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okletmereviewit (4 KP) rated Kubo and the Two Strings (2016) in Movies
May 11, 2018
A great film for any family night
Contains spoilers, click to show
Kubo and the two strings is a heart warming, coming of age movie, for the whole family. Adults, you will appericate the story line and the plight that Kubo undergoes. Kids will love the animation and the characters. From the moment that the movie started, I fought back the tears. You see a mother and baby in the middle of the ocean one moment and the next, you see them ship wrecked on a beach. You skip forward a few years to when Kubo is about the age of ten. He is now a caregiver for his mother who you come to understand as mentally ill, with something like alzheimer's or dementia. Daily young Kubo goes into the neighboring village and tells fantastic stories of a Samurai Knight, and how he battles the evil Moon King and his army, all while playing his Sangen (a Japanese Guitar) and creating Origami creatures for the story. But as the bells ring for night to come forth, Kubo runs home.
It seems that his mother only "comes to life" when its night time. And then shortly there after returns to a catatonic state. One day while in the village an old beggar woman who befriended him tells him a story of how she speaks with her dead husband at night during a certain ritual. Kubo, who is confused and longing to know anything about his father who was said to be the greatest Samurai, goes to the ancestral resting place and tries to summon his father.
Time gets away from him and night befalls rather quickly. Soon two masked spectral spirits appear, and tell him that they are his aunts. Kubo is then told the reason he is missing an eye is due to his grandfather who only wanted to have his other eye so that he could join them in the heavens. Kubo begins running back to the village. The two spirits attack and destroy the village. When they are almost upon him, his mother shows up and uses the last of her magics to activate a totem and to create wings to whisk him away to safety, far away from his blood thirsty aunts. Kubo then wakes up in a vast frozen waste land with a monkey looking after him. The monkey begins to address Kubo, telling him that they need to go on this quest to find a magical suite of armor that his father once wore. So Kubo and Monkey set off on a quest. Kubo is awaken by the monkey, saying that the origami papers that he carried in his pack, were flying around and that in his sleep he created an origami Samurai. The same Samurai from his stories. This little paper guardian, shows them the way to the armor's pieces, which consist of a sword, a breast plate, and a helmet. Along the way they come across a Beetle who was once a Samurai who was cursed to live the rest of his life as a beetle. After that the unlikely foursome come across a cave that has the sword in it. But much like Kubos life, it was not an easy task to retrieve it as it awakened a tall skeleton warrior, which they had to defeat. They then come to a large body of water, which Kubo uses his magic and his Samgen to create a boat made out of leaves. Monkey exclaims to him how his power is growing. As they set sail, the little paper Samurai point out that the breast plate is at the bottom of the water. Kubo remembering a story that his mother told him, of eyes that show you what you want to see most, lived at the bottom of the water. Beetle offers to dive in and look for the breast plate as "beetles can hold their breaths for a really long time under water, and are great swimmers." After quite some time passes Kubo dives in after Beetle and the breast plate. Monkey is then attacked by one of the evil aunts. While Kubo is under the water he finds the breast plate, and the eyes. They show him that the Monkey is actually his mother in the form of a spirit totem (MIND BLOWN)...Becoming dazzled by the eyes, he begins to drowned. Beetle swoops in and begins shooting the eyes and rescues Kubo. During this time Monkey is battling one of the aunts and defeats her. Kubo and the gang then continue their quest to find the helmet, which is back at his fathers fort. Once back at the fort one of the aunts reveals to Kubo and to Monkey that Beetle is actually Kubos father. So Kubo now armed with this new knowledge is able to defeat his aunt, but not after losing both his parents again. Kubo then uses his magic, to fly back to his village to adorn the helmet to complete his suite of armor. He then has to battle his grandfather The Moon King. At which point The Moon King transforms into a giant centipede like demon. Kubo uses his wits, and magic, to defeat his grandfather and makes him mortal. In his mortal state he loses his memories, and the village people tell him how he was a just and honest man, and how he was kind. The story ends on an upswing.
Over all the movie was really good. I love how engaging it was, and all the attention to detail they provided in it since it was a stop motion claymation. I highly recommend this for any family night.
It seems that his mother only "comes to life" when its night time. And then shortly there after returns to a catatonic state. One day while in the village an old beggar woman who befriended him tells him a story of how she speaks with her dead husband at night during a certain ritual. Kubo, who is confused and longing to know anything about his father who was said to be the greatest Samurai, goes to the ancestral resting place and tries to summon his father.
