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Acanthea Grimscythe (300 KP) rated Repo! The Genetic Opera (2008) in Movies
May 12, 2018
Contains spoilers, click to show
Repo! The Genetic Opera is perhaps one of the most underrated films I’ve ever watched. The first time I watched it was at the behest of the elder of my younger brothers during my senior year of high school. At that time, I thought it was alright. The characters were hauntingly beautiful and the costumes delightfully dark, but beyond its appeal to my horror loving heart, I had little interest in re-watching it. The other day, I was browsing Shudder and came across it and decided to watch it for the sake of nostalgia. It was then that I picked up on the parody that my seventeen-year-old self missed entirely: for-profit healthcare.
Repo! takes place in 2056, where a planet-wide organ failure epidemic has led to drastic measures. In a time of need, a company by the name of GeneCo has come to the rescue. Offering payment plans to those that cannot afford their new organs, GeneCo saves the lives of those unfortunate souls. But what happens when they can’t meet their payments? Well, that’s what repo men are for, isn’t it?
So where does the parody come in? A similar system already exists in the way the American health care system is presently structured with its for-profit health insurance. Most insurance companies, like GeneCo, are not there for the benefit of their consumers, but for the filling of their pockets. As long as you can pay the premium (or the payment), your coverage remains intact and you’re able to get treatment and medication (or keep your organs in the world of Repo!). The moment you’re not able to do that, your coverage is often revoked (or your organs are repossessed). Of course, in the real world, this isn’t as brutal as it is in Repo! At least, not in most cases, but it can be just as scary. For myself, it’s often quite terrifying as I struggle to stay in remission from ulcerative pancolitis.
Moving on from the parody, there are other aspects of the movie that I feel are also accurate representations of today’s society – things that I feel Repo! was a bit ahead of its time on. The Largo family seems to represent the manner by which the wealthy feed upon the powerlessness of the poor. Also, am I the only one that, upon re-watching this film, can’t help but think of Trump when I’m looking at Rotti Largo? As a villain, Rotti is largely incompetent. He uses others to do what he can’t and often resorts to bullying to get what he wants, as can be seen in the blood contract with Blind Mag. Another example is how he manipulated Nathan and later Shiloh to break and control them, in hopes of controlling them. While it worked for the former of the two, Shiloh was not susceptible to his manipulation – yet another reference to something we’re seeing in today’s society in regards to Shiloh’s generation (that is present-day millennials) and the older generation, which is more mixed politically.
I think it’s also important that we take a moment to focus on Shiloh as a character. She is, perhaps, my least favorite character in this film. Then again, she was also in her rebellious teenage years and was, naturally, horrendously stereotyped. She loathed her father for keeping her bound to her room, even though she understood why and, even when she found out his sins and the lies he told her, she failed to turn against him – paying homage to the saying that “blood is thicker than water.” The end comics only state that she went into hiding, hinting that she was never to be heard from again – which is a shame. I’d like to think she’d become an activist, but… I guess that wasn’t her future.
One of my favorite things about this musical is the haunting and unearthly qualities that linger around Blind Mag and the Graverobber. This is a film I will watch again and again, even if others loathe it for being campy and over the top. In fact, I plan to show it to my Dad’s girlfriend’s kid.
Repo! takes place in 2056, where a planet-wide organ failure epidemic has led to drastic measures. In a time of need, a company by the name of GeneCo has come to the rescue. Offering payment plans to those that cannot afford their new organs, GeneCo saves the lives of those unfortunate souls. But what happens when they can’t meet their payments? Well, that’s what repo men are for, isn’t it?
So where does the parody come in? A similar system already exists in the way the American health care system is presently structured with its for-profit health insurance. Most insurance companies, like GeneCo, are not there for the benefit of their consumers, but for the filling of their pockets. As long as you can pay the premium (or the payment), your coverage remains intact and you’re able to get treatment and medication (or keep your organs in the world of Repo!). The moment you’re not able to do that, your coverage is often revoked (or your organs are repossessed). Of course, in the real world, this isn’t as brutal as it is in Repo! At least, not in most cases, but it can be just as scary. For myself, it’s often quite terrifying as I struggle to stay in remission from ulcerative pancolitis.
