (Michael Cera), through a comedic adaptation of early mankind. Zed and Oh are lowly members of their tribe rebuffed by the women they desire. Desperate to be something more Zed consumes the forbidden fruit from the tree of knowledge and is immediately out casted from his tribe. Oh joins Zed and the two begin a trip encountering fractured Biblical stories and characters.
Eventually our heroes are led into the lecherous city of Sodom, where they find the tribe and their ladyloves have been taken as slaves. As the two attempt to free the women from a life of slavery eccentric vaguely plotted comedy ensues.
The cast, filled with the usual silly suspects, includes Paul Rudd as Abel, Christopher Mintz-Plasse as Issac, and Vinnie Jones as Sargon. But do not expect their normal brand of comedy because it has been replaced with visually graphic potty humor.
The sets and costumes are well created but near impossible to notice when there is a pile of sheep innards being interpreted by Oliver Platt, who plays the High Priest. The few interesting one-liners fail to save “Year One” from an aura similar to “Austin Powers in Goldmember“.
Why after great films like “School of Rock” and “Be Kind Rewind” is Jack Black purposely trying to end his career? Moreover, why has he decided to take Michael Cera with him? As for Michael Cera this awful sort of humor is not going to lead him out of the valley of “Juno” fandom.
The flick is better than “Nacho Libre”, but it is not comedy gold. If you enjoy simple potty humor you should definitely see the film, but if not plan to borrow the DVD from a friend only to be happy you did not purchase it.
“Year One” follows the journey of two cavemen, Zed (Jack Black) and Oh (Michael Cera), through a comedic adaptation of early mankind. Zed and Oh are lowly members of their tribe rebuffed by the women they desire. Desperate to be something more Zed consumes the forbidden fruit from the tree of knowledge and is immediately out casted from his tribe. Oh joins Zed and the two begin a trip encountering fractured Biblical stories and characters.
Eventually our heroes are led into the lecherous city of Sodom, where they find the tribe and their ladyloves have been taken as slaves. As the two attempt to free the women from a life of slavery eccentric vaguely plotted comedy ensues.
The cast, filled with the usual silly suspects, includes Paul Rudd as Abel, Christopher Mintz-Plasse as Issac, and Vinnie Jones as Sargon. But do not expect their normal brand of comedy because it has been replaced with visually graphic potty humor.
The sets and costumes are well created but near impossible to notice when there is a pile of sheep innards being interpreted by Oliver Platt, who plays the High Priest. The few interesting one-liners fail to save “Year One” from an aura similar to “Austin Powers in Goldmember“.
Why after great films like “School of Rock” and “Be Kind Rewind” is Jack Black purposely trying to end his career? Moreover, why has he decided to take Michael Cera with him? As for Michael Cera this awful sort of humor is not going to lead him out of the valley of “Juno” fandom.
The flick is better than “Nacho Libre”, but it is not comedy gold. If you enjoy simple potty humor you should definitely see the film, but if not plan to borrow the DVD from a friend only to be happy you did not purchase it.
Kristy H (1252 KP) rated You Were There Too in Books
Mar 19, 2020
Mia and Harrison move to tiny Hope Springs from Philadelphia, each hoping to escape their own problems. Here they have a picture-perfect house and a supposedly matching perfect life. But Mia is struggling with infertility and her husband has his own hidden demons. Plus Mia has a secret: at night, she has recurring dreams about another man. So imagine her surprise when she runs into him--in the flesh--in Hope Springs. Even more surprising? He tells her he dreams of her, too.
This was an odd and intense read--nothing like what I expected, though I'm not sure what I was expecting, really. In fact, it was so serious at times, I had to read it in chunks. It was too much to take in, Mia's miscarriages and her emotions, the dreams and what they could mean. I don't really mean this in a bad way, either. The feelings in this book are just strong and extremely well-done.
I really liked the idea of dreams in the novel and how they are presented. I mean, what would you do if you were suddenly face to face with your fantasy, with someone who had been in your dreams for over a decade? What a particular situation.
"It's only that--at times--he feels so real. And has for the ten or more years that he's been starring in my nighttime reveries."
For me, where this book went off the rails, is when it started to meander. Oliver--Mia's dream guy in real life--and Mia join forces to try to figure out what their dreams mean. Mia laments about the men in her life. And then the book takes a turn and is just so damn sad. I felt betrayed, honestly, by its outcome. While I feel that it was very well-written--the way infertility is portrayed is well-done in a lot of ways--I felt as if I read an entire book for nothing. Why, I wondered, did we go through all that?