Time gets away from him and night befalls rather quickly. Soon two masked spectral spirits appear, and tell him that they are his aunts. Kubo is then told the reason he is missing an eye is due to his grandfather who only wanted to have his other eye so that he could join them in the heavens. Kubo begins running back to the village. The two spirits attack and destroy the village. When they are almost upon him, his mother shows up and uses the last of her magics to activate a totem and to create wings to whisk him away to safety, far away from his blood thirsty aunts. Kubo then wakes up in a vast frozen waste land with a monkey looking after him. The monkey begins to address Kubo, telling him that they need to go on this quest to find a magical suite of armor that his father once wore. So Kubo and Monkey set off on a quest. Kubo is awaken by the monkey, saying that the origami papers that he carried in his pack, were flying around and that in his sleep he created an origami Samurai. The same Samurai from his stories. This little paper guardian, shows them the way to the armor's pieces, which consist of a sword, a breast plate, and a helmet. Along the way they come across a Beetle who was once a Samurai who was cursed to live the rest of his life as a beetle. After that the unlikely foursome come across a cave that has the sword in it. But much like Kubos life, it was not an easy task to retrieve it as it awakened a tall skeleton warrior, which they had to defeat. They then come to a large body of water, which Kubo uses his magic and his Samgen to create a boat made out of leaves. Monkey exclaims to him how his power is growing. As they set sail, the little paper Samurai point out that the breast plate is at the bottom of the water. Kubo remembering a story that his mother told him, of eyes that show you what you want to see most, lived at the bottom of the water. Beetle offers to dive in and look for the breast plate as "beetles can hold their breaths for a really long time under water, and are great swimmers." After quite some time passes Kubo dives in after Beetle and the breast plate. Monkey is then attacked by one of the evil aunts. While Kubo is under the water he finds the breast plate, and the eyes. They show him that the Monkey is actually his mother in the form of a spirit totem (MIND BLOWN)...Becoming dazzled by the eyes, he begins to drowned. Beetle swoops in and begins shooting the eyes and rescues Kubo. During this time Monkey is battling one of the aunts and defeats her. Kubo and the gang then continue their quest to find the helmet, which is back at his fathers fort. Once back at the fort one of the aunts reveals to Kubo and to Monkey that Beetle is actually Kubos father. So Kubo now armed with this new knowledge is able to defeat his aunt, but not after losing both his parents again. Kubo then uses his magic, to fly back to his village to adorn the helmet to complete his suite of armor. He then has to battle his grandfather The Moon King. At which point The Moon King transforms into a giant centipede like demon. Kubo uses his wits, and magic, to defeat his grandfather and makes him mortal. In his mortal state he loses his memories, and the village people tell him how he was a just and honest man, and how he was kind. The story ends on an upswing.
Over all the movie was really good. I love how engaging it was, and all the attention to detail they provided in it since it was a stop motion claymation. I highly recommend this for any family night.
Debbiereadsbook (1444 KP) rated I've Got You in Books
Jul 3, 2019
a stunning follow up!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is sort of the second book in the set, Let Me Show You is the first, and you really should read that one, I think, to give you the full picture of what Scott did to Carter in that book, and why he feels so bad about himself in this one. Not totally NECESSARY, but I think it would help a great deal.
Scott was awful to Carter, and then came out to him, which made what Scott did all the worse. When Scott kisses Davis, Tanner’s best friend, at Carter and Tanner’s party, Scott runs. It takes a great deal of Carter to bring Scott out of himself. Davis is profoundly affected by that kiss, and he knows what Scott did to Carter was bad, but when Davis sees Scott, really SEES deep into his eyes, Davis knows Scott is desperately unhappy with his lot. But can the newly outed vet be happy with the single dad? Can he be happy, at ALL?
Like I said, I think it would help a great deal to read Carter and Tanner’s book before this one. If only to give you the full picture of what Scott did to Carter, and why Tanner is reluctant to forgive Scott, even if Carter does, and just why Scott hates himself so much. You need that bigger picture, I think. Just my personal opinion, is all.
Scott is hurting. He knows what he did was wrong, and the fact that Carter has taken it upon himself to become Scott’s best friend shocks him but gives him hope. He doesn’t know if he will ever be truly happy with himself for that, but he has to try. Meeting Davis at Carter and Tanner’s party was a bit of a revelation. He doesn’t know why he kissed Davis, but he liked it, a lot. Getting to know Davis seems like a good idea, but a deeply scary one for Scott, especially since Davis has a baby daughter.
Davis is lovely! I loved his patience with Scott, he knows Scott is hurting, and he knows Scott is newly out, so he understands explaining stuff is hard work, but very quickly, very early on, Davis knows Scott is the man for him. He just has to bide his time while Scott gets himself sorted. When Scott comes to work in Davis’ coffee shop, it gives Davis the ideal opportunity to get close to Scott. And when Scott meets Libby?? Davis is smitten, deeply!
There is, for Scott, a great deal of soul-searching in this book. Davis is an open book here and Scott is not. It takes time for Scott to come out of himself, and for the relationship between Davis and Scott to develop and I loved that. In Carter and Tanner’s review, I said I loved being made to wait for the main event but here? I wasn’t even sure we would GET the main event! It’s a close thing, I tell ya. But it’s right and proper that these two take their time, and get to know each other properly, I think.