Moving on from the parody, there are other aspects of the movie that I feel are also accurate representations of today’s society – things that I feel Repo! was a bit ahead of its time on. The Largo family seems to represent the manner by which the wealthy feed upon the powerlessness of the poor. Also, am I the only one that, upon re-watching this film, can’t help but think of Trump when I’m looking at Rotti Largo? As a villain, Rotti is largely incompetent. He uses others to do what he can’t and often resorts to bullying to get what he wants, as can be seen in the blood contract with Blind Mag. Another example is how he manipulated Nathan and later Shiloh to break and control them, in hopes of controlling them. While it worked for the former of the two, Shiloh was not susceptible to his manipulation – yet another reference to something we’re seeing in today’s society in regards to Shiloh’s generation (that is present-day millennials) and the older generation, which is more mixed politically.
I think it’s also important that we take a moment to focus on Shiloh as a character. She is, perhaps, my least favorite character in this film. Then again, she was also in her rebellious teenage years and was, naturally, horrendously stereotyped. She loathed her father for keeping her bound to her room, even though she understood why and, even when she found out his sins and the lies he told her, she failed to turn against him – paying homage to the saying that “blood is thicker than water.” The end comics only state that she went into hiding, hinting that she was never to be heard from again – which is a shame. I’d like to think she’d become an activist, but… I guess that wasn’t her future.
One of my favorite things about this musical is the haunting and unearthly qualities that linger around Blind Mag and the Graverobber. This is a film I will watch again and again, even if others loathe it for being campy and over the top. In fact, I plan to show it to my Dad’s girlfriend’s kid.
Amanda (96 KP) rated People Like Us in Books
Mar 12, 2019
Ever watched that show Pretty Little Liars or Riverdale (RIP Luke Perry) and think to yourself, this is such a stupid teenager drama show...and yet I can't stop watching or I need to know what happens next? This book doesn't read like Riverdale, but it definitely reads like an episode or another book of Pretty Little Liars. I will say that it reads like that, and a little like Karen M. McManus' novel, One of Us is Lying.
So we have Katherine "Kay" at a boarding school called, Bates. She's there for a soccer and hopes to get an athletic scholarship. One night, her and her few friends come across a body, a student and things begin to unravel about Kay and now she's being blackmailed.
Here's Kay in a nutshell. She DID NOT come from money, though she is trying her best to dress and act the part - including being the bully. It's hard to say if she goes a long with most of the stuff her friends did and said, or if she is genuinely a 'mean girl'. Although, after a prank that was her idea comes to play, my sympathy for her slowly weakens.
She gets a link to this revenge blog and it works along with algorithm that if she doesn't get a student off the class roster (meaning getting them expelled) then information about her is leaked to the police that could put her in prison. How it works is the blog is a stove and it opens for a 'recipe'. The recipe is a poem and sometimes had photos or information that incriminates her friends. One of them, for example, hints that one of her friends cheats on her tests.
To add to the drama, Kay struggles with her romantic feelings for her best friend (though I often wonder why) Brie whom has a girlfriend. They've gone through the whole will they or will they not bit, and although Brie has a girlfriend, Kay still struggles. She also has conflicting feelings for her ex-boyfriend, Spencer, who cheated on her...oddly enough with the student they found dead.
Kay's life is one long soap opera. She harbors a secret about her brother's murder and her best friend's suicide (before she was shipped to Bates). Her and her group of friends makes me think of the reasons of why I didn't hang out with a group of girls growing up. They are catty and vengeful. Sometimes guys aren't any better, but I had more guy friends than I did girl friends growing up.
I dozed off on most of the book because Kay started babbling on about certain things that just didn't keep my interest. The more she told her story the more intrigued I did get, but in the end, I still couldn't really feel much for her. I'm not sure if that was the intention of the story - perhaps if it were, it wouldn't be told by Kay. The characters were not likable, but I think that was the point.
I didn't even care for Brie whom is basically the only NICE girl in the whole bunch. I can understand her being hurt by Kay (and Kay has said and done some things to warrant that), but at the same time, I wonder what it is about her that has Kay wanting her so badly.
I liked Nola for a moment because she was a computer nerd and liked literature, but that didn't last long at all. The only character I felt for was a cat named Hunter...poor kitty.