So, while I found the book to be quite captivating and emotional, what was going to be a 4-star read fell down to 3. Alas.
This was an odd and intense read--nothing like what I expected, though I'm not sure what I was expecting, really. In fact, it was so serious at times, I had to read it in chunks. It was too much to take in, Mia's miscarriages and her emotions, the dreams and what they could mean. I don't really mean this in a bad way, either. The feelings in this book are just strong and extremely well-done.
I really liked the idea of dreams in the novel and how they are presented. I mean, what would you do if you were suddenly face to face with your fantasy, with someone who had been in your dreams for over a decade? What a particular situation.
"It's only that--at times--he feels so real. And has for the ten or more years that he's been starring in my nighttime reveries."
For me, where this book went off the rails, is when it started to meander. Oliver--Mia's dream guy in real life--and Mia join forces to try to figure out what their dreams mean. Mia laments about the men in her life. And then the book takes a turn and is just so damn sad. I felt betrayed, honestly, by its outcome. While I feel that it was very well-written--the way infertility is portrayed is well-done in a lot of ways--I felt as if I read an entire book for nothing. Why, I wondered, did we go through all that?
So, while I found the book to be quite captivating and emotional, what was going to be a 4-star read fell down to 3. Alas.
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Andy K (10823 KP) rated The Brood (1979) in Movies
Sep 22, 2019
An R rated version of Inside Out?
Frank Carveth is just a father with some problems. His wife is currently enrolled in an intense, secluded, mysterious form of psychotherapy being conducted by an unusual doctor. His eccentric mother-in-law, has just been murdered through unusual circumstances and his young daughter is showing signs of physical abuse at the hands of his institutionalized wife that he must now investigate.
After the murder, his father-in-law also arrives, the situation worsens as he attempts to visit his daughter while in therapy without success. Still grief stricken, he wants to confront the doctor or at least understand what is happening.
Here is where the story becomes very unusual. The brutality being dispatched to various individuals is being administered by disfigured "dwarves" or misshapen children which makes no sense to Frank or the police which asks more questions.
After learning additional details, Frank returns to his wife's benefactor for a final confrontation with her and the doctor to ensure the release of his kidnapped daughter.
Cronenberg's early body horror films still stand as some of the most provocative of the gene and this film is certainly no exception. The deformed assailants provide immediate unique intrigue in the film representing something you have never seen previously and it only gets worse.
The total brutality they complete upon their victims is worsened by the fact some of it is even performed in front of children who would obviously be scarred for years to come.
The final reveal of "The Brood" is so intense, bizarre and graphic it will still turn off, repulse or offend almost anyone who watches it. Only true fans of the macabre, strange and totally extreme will find this palpable.
The great Oliver Reed is especially intense in his performance as the unconventional doctor performing his ritualistic treatments which include offbeat role plays where he has conversations with his patents pretending to be other people.
I can only imagine the reaction this film had upon its release in 1979.
After the murder, his father-in-law also arrives, the situation worsens as he attempts to visit his daughter while in therapy without success. Still grief stricken, he wants to confront the doctor or at least understand what is happening.
Here is where the story becomes very unusual. The brutality being dispatched to various individuals is being administered by disfigured "dwarves" or misshapen children which makes no sense to Frank or the police which asks more questions.
After learning additional details, Frank returns to his wife's benefactor for a final confrontation with her and the doctor to ensure the release of his kidnapped daughter.
Cronenberg's early body horror films still stand as some of the most provocative of the gene and this film is certainly no exception. The deformed assailants provide immediate unique intrigue in the film representing something you have never seen previously and it only gets worse.
The total brutality they complete upon their victims is worsened by the fact some of it is even performed in front of children who would obviously be scarred for years to come.
The final reveal of "The Brood" is so intense, bizarre and graphic it will still turn off, repulse or offend almost anyone who watches it. Only true fans of the macabre, strange and totally extreme will find this palpable.
The great Oliver Reed is especially intense in his performance as the unconventional doctor performing his ritualistic treatments which include offbeat role plays where he has conversations with his patents pretending to be other people.
I can only imagine the reaction this film had upon its release in 1979.
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