It has some sexy time, some deeply emotional time, some funny moments and some shocking ones. Both Davis and Scott have their say, in the first person. Both voices are very different, and each change is clearly headed at the beginning of a chapter.
It also has some very homophobic comments from a shocking source, where you don’t expect them, but once you know, you understand why Scott was in a bad place before.
We leave this little town, with Scott and Davis, and Carter and Tanner happily settling down to their new lives together. We also get to meet Scott’s sister. I’d like her to be happy too. She had it tough for a long time, and reconnecting with Scott gives her the courage to do something about her life. She deserves the kind of happiness her brother has found, too, please Ms Seymour!
Not quite as warm and fuzzies and too stinking cute as Let Me Some You, but it’s a very close thing! Still. . .
5 full and shiny stars
**same worded review will appear elsewhere**
This is sort of the second book in the set, Let Me Show You is the first, and you really should read that one, I think, to give you the full picture of what Scott did to Carter in that book, and why he feels so bad about himself in this one. Not totally NECESSARY, but I think it would help a great deal.
Scott was awful to Carter, and then came out to him, which made what Scott did all the worse. When Scott kisses Davis, Tanner’s best friend, at Carter and Tanner’s party, Scott runs. It takes a great deal of Carter to bring Scott out of himself. Davis is profoundly affected by that kiss, and he knows what Scott did to Carter was bad, but when Davis sees Scott, really SEES deep into his eyes, Davis knows Scott is desperately unhappy with his lot. But can the newly outed vet be happy with the single dad? Can he be happy, at ALL?
Like I said, I think it would help a great deal to read Carter and Tanner’s book before this one. If only to give you the full picture of what Scott did to Carter, and why Tanner is reluctant to forgive Scott, even if Carter does, and just why Scott hates himself so much. You need that bigger picture, I think. Just my personal opinion, is all.
Scott is hurting. He knows what he did was wrong, and the fact that Carter has taken it upon himself to become Scott’s best friend shocks him but gives him hope. He doesn’t know if he will ever be truly happy with himself for that, but he has to try. Meeting Davis at Carter and Tanner’s party was a bit of a revelation. He doesn’t know why he kissed Davis, but he liked it, a lot. Getting to know Davis seems like a good idea, but a deeply scary one for Scott, especially since Davis has a baby daughter.
Davis is lovely! I loved his patience with Scott, he knows Scott is hurting, and he knows Scott is newly out, so he understands explaining stuff is hard work, but very quickly, very early on, Davis knows Scott is the man for him. He just has to bide his time while Scott gets himself sorted. When Scott comes to work in Davis’ coffee shop, it gives Davis the ideal opportunity to get close to Scott. And when Scott meets Libby?? Davis is smitten, deeply!
There is, for Scott, a great deal of soul-searching in this book. Davis is an open book here and Scott is not. It takes time for Scott to come out of himself, and for the relationship between Davis and Scott to develop and I loved that. In Carter and Tanner’s review, I said I loved being made to wait for the main event but here? I wasn’t even sure we would GET the main event! It’s a close thing, I tell ya. But it’s right and proper that these two take their time, and get to know each other properly, I think.
It has some sexy time, some deeply emotional time, some funny moments and some shocking ones. Both Davis and Scott have their say, in the first person. Both voices are very different, and each change is clearly headed at the beginning of a chapter.
It also has some very homophobic comments from a shocking source, where you don’t expect them, but once you know, you understand why Scott was in a bad place before.
We leave this little town, with Scott and Davis, and Carter and Tanner happily settling down to their new lives together. We also get to meet Scott’s sister. I’d like her to be happy too. She had it tough for a long time, and reconnecting with Scott gives her the courage to do something about her life. She deserves the kind of happiness her brother has found, too, please Ms Seymour!
Not quite as warm and fuzzies and too stinking cute as Let Me Some You, but it’s a very close thing! Still. . .
5 full and shiny stars
**same worded review will appear elsewhere**
Phillip McSween (751 KP) rated Trading Places (1983) in Movies
Apr 7, 2018
Great 80's Comedy
The Duke Brothers, kings of the stock exchange, wager a bet on whether or not a poor man with no experience can succeed in running their brokerage firm. It's a solid comedy that relies on human nature to help tell its story.
Acting: 10
A mixture of familiar faces and a few fresh ones, performances are stellar from top to bottom. It's what you expect when true professionals come together to put on a show. Eddie Murphy's comedic timing is on point as always, playing the role of homeless man Billy Ray Valentine. Just listening to him tell his story in prison about the Quart of Blood Technique had me in stitches. He has a way of being funny in a nonchalant way, reminding me of some of my closest friends.
Denholm Elliott won my heart as the lovable butler Coleman. He's kindhearted, but can be hilariously cruel at the same time. A lot of his laughs came from watching his subtle actions (rolling his eyes after a phone call, sneaking a drink during a party, etc.).
Dan Aykroyd won me over as well in his role as rich snob Louis Winthorpe III. I hated his guts at first but ultimately came to sympathize with his character which was the whole idea. He wore the role of proud rich kid well, but excelled when it came time for him to get crazy.