The story as a whole wasn't bad. Each side story came around in full circle and nothing was left out or left unresolved. I didn't even have a problem with how it ended, because honestly, how else would it have ended? Kay expresses regret for her actions and the things she has said, but if the story were to continue into a book two, I better see some major growth from everything she endured.
So we have Katherine "Kay" at a boarding school called, Bates. She's there for a soccer and hopes to get an athletic scholarship. One night, her and her few friends come across a body, a student and things begin to unravel about Kay and now she's being blackmailed.
Here's Kay in a nutshell. She DID NOT come from money, though she is trying her best to dress and act the part - including being the bully. It's hard to say if she goes a long with most of the stuff her friends did and said, or if she is genuinely a 'mean girl'. Although, after a prank that was her idea comes to play, my sympathy for her slowly weakens.
She gets a link to this revenge blog and it works along with algorithm that if she doesn't get a student off the class roster (meaning getting them expelled) then information about her is leaked to the police that could put her in prison. How it works is the blog is a stove and it opens for a 'recipe'. The recipe is a poem and sometimes had photos or information that incriminates her friends. One of them, for example, hints that one of her friends cheats on her tests.
To add to the drama, Kay struggles with her romantic feelings for her best friend (though I often wonder why) Brie whom has a girlfriend. They've gone through the whole will they or will they not bit, and although Brie has a girlfriend, Kay still struggles. She also has conflicting feelings for her ex-boyfriend, Spencer, who cheated on her...oddly enough with the student they found dead.
Kay's life is one long soap opera. She harbors a secret about her brother's murder and her best friend's suicide (before she was shipped to Bates). Her and her group of friends makes me think of the reasons of why I didn't hang out with a group of girls growing up. They are catty and vengeful. Sometimes guys aren't any better, but I had more guy friends than I did girl friends growing up.
I dozed off on most of the book because Kay started babbling on about certain things that just didn't keep my interest. The more she told her story the more intrigued I did get, but in the end, I still couldn't really feel much for her. I'm not sure if that was the intention of the story - perhaps if it were, it wouldn't be told by Kay. The characters were not likable, but I think that was the point.
I didn't even care for Brie whom is basically the only NICE girl in the whole bunch. I can understand her being hurt by Kay (and Kay has said and done some things to warrant that), but at the same time, I wonder what it is about her that has Kay wanting her so badly.
I liked Nola for a moment because she was a computer nerd and liked literature, but that didn't last long at all. The only character I felt for was a cat named Hunter...poor kitty.
The story as a whole wasn't bad. Each side story came around in full circle and nothing was left out or left unresolved. I didn't even have a problem with how it ended, because honestly, how else would it have ended? Kay expresses regret for her actions and the things she has said, but if the story were to continue into a book two, I better see some major growth from everything she endured.
Movie Metropolis (309 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jun 10, 2019
Does it live up to the hype?
When it came to choosing a director for Star Wars: the Force Awakens, there really was only one choice: J.J Abrams. He had the difficult task of bringing the beloved Star Trek series back onto the big screen after numerous misfiring movies and did so with two near-perfect films.
With Episode VII of the sci-fi soap opera proving to be the most-hyped movie of the last decade, Abrams had a lot riding on this film. But does it live up to it all?
Following on from the events of Return of the Jedi, Episode VII follows the story of the First Order – born from the remains of the Empire destroyed at the end of the original trilogy. Taking them on is the Resistance, aka the good guys. That’s as much as I will say about the story, as anymore would be venturing dangerously close to spoiler territory.
A whole host of new characters join the old blood fans have been dying to see for years and the exceptional writing here means they blend seamlessly together without the need to delve into sickly nostalgia. That’s not to say there isn’t any nostalgia of course, but it’s tastefully referenced.
Of the newcomers, Daisy Ridley’s scavenger Rey and John Boyega’s disillusioned Stormtrooper Finn make the most impact and are commanding in each of their many action sequences; their acting prowess is impeccable considering their lack of experience in big blockbusters.
Elsewhere, the much-marketed ball droid BB-8 ends up becoming one of the most memorable characters to grace the series and is up there with R2-D2 and C-3P0 and will no doubt become a fan favourite as the new trilogy progresses.
It’s wonderful to see J.J Abrams grounding Star Wars with its roots. Carrie Fisher and Harrison Ford certainly look different to how we remember them, but their characters still remain the feisty figures that we know and love, though a little more of Leia would be welcome throughout The Force Awakens.