Beginning: 7
Characters: 7
Cinematography/Visuals: 8
The film opens with a multitude of shots that captures the heart of Philadelphia so well. I've only visited the city once and seeing those opening shots made me want to go back. Other very memorable scenes include the party at Valentine's home (absolute bedlam) and the calamity that is the trading room floor. Just seeing all those bodies pressing in on each other is enough to make you claustrophobic.
Favorite Still Shot: Valentine laying on the ground with almost a dozen cops pointing their guns just inches from his face. That one shot has been a feature in so many film montages over the years and deservedly so. That smile Murphy delivers saying, "I give up" is timeless.
Conflict: 8
Genre: 6
Memorability: 9
Trading Places still holds up all these years later as a classic comedy. It's hilarious but it also gives you pause for thought as well about the class and race roles in society. Sure it can be absolutely farfetched at times, but it's sole purpose is seemingly not just to entertain, but to raise awareness as well. It's been a few days since I've seen the film yet it still sticks out in my head amongst others.
Pace: 8
Plot: 8
As the plot unfolded, I thought it was absolutely ridiculous...Until I started thinking about today's political landscape and considered, "Hmmm, this is exactly the kind of experiment I could see a rich person with a lot of time on their hands concocting." It isn't all the way believable, but I tend to make exceptions for action films and comedies.
Resolution: 10
Overall: 81
I like Trading Places way more than I expected to. Director John Landis does an excellent job of walking the line between funny and thought-provoking, sometimes even daring to mix the two. Very solid film.
Acting: 10
A mixture of familiar faces and a few fresh ones, performances are stellar from top to bottom. It's what you expect when true professionals come together to put on a show. Eddie Murphy's comedic timing is on point as always, playing the role of homeless man Billy Ray Valentine. Just listening to him tell his story in prison about the Quart of Blood Technique had me in stitches. He has a way of being funny in a nonchalant way, reminding me of some of my closest friends.
Denholm Elliott won my heart as the lovable butler Coleman. He's kindhearted, but can be hilariously cruel at the same time. A lot of his laughs came from watching his subtle actions (rolling his eyes after a phone call, sneaking a drink during a party, etc.).
Dan Aykroyd won me over as well in his role as rich snob Louis Winthorpe III. I hated his guts at first but ultimately came to sympathize with his character which was the whole idea. He wore the role of proud rich kid well, but excelled when it came time for him to get crazy.
Beginning: 7
Characters: 7
Cinematography/Visuals: 8
The film opens with a multitude of shots that captures the heart of Philadelphia so well. I've only visited the city once and seeing those opening shots made me want to go back. Other very memorable scenes include the party at Valentine's home (absolute bedlam) and the calamity that is the trading room floor. Just seeing all those bodies pressing in on each other is enough to make you claustrophobic.
Favorite Still Shot: Valentine laying on the ground with almost a dozen cops pointing their guns just inches from his face. That one shot has been a feature in so many film montages over the years and deservedly so. That smile Murphy delivers saying, "I give up" is timeless.
Conflict: 8
Genre: 6
Memorability: 9
Trading Places still holds up all these years later as a classic comedy. It's hilarious but it also gives you pause for thought as well about the class and race roles in society. Sure it can be absolutely farfetched at times, but it's sole purpose is seemingly not just to entertain, but to raise awareness as well. It's been a few days since I've seen the film yet it still sticks out in my head amongst others.
Pace: 8
Plot: 8
As the plot unfolded, I thought it was absolutely ridiculous...Until I started thinking about today's political landscape and considered, "Hmmm, this is exactly the kind of experiment I could see a rich person with a lot of time on their hands concocting." It isn't all the way believable, but I tend to make exceptions for action films and comedies.
Resolution: 10
Overall: 81
I like Trading Places way more than I expected to. Director John Landis does an excellent job of walking the line between funny and thought-provoking, sometimes even daring to mix the two. Very solid film.
Ross (3284 KP) rated Split (2016) in Movies
Apr 19, 2019
A half-decent film in its own right. A dreadful desperate attempt to link to Unbreakable at the end
Contains spoilers, click to show
I had watched over half of this film before someone mentioned to me it was part of the Unbreakable "trilogy". I had heard of Glass, and had noticed that McAvoy looked similar in the two films but hadn't realised they were linked (I guess I assumed he got bored of growing his hair back to then have to become Professor X again). I had wondered what the second film in the trilogy was. Unbeknownst to me, I was watching it.
McAvoy plays Kevin, a man whose upbringing lead him to develop a number of (mostly) distinct personalities. These personalities allow his brain to compartmentalise and protect itself from certain aspects of life.
Kevin has decided to kidnap two girls (but for reasons he ends up getting three for the price of two). There is much less threat and horror in their imprisonment than in this type of scenario normally, which is to the film's credit. The girls are confused by the different personalities and how they interact with them and with each other. There are moments of charm, comedy, pantomime and some chilling moments in these scenes.
McAvoy does a good job of portraying these different personalities and they are mostly distinct. He is said to have 23 such personalities but I can only say I recognised 5 distinct ones, two of which were only a camp leg-crossing away from being the same.
Kevin is afraid of, but also excited about (depending on which personality has the spotlight) the possible coming of The Beast, a 24th personality that will be strong and powerful and hard for him to control.
Most of the film centres around either Kevin and his kidnappees or his therapist, which helps to describe his issues and show them at the same time.
The final section, The Beast's emergence and the eventual escape of the victims (I actually can't remember if either of the other 2 girls escaped) was so implausible and hammy. The supposed physical changes that each personality brings to Kevin's body are stretched to breaking point, and I think this just becomes stupid.
We then see where the girls had been kept all this time (a zoo) and again this just shouts out stupid. Suggesting a mentally ill janitor could drive a car with three unconscious schoolgirls into a closed zoo is just stupid.
The final scene made me so angry. Up to this point, there was no link whatsoever to Unbreakable. Fine, I thought. Keep them as separate films in their own right and then Glass can bring them together. But no. We see a news report of the kidnapping and Kevin's escape and disappearance playing out in a diner. One woman remarks that it sounded like that guy a few years ago who went to prison. She turns to Bruce Willis who responds "Mr Glass" (Samuel L Jackson's character from Unbreakable). It sounded absolutely nothing like "that guy". There was no similarity whatsoever in what had been described on TV and the story about a rich disabled man organising terrorist attacks. None whatsoever. This was such a clumsy, unnecessary attempt to sow the seeds of excitement for Glass. This has actually tainted the film for me, it would probably have gotten a 7 or an 8 if not for this lunacy.
McAvoy plays Kevin, a man whose upbringing lead him to develop a number of (mostly) distinct personalities. These personalities allow his brain to compartmentalise and protect itself from certain aspects of life.
Kevin has decided to kidnap two girls (but for reasons he ends up getting three for the price of two). There is much less threat and horror in their imprisonment than in this type of scenario normally, which is to the film's credit. The girls are confused by the different personalities and how they interact with them and with each other. There are moments of charm, comedy, pantomime and some chilling moments in these scenes.
McAvoy does a good job of portraying these different personalities and they are mostly distinct. He is said to have 23 such personalities but I can only say I recognised 5 distinct ones, two of which were only a camp leg-crossing away from being the same.
Kevin is afraid of, but also excited about (depending on which personality has the spotlight) the possible coming of The Beast, a 24th personality that will be strong and powerful and hard for him to control.
Most of the film centres around either Kevin and his kidnappees or his therapist, which helps to describe his issues and show them at the same time.
The final section, The Beast's emergence and the eventual escape of the victims (I actually can't remember if either of the other 2 girls escaped) was so implausible and hammy. The supposed physical changes that each personality brings to Kevin's body are stretched to breaking point, and I think this just becomes stupid.
We then see where the girls had been kept all this time (a zoo) and again this just shouts out stupid. Suggesting a mentally ill janitor could drive a car with three unconscious schoolgirls into a closed zoo is just stupid.
The final scene made me so angry. Up to this point, there was no link whatsoever to Unbreakable. Fine, I thought. Keep them as separate films in their own right and then Glass can bring them together. But no. We see a news report of the kidnapping and Kevin's escape and disappearance playing out in a diner. One woman remarks that it sounded like that guy a few years ago who went to prison. She turns to Bruce Willis who responds "Mr Glass" (Samuel L Jackson's character from Unbreakable). It sounded absolutely nothing like "that guy". There was no similarity whatsoever in what had been described on TV and the story about a rich disabled man organising terrorist attacks. None whatsoever. This was such a clumsy, unnecessary attempt to sow the seeds of excitement for Glass. This has actually tainted the film for me, it would probably have gotten a 7 or an 8 if not for this lunacy.
Bong Mines Entertainment (15 KP) rated Lover by Taylor Swift in Music
Sep 2, 2019
Taylor Swift is an iconic singer-songwriter based in Nashville, TN. Not too long ago, she released a charming music video for her “Lover” single.
“Ladies and gentlemen, will you please stand? With every guitar string scar on my hand. I take this magnetic force of a man to be my lover. My heart’s been borrowed and yours has been blue. All’s well that ends well to end up with you. Swear to be overdramatic and true to my lover. And you’ll save all your dirtiest jokes for me. And at every table, I’ll save you a seat, lover.” – lyrics
The imaginative music video, directed by Drew Kirsch & Taylor Swift, showcases the ups and downs of a budding relationship.
Also, the audiovisual features Swift and her lover inside a life-sized dollhouse located within a giant snow globe.
Each decorated room, painted a different color, finds the couple wearing matching outfits which synchronizes their energy within each room.