Over on the dark side, Adam Driver’s Kylo Ren is a menacing presence. His many tantrums are a joy to watch and you can feel the evil radiating from him. He’s most definitely deserving of a place in the Star Wars Villain Hall of Fame and makes more of an impact than any of the bad guys in the prequel trilogy.
The special effects are absolutely sublime. Beautiful sets and stunning planets are brilliantly juxtaposed with intergalactic dogfights featuring some of the series’ much-loved ships and yes the Millennium Falcon looks as good as ever. The action sequences are filmed with such confidence that every single frame looks 100% convincing.
It’s impossible to know where Abrams has chosen to use CGI and when he has opted for good old practical effects. This is how film-making should be and The Force Awakens is all the better for it.
Unfortunately, the story is somewhat lacking. A near carbon-copy of what we saw in A New Hope means it’s easy to see where the film is going from the off and while this doesn’t detract from the overall viewing experience, it would have been nice to have something a little more original to really sink your teeth into.
Nevertheless, this is a film with a fantastic sense of humour. Abrams and writing partners Lawrence Kasdan and Michael Arndt have managed to inject some genuinely funny moments – most of them involving BB-8 – into the film’s 135 minute running time.
Overall, J.J Abrams need not worry. Star Wars: the Force Awakens has topped off a year that has included some incredible films and this is one to add to the list. With some of the best special effects ever put to the big screen and a cast of intriguing and memorable characters, Episode VII is the film that fans of the series deserve and there’s a lot for newcomers to enjoy too.
Does it live up to the hype? Not quite, but it’s a memorable movie nonetheless.
https://moviemetropolis.net/2015/12/20/does-it-live-up-to-the-hype-star-wars-the-force-awakens-review/
With Episode VII of the sci-fi soap opera proving to be the most-hyped movie of the last decade, Abrams had a lot riding on this film. But does it live up to it all?
Following on from the events of Return of the Jedi, Episode VII follows the story of the First Order – born from the remains of the Empire destroyed at the end of the original trilogy. Taking them on is the Resistance, aka the good guys. That’s as much as I will say about the story, as anymore would be venturing dangerously close to spoiler territory.
A whole host of new characters join the old blood fans have been dying to see for years and the exceptional writing here means they blend seamlessly together without the need to delve into sickly nostalgia. That’s not to say there isn’t any nostalgia of course, but it’s tastefully referenced.
Of the newcomers, Daisy Ridley’s scavenger Rey and John Boyega’s disillusioned Stormtrooper Finn make the most impact and are commanding in each of their many action sequences; their acting prowess is impeccable considering their lack of experience in big blockbusters.
Elsewhere, the much-marketed ball droid BB-8 ends up becoming one of the most memorable characters to grace the series and is up there with R2-D2 and C-3P0 and will no doubt become a fan favourite as the new trilogy progresses.
It’s wonderful to see J.J Abrams grounding Star Wars with its roots. Carrie Fisher and Harrison Ford certainly look different to how we remember them, but their characters still remain the feisty figures that we know and love, though a little more of Leia would be welcome throughout The Force Awakens.
Over on the dark side, Adam Driver’s Kylo Ren is a menacing presence. His many tantrums are a joy to watch and you can feel the evil radiating from him. He’s most definitely deserving of a place in the Star Wars Villain Hall of Fame and makes more of an impact than any of the bad guys in the prequel trilogy.
The special effects are absolutely sublime. Beautiful sets and stunning planets are brilliantly juxtaposed with intergalactic dogfights featuring some of the series’ much-loved ships and yes the Millennium Falcon looks as good as ever. The action sequences are filmed with such confidence that every single frame looks 100% convincing.
It’s impossible to know where Abrams has chosen to use CGI and when he has opted for good old practical effects. This is how film-making should be and The Force Awakens is all the better for it.
Unfortunately, the story is somewhat lacking. A near carbon-copy of what we saw in A New Hope means it’s easy to see where the film is going from the off and while this doesn’t detract from the overall viewing experience, it would have been nice to have something a little more original to really sink your teeth into.
Nevertheless, this is a film with a fantastic sense of humour. Abrams and writing partners Lawrence Kasdan and Michael Arndt have managed to inject some genuinely funny moments – most of them involving BB-8 – into the film’s 135 minute running time.