‘Lover’ contains a relatable storyline, ear-welcoming vocals, and sugar-sweet melodies. Also, the endearing tune possesses lush instrumentation scented with a nostalgic pop aroma.”
Taylor Swift’s “Lover” single tells a romantic tale of a young woman who is head-over-heels in love with her significant other.
Apparently, they’ve been together for three summers, but every day feels brand new, like the first day they met.
If the woman could have it her way, she and her sweetheart would be together forever until the end of time. If that’s the case, she’ll be more than happy to be by her lover’s side.
“Have I known you 20 seconds or 20 years?”
“I think that with this album, the word lover encompasses like someone who possesses the ability to make you feel all the ranges of emotion that you have, you know. Because when people say like: “We just don’t have that spark”, what they’re talking about that’s missing is the element that I’m singing about on this album. If that makes sense to you.” – Taylor Swift via Elvis Duran Show.
‘Lover’ is the third song and title track on Swift’s highly-anticipated seventh studio album.
The 18-track project also contains the lead single, entitled, “ME!”, featuring Brendon Urie of Panic! At The Disco.
“‘ME!’ is a song about embracing your individuality and really celebrating it, and owning it. I think that with a pop song, we have the ability to get a melody stuck in people’s heads, and I want it to be one that makes them feel better about themselves.” – Taylor Swift, with Robin Roberts
‘ME!’ tells an interesting tale of a young woman who tells her beau that he will never find another woman who will love him like how she does.
Apparently, he feels the exact same way. Therefore, he promises that she will never find another man as awesome as he is.
Taylor Swift reveals her favorite scene in “Lover” video
‘Lover’ secured the #1 spot on the US iTunes charts on its first day of being released.
This monumental accomplishment extended Taylor Swift’s record as the female with the most #1 songs on US iTunes.
“This album is very much a celebration of love, in all its complexity, coziness, and chaos. It’s the first album of mine that I’ve ever owned, and I couldn’t be more proud.” – Taylor Swift
“Ladies and gentlemen, will you please stand? With every guitar string scar on my hand. I take this magnetic force of a man to be my lover. My heart’s been borrowed and yours has been blue. All’s well that ends well to end up with you. Swear to be overdramatic and true to my lover. And you’ll save all your dirtiest jokes for me. And at every table, I’ll save you a seat, lover.” – lyrics
The imaginative music video, directed by Drew Kirsch & Taylor Swift, showcases the ups and downs of a budding relationship.
Also, the audiovisual features Swift and her lover inside a life-sized dollhouse located within a giant snow globe.
Each decorated room, painted a different color, finds the couple wearing matching outfits which synchronizes their energy within each room.
‘Lover’ contains a relatable storyline, ear-welcoming vocals, and sugar-sweet melodies. Also, the endearing tune possesses lush instrumentation scented with a nostalgic pop aroma.”
Taylor Swift’s “Lover” single tells a romantic tale of a young woman who is head-over-heels in love with her significant other.
Apparently, they’ve been together for three summers, but every day feels brand new, like the first day they met.
If the woman could have it her way, she and her sweetheart would be together forever until the end of time. If that’s the case, she’ll be more than happy to be by her lover’s side.
“Have I known you 20 seconds or 20 years?”
“I think that with this album, the word lover encompasses like someone who possesses the ability to make you feel all the ranges of emotion that you have, you know. Because when people say like: “We just don’t have that spark”, what they’re talking about that’s missing is the element that I’m singing about on this album. If that makes sense to you.” – Taylor Swift via Elvis Duran Show.
‘Lover’ is the third song and title track on Swift’s highly-anticipated seventh studio album.
The 18-track project also contains the lead single, entitled, “ME!”, featuring Brendon Urie of Panic! At The Disco.
“‘ME!’ is a song about embracing your individuality and really celebrating it, and owning it. I think that with a pop song, we have the ability to get a melody stuck in people’s heads, and I want it to be one that makes them feel better about themselves.” – Taylor Swift, with Robin Roberts
‘ME!’ tells an interesting tale of a young woman who tells her beau that he will never find another woman who will love him like how she does.
Apparently, he feels the exact same way. Therefore, he promises that she will never find another man as awesome as he is.
Taylor Swift reveals her favorite scene in “Lover” video
‘Lover’ secured the #1 spot on the US iTunes charts on its first day of being released.
This monumental accomplishment extended Taylor Swift’s record as the female with the most #1 songs on US iTunes.
“This album is very much a celebration of love, in all its complexity, coziness, and chaos. It’s the first album of mine that I’ve ever owned, and I couldn’t be more proud.” – Taylor Swift
Darren (1599 KP) rated Wildling (2018) in Movies
Oct 14, 2019
Characters – Anna was raised by a man in the middle of the woods, she has been drugged to stop her going through her womanhood until she is rescued. Taken in by the local sheriff, she learns about the world for the first time, only she isn’t prepared for everything, finding it hard to adjust to everything. Daddy is the man that has raised Anna, he did educate her, while warning her about the outdoors, while he does drug her, the mystery is around why he kept her isolated. Ellen is the local sheriff that takes Anna in, she does her best to teach her about being a woman, while others just want to lock her away. Ray is the sister of Ellen that is still in high school, he tries to help her on a social standpoint, while being one of the only people left for her to trust.