Overall, J.J Abrams need not worry. Star Wars: the Force Awakens has topped off a year that has included some incredible films and this is one to add to the list. With some of the best special effects ever put to the big screen and a cast of intriguing and memorable characters, Episode VII is the film that fans of the series deserve and there’s a lot for newcomers to enjoy too.
Does it live up to the hype? Not quite, but it’s a memorable movie nonetheless.
https://moviemetropolis.net/2015/12/20/does-it-live-up-to-the-hype-star-wars-the-force-awakens-review/
TheDefunctDiva (304 KP) rated The Fly (1986) in Movies
Mar 13, 2021 (Updated Mar 15, 2021)
Come Fly With Me...
Contains spoilers, click to show
The Fly, Directed by David Cronenberg, 1986
To the victor go the spoils. To the reader, go the spoilers.
We watched The Fly the other night. I observed, with fond amusement, that the energetic and quirky Jeff Goldblum always seems to star as himself. In this film, he plays a scientist named Seth Brundle. His offbeat handsomeness pairs well with the pale beauty of Geena Davis, who stars alongside him as journalist Veronica Quaife. As the two characters hit it off, I tried to ignore the fact that Goldblum’s character came off as somewhat creepy.
Then we were introduced to Veronica’s ex-boyfriend, who is also her boss. Stathis, played by John Getz, is unhinged. His performance was exaggerated, almost a caricature. He presents himself as the pinnacle alpha-male. Talk about a stalker. His attempts to control Veronica, and his jealousy, were epic. I commented that the scariest thing about this movie was Veronica’s ex. Little did I know what the rest of the film had in store.
Seth, an undiscovered genius, has invented a transporter. Seth shows Veronica how his invention works by transporting her stocking from one pod to another. Veronica wants to publish a story about it, but Seth insists that his technology is not ready. Seth and Veronica become involved, and she helps document his experiments.
Later, things get hairy. Naturally, they want to see if the pods are capable of transporting living beings. Instead of experimenting on a bug, or a mouse, or a smaller creature, they attempt to transport a full-sized monkey.
Suffice to say, things do not go well. Kudos to the special effects team for creating that pile of retch.
More modifications are made, and another monkey survives the transportation trip.
The romance grows between Seth and Veronica. I had a hard time buying into the chemistry between Goldblum and Davis. They both seemed a little distant. Regardless, the love story pushes forward. There is even talk of the pair going away together “like an old married couple.” Then Veronica’s boss throws a wrench in the mix. Veronica is forced to deal with his antics. Seth, who is also a bit of a jealous type, gets drunk and sends himself through the transporter, since the monkey seemed fine.
Then there comes the stuff of nightmares. Seth isn’t himself. He is immediately charged with manic energy. He performs quite an impressive gymnastics routine (thank you, stunt Goldblum).Veronica is clearly distraught that her boyfriend is losing it.
The physical metamorphosis begins. Seth develops weird, wiry hairs protruding from a cut on his back. His sex drive goes wonky, and when he alienates Veronica, he finds a random lady from a bar to sleep with. His complexion worsens dramatically. He discovers that his machine has melded his genetic information with the DNA of a fly that was in the pod of the transporter with him. THE DNA FUSED AT A MOLECULAR LEVEL. This, my dear viewers, is not good. Not the sort of thing you can get addressed at your nearest urgent care clinic.
Things get worse, and incredibly gross, from there. Fingernails fall off and bug juice oozes. The makeup and special effects departments did an extremely convincing job. I felt incredibly bad for this seemingly highly intelligent man. My boyfriend kept calling for a flame thrower.
Veronica tries to help, and is empathetic. But watching your newfound love deteriorate so rapidly, and being powerless to help, is extremely traumatic. Davis brought her A-game to this portion of the performance. And, true to the sci-fi soap opera plot, she discovers that she is pregnant with Seth’s baby.
I don’t want to spoil the ending for you. But do you imagine this story ends well? I had hope. But it was squashed like a bug. If you have the stomach for good, old-fashioned movie gore, and you like Weird Science with a touch of Bad Romance, this film is for you.
To the victor go the spoils. To the reader, go the spoilers.
We watched The Fly the other night. I observed, with fond amusement, that the energetic and quirky Jeff Goldblum always seems to star as himself. In this film, he plays a scientist named Seth Brundle. His offbeat handsomeness pairs well with the pale beauty of Geena Davis, who stars alongside him as journalist Veronica Quaife. As the two characters hit it off, I tried to ignore the fact that Goldblum’s character came off as somewhat creepy.
Then we were introduced to Veronica’s ex-boyfriend, who is also her boss. Stathis, played by John Getz, is unhinged. His performance was exaggerated, almost a caricature. He presents himself as the pinnacle alpha-male. Talk about a stalker. His attempts to control Veronica, and his jealousy, were epic. I commented that the scariest thing about this movie was Veronica’s ex. Little did I know what the rest of the film had in store.
Seth, an undiscovered genius, has invented a transporter. Seth shows Veronica how his invention works by transporting her stocking from one pod to another. Veronica wants to publish a story about it, but Seth insists that his technology is not ready. Seth and Veronica become involved, and she helps document his experiments.
Later, things get hairy. Naturally, they want to see if the pods are capable of transporting living beings. Instead of experimenting on a bug, or a mouse, or a smaller creature, they attempt to transport a full-sized monkey.
Suffice to say, things do not go well. Kudos to the special effects team for creating that pile of retch.
More modifications are made, and another monkey survives the transportation trip.
The romance grows between Seth and Veronica. I had a hard time buying into the chemistry between Goldblum and Davis. They both seemed a little distant. Regardless, the love story pushes forward. There is even talk of the pair going away together “like an old married couple.” Then Veronica’s boss throws a wrench in the mix. Veronica is forced to deal with his antics. Seth, who is also a bit of a jealous type, gets drunk and sends himself through the transporter, since the monkey seemed fine.
Then there comes the stuff of nightmares. Seth isn’t himself. He is immediately charged with manic energy. He performs quite an impressive gymnastics routine (thank you, stunt Goldblum).Veronica is clearly distraught that her boyfriend is losing it.
The physical metamorphosis begins. Seth develops weird, wiry hairs protruding from a cut on his back. His sex drive goes wonky, and when he alienates Veronica, he finds a random lady from a bar to sleep with. His complexion worsens dramatically. He discovers that his machine has melded his genetic information with the DNA of a fly that was in the pod of the transporter with him. THE DNA FUSED AT A MOLECULAR LEVEL. This, my dear viewers, is not good. Not the sort of thing you can get addressed at your nearest urgent care clinic.
Things get worse, and incredibly gross, from there. Fingernails fall off and bug juice oozes. The makeup and special effects departments did an extremely convincing job. I felt incredibly bad for this seemingly highly intelligent man. My boyfriend kept calling for a flame thrower.
Veronica tries to help, and is empathetic. But watching your newfound love deteriorate so rapidly, and being powerless to help, is extremely traumatic. Davis brought her A-game to this portion of the performance. And, true to the sci-fi soap opera plot, she discovers that she is pregnant with Seth’s baby.
I don’t want to spoil the ending for you. But do you imagine this story ends well? I had hope. But it was squashed like a bug. If you have the stomach for good, old-fashioned movie gore, and you like Weird Science with a touch of Bad Romance, this film is for you.
theVman (16 KP) rated Twin Peaks - Season 3 in TV
May 22, 2017
The Cast (1 more)
The new mysterys
Lack of the familar Twin Peaks stuff (2 more)
The way the story unfolds
Very Slow
The first four episodes
Twin Peaks: The Return
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
Sassy Brit (97 KP) rated Let The Dead Keep Their Secrets in Books
Jun 5, 2019
Let The DEAD Keep Their Secrets by Rosemary Simpson brings to life New York City during the 1880s in a historical mystery. It is rich in the culture of the time with a riveting Colombo type crime. Readers know who has done it and seek clues with the characters to find the proof.
The plot opens with New York opera singer Claire Buchanan calling on the investigative services of Prudence MacKenzie and her partner, Geoffrey Hunter. Claire shows up at their door begging them to find out exactly how her twin sister, Catherine, and newborn daughter died, believing it was not from natural causes. Catherine’s husband, Aaron Sorenson, is a scoundrel and appears to be marrying women, getting them pregnant, and then having baby and mother die in childbirth. Prudence and Geoffrey find that childbirth can be dangerous to one’s health as they realize that Sorenson’s current wife may also be in danger. His motive, both the late wife and the current wife would inherit a substantial estate, which will go to him upon their death. Sorensen seems to always be in need of money to pay mounting gambling debts. As the tension mounts the investigative team is putting themselves at risk in attempting to expose the murder-for-inheritance scheme.