Performances – Bel Powley is great in this leading role, she must go through a transformation and play the fish out of water figure too. Brad Dourif is just as creepy and you need him to be, always going to work in this type of role, with Liv Tyler being the cop that believes they know what will be right for victim, trying to be the role model figure.
Story – The story here follows a young girl that is raised in the woods, only to be released to discover who she really is and what she is capable off. This story does follow the traditions of seeing a young girl taken and raised in secret, before something happens to bring her into the real world, this side of things has been done before, it works and is an effective way to bring a stranger into a modern world. Where this story takes an interesting turn comes from the reason behind why she was being kept, we do get to see what she really is, but we don’t get to see if she is a threat to everybody else, we do get a couple of message in this film too that want to point out certain motives in hunting, but overall the story keeps us guessing and surprised by the truth.
Fantasy/Horror – This film does dive into fantasy when it comes to learn what Anna really is, we have ideas early on, but we are never truly sure what she will become, this does help with the horror side of the film because it keeps us waiting to see if there will be more bloodshed.
Settings – The film is set in a town surrounded by woodlands, this shows first where she was raised and where the people will welcome her, right back to where she feels more comfortable.
Special Effects – The effects are used to show the wounds and the look of the Wildling figure, there give us a creepy but natural looking creature and the blood isn’t afraid to be splashed about here.
Scene of the Movie – Home from the party.
That Moment That Annoyed Me – We could spend more time learn the normal human life.
Final Thoughts – This is a fun fantasy horror, it doesn’t hide the blood and is happy to give us a twist on the traditional storytelling.
Overall: Fantasy Horror 101
Performances – Bel Powley is great in this leading role, she must go through a transformation and play the fish out of water figure too. Brad Dourif is just as creepy and you need him to be, always going to work in this type of role, with Liv Tyler being the cop that believes they know what will be right for victim, trying to be the role model figure.
Story – The story here follows a young girl that is raised in the woods, only to be released to discover who she really is and what she is capable off. This story does follow the traditions of seeing a young girl taken and raised in secret, before something happens to bring her into the real world, this side of things has been done before, it works and is an effective way to bring a stranger into a modern world. Where this story takes an interesting turn comes from the reason behind why she was being kept, we do get to see what she really is, but we don’t get to see if she is a threat to everybody else, we do get a couple of message in this film too that want to point out certain motives in hunting, but overall the story keeps us guessing and surprised by the truth.
Fantasy/Horror – This film does dive into fantasy when it comes to learn what Anna really is, we have ideas early on, but we are never truly sure what she will become, this does help with the horror side of the film because it keeps us waiting to see if there will be more bloodshed.
Settings – The film is set in a town surrounded by woodlands, this shows first where she was raised and where the people will welcome her, right back to where she feels more comfortable.
Special Effects – The effects are used to show the wounds and the look of the Wildling figure, there give us a creepy but natural looking creature and the blood isn’t afraid to be splashed about here.
Scene of the Movie – Home from the party.
That Moment That Annoyed Me – We could spend more time learn the normal human life.
Final Thoughts – This is a fun fantasy horror, it doesn’t hide the blood and is happy to give us a twist on the traditional storytelling.
Overall: Fantasy Horror 101
Best Park in the Universe – Beat 'Em Up With Mordecai and Rigby in a Regular Show Brawler Game
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Ready for the BIGGEST BEATDOWN in the cosmos? Help Mordecai, Rigby, Muscle Man and Pops battle...
Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Lee (2222 KP) rated Castle Rock in TV
Jan 21, 2019
Sissy Spacek (1 more)
Bill Skarsgård
Fantastic story telling
Set in the Stephen King multiverse, the Maine town of Castle Rock is the setting for this psychological horror thriller spanning ten episodes. It utilises various characters and settings from the authors work, and even actors who have appeared in movie versions of his books, resulting in a unique and richly detailed story which has been clearly influenced by the great author.
The story begins with yet another Shawshank prison warden, Warden Lacy, committing suicide. When his successor Theresa Porter takes over, she begins plans to reopen an abandoned cell block within the prison in order to cater for the growing number of inmates. As guards investigate the old block, they discover a young man (Bill Skarsgård, as creepy without his 'It' makeup as he is in it!) locked in an underground cage, with no record as to who he is or why he was down there. The only words he utters when asked his name are Henry Deaver, the name of a lawyer who'd had a troubled childhood in Castle Rock (glimpsed in a flashback right at the start of the episode) and is now living in Texas. As the kid gets moved to the main prison cells while they try to figure out where he came from, mystery and death seem to follow him. We discover in flashbacks that Warden Lacy was the one responsible for caging him and keeping him alive all these years, claiming that god had instructed him to do it. Eventually Henry Deaver manages to get the kid released into the community, but bad things continue to happen wherever he goes and he also appears to be drawn to the childhood home of Henry Deaver, where his dementia suffering mother Ruth (Sissy Spacek) and her new partner Alan are. Is this mysterious stranger actually the devil? Why did Warden Lacy tell him before he committed suicide that he must ask for Henry Deaver if ever discovered? And why, as we discover later on, has this kid not aged one bit in the last 27 years?!