The author noted, “Catherine was emotionally abused. Women during that time period did not have much choice. In the Gilded Age in New York women were still property of their husbands. They were very limited to what their husbands wanted.”
One of the important clues is a photograph of the late mother and child. Simpson weaves into the story a Victorian Era custom, post-mortem photography. During these scenes readers learn of the spiritualists who believe “about the possibility of capturing an image of the soul leaving a body at the moment of death.” It was during this time that Claire senses something from her twin sister. The author commented, “During my research, I read how twins separated by birth and raised by different families still have the same likes and dislikes and can sense how each other feels.”
Through the characters people learn of the Gilded Age era, with a fascinating description of the homes, the period clothing, and the city of New York. Unlike many women of the time, Prudence is very unconventional, desiring to take the bar exam and become a litigator. For now, she is content to be an amateur sleuth to her partner, ex-Pinkerton agent Geoffrey Hunter, as she learns on the job. “I wrote Prudence being raised by a widowed father who looked at her as a replacement for a son. He did not make an exception for her being a girl and made sure she had a very well developed sharp legal mind. She is determined to make her own way even though she inherited wealth. I read that the Pinkerton Agency hired a lady detective during the Civil War and knew I wanted to make my heroine an investigator who is constantly challenged by Geoffrey.”
The hero and heroine also have flaws. The author uses events that happened during the Gilded Age paralleling them with what is happening today. Simpson explained, “Geoffrey has left his southern roots, abandoning his culture and family. He has a lot of contradictions. Prudence must struggle with her addiction to the drug laudanum. She was given it by her family doctor to help her cope with her father’s passing and then her fiancé’s death. She overcame the reliance on laudanum but not without a terrible struggle and the knowledge that she would never be entirely free of it. I parallel it with the opioid epidemic today. People became accidental addicts because they were given the drugs legally to cope with physical and emotional pain.”
The antagonist, Simpson has no redeeming qualities. He is a cold and calculating thief, a swindler, and bigamist who victimizes rich women. “I wanted to write an absolute villain. He is unscrupulous, uncaring with no conscience. He had every vile habit known. I do not write cozy mysteries, but historical noirs. My bad guys are really, really bad who cause awful things to happen.”
The author definitely had done her homework. “I want to feel I live in this world for awhile and to get the reader to feel that also. I read the New York Times Archives and fall into the rhythm of the language used, how they spoke, wrote and thought. It puts me in the mindset of the character I am writing about.” With her detailed descriptions and gripping story Simpson has also drawn the reader into the time period through an exciting and action-packed mystery.
The plot opens with New York opera singer Claire Buchanan calling on the investigative services of Prudence MacKenzie and her partner, Geoffrey Hunter. Claire shows up at their door begging them to find out exactly how her twin sister, Catherine, and newborn daughter died, believing it was not from natural causes. Catherine’s husband, Aaron Sorenson, is a scoundrel and appears to be marrying women, getting them pregnant, and then having baby and mother die in childbirth. Prudence and Geoffrey find that childbirth can be dangerous to one’s health as they realize that Sorenson’s current wife may also be in danger. His motive, both the late wife and the current wife would inherit a substantial estate, which will go to him upon their death. Sorensen seems to always be in need of money to pay mounting gambling debts. As the tension mounts the investigative team is putting themselves at risk in attempting to expose the murder-for-inheritance scheme.
The author noted, “Catherine was emotionally abused. Women during that time period did not have much choice. In the Gilded Age in New York women were still property of their husbands. They were very limited to what their husbands wanted.”
One of the important clues is a photograph of the late mother and child. Simpson weaves into the story a Victorian Era custom, post-mortem photography. During these scenes readers learn of the spiritualists who believe “about the possibility of capturing an image of the soul leaving a body at the moment of death.” It was during this time that Claire senses something from her twin sister. The author commented, “During my research, I read how twins separated by birth and raised by different families still have the same likes and dislikes and can sense how each other feels.”