The remainder of the season continues to slowly add details and backstory, adding a few more interesting characters along the way with very few clues that may provide a full answer to these questions. It's wonderful story telling, continuing to provide mystery every step of the way and demanding that you pay close attention to absolutely everything. Towards the end of the season are two outstanding episodes which reward your attention, making you re-evaluate everything you've seen before and giving you a fresh perspective on the whole story. They focus on the two most interesting characters of the season, coincidentally played by actors who have previously starred in Stephen King movie adaptations. In 'The Queen', we focus on Ruth - walking us through conversations and scenes we've seen before in previous episodes but showing them the way she experiences them, which isn't necessarily the way they unfolded for others. It's an emotional representation of dementia, showing just how terrifying and tragic a deteriorating mind can be. Then, in the episode 'Henry Deaver', we focus on the kid and finally get to understand who he is, where he came from and the reason for everything that's happened so far. We get a lot of answers, and whether or not you'd already got a pretty good idea of what was going on (I hadn't), this is still a fantastic episode.
Overall, Castle Rock managed to keep me hooked, entertained, and at times confused, and I really can't ask for more than that in a show. I'm not a reader of books, so wouldn't have picked up on all of the Easter eggs dotted around the show for fans of Stephen King to enjoy. But I absolutely love the movies that are based on them, so I got a real kick out of revisiting the setting of Shawshank. I also love 'The Shining', so got an even bigger kick out of a final end credits scene where the niece of Jack Torrance, and an author herself, states that she's headed out west to dig deeper into her family history. If we're headed to the Overlook Hotel next, then I absolutely cannot wait for season 2!
The story begins with yet another Shawshank prison warden, Warden Lacy, committing suicide. When his successor Theresa Porter takes over, she begins plans to reopen an abandoned cell block within the prison in order to cater for the growing number of inmates. As guards investigate the old block, they discover a young man (Bill Skarsgård, as creepy without his 'It' makeup as he is in it!) locked in an underground cage, with no record as to who he is or why he was down there. The only words he utters when asked his name are Henry Deaver, the name of a lawyer who'd had a troubled childhood in Castle Rock (glimpsed in a flashback right at the start of the episode) and is now living in Texas. As the kid gets moved to the main prison cells while they try to figure out where he came from, mystery and death seem to follow him. We discover in flashbacks that Warden Lacy was the one responsible for caging him and keeping him alive all these years, claiming that god had instructed him to do it. Eventually Henry Deaver manages to get the kid released into the community, but bad things continue to happen wherever he goes and he also appears to be drawn to the childhood home of Henry Deaver, where his dementia suffering mother Ruth (Sissy Spacek) and her new partner Alan are. Is this mysterious stranger actually the devil? Why did Warden Lacy tell him before he committed suicide that he must ask for Henry Deaver if ever discovered? And why, as we discover later on, has this kid not aged one bit in the last 27 years?!
The remainder of the season continues to slowly add details and backstory, adding a few more interesting characters along the way with very few clues that may provide a full answer to these questions. It's wonderful story telling, continuing to provide mystery every step of the way and demanding that you pay close attention to absolutely everything. Towards the end of the season are two outstanding episodes which reward your attention, making you re-evaluate everything you've seen before and giving you a fresh perspective on the whole story. They focus on the two most interesting characters of the season, coincidentally played by actors who have previously starred in Stephen King movie adaptations. In 'The Queen', we focus on Ruth - walking us through conversations and scenes we've seen before in previous episodes but showing them the way she experiences them, which isn't necessarily the way they unfolded for others. It's an emotional representation of dementia, showing just how terrifying and tragic a deteriorating mind can be. Then, in the episode 'Henry Deaver', we focus on the kid and finally get to understand who he is, where he came from and the reason for everything that's happened so far. We get a lot of answers, and whether or not you'd already got a pretty good idea of what was going on (I hadn't), this is still a fantastic episode.
Overall, Castle Rock managed to keep me hooked, entertained, and at times confused, and I really can't ask for more than that in a show. I'm not a reader of books, so wouldn't have picked up on all of the Easter eggs dotted around the show for fans of Stephen King to enjoy. But I absolutely love the movies that are based on them, so I got a real kick out of revisiting the setting of Shawshank. I also love 'The Shining', so got an even bigger kick out of a final end credits scene where the niece of Jack Torrance, and an author herself, states that she's headed out west to dig deeper into her family history. If we're headed to the Overlook Hotel next, then I absolutely cannot wait for season 2!