Through the characters people learn of the Gilded Age era, with a fascinating description of the homes, the period clothing, and the city of New York. Unlike many women of the time, Prudence is very unconventional, desiring to take the bar exam and become a litigator. For now, she is content to be an amateur sleuth to her partner, ex-Pinkerton agent Geoffrey Hunter, as she learns on the job. “I wrote Prudence being raised by a widowed father who looked at her as a replacement for a son. He did not make an exception for her being a girl and made sure she had a very well developed sharp legal mind. She is determined to make her own way even though she inherited wealth. I read that the Pinkerton Agency hired a lady detective during the Civil War and knew I wanted to make my heroine an investigator who is constantly challenged by Geoffrey.”
The hero and heroine also have flaws. The author uses events that happened during the Gilded Age paralleling them with what is happening today. Simpson explained, “Geoffrey has left his southern roots, abandoning his culture and family. He has a lot of contradictions. Prudence must struggle with her addiction to the drug laudanum. She was given it by her family doctor to help her cope with her father’s passing and then her fiancé’s death. She overcame the reliance on laudanum but not without a terrible struggle and the knowledge that she would never be entirely free of it. I parallel it with the opioid epidemic today. People became accidental addicts because they were given the drugs legally to cope with physical and emotional pain.”
The antagonist, Simpson has no redeeming qualities. He is a cold and calculating thief, a swindler, and bigamist who victimizes rich women. “I wanted to write an absolute villain. He is unscrupulous, uncaring with no conscience. He had every vile habit known. I do not write cozy mysteries, but historical noirs. My bad guys are really, really bad who cause awful things to happen.”
The author definitely had done her homework. “I want to feel I live in this world for awhile and to get the reader to feel that also. I read the New York Times Archives and fall into the rhythm of the language used, how they spoke, wrote and thought. It puts me in the mindset of the character I am writing about.” With her detailed descriptions and gripping story Simpson has also drawn the reader into the time period through an exciting and action-packed mystery.
Chris Sawin (602 KP) rated Get Him to the Greek (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Aaron Green (Jonah Hill) works as a record company intern at Pinnacle Records. His boss Sergio Roma (Sean "Diddy" Combs) is wanting a "game changer" that will help turn the company around. Aaron pitches the idea that since it's the ten year anniversary of out of control British rock star Aldous Snow (Russell Brand) performing at the Greek Theatre in Los Angeles, he believes that the company can make a serious profit from not only a return performance, but by re-releasing his back catalog, as well. Sergio eventually goes for the idea and Aaron flies out to London to bring Aldous back to America to prepare for the show. Unfortunately for him, Aldous Snow's lifestyle tends to rub off on him and turns his life upside down in the process. As Aaron deals with some relationship issues and has his hands full trying to keep Aldous sober, Aldous has some relationship problems of his own and begins to wonder if there's more to life than sex, drugs, and rock and roll. It seems like a moot point by the time the Greek Theater show sells out as Aaron may not have a girlfriend or a job by the time the show begins and Aldous speaks of skipping the gig altogether.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
I was a pretty big fan of Forgetting Sarah Marshall, but that was mostly due to the Dracula rock opera and Russell Brand's outrageous portrayal of Aldous Snow. So Get Him to the Greek immediately grabbed my attention since it was announced as a spinoff sequel, but I became excited when reviews trickled in saying it was raunchier than its predecessor. Is more Aldous Snow really a good thing though? The short answer is yes. Yes it is.
Russell Brand is really the backbone of the film. Aldous Snow's rock star lifestyle provides his character with a sense of unpredictability as his outlandish outbursts and struggle with more adult decisions is enticing and at often times hilarious. Jonah Hill's screen presence is just as important to the film. His usual quick witted and delightfully explicit sense of humor in addition to his chemistry with Russell Brand is really a spectacular combination. Sean Combs manages to steal quite a few scenes, as well. His theory on screwing with people's heads and his one-liners ("You cannot out run me! I am black!") were surprisingly hysterical. The music in the film is really the key ingredient that brings the entire film together though. Fictional band Infant Sorrow delivers some pretty fantastic and humorously obscene ballads that are better than they should be for a film like this. I liked "Furry Walls" so much that I downloaded the soundtrack as soon as I returned from the theater.
The film's strongest scenes don't seem to last as long as they should though. The R-rated comedy seems to shine brightest when things get a bit more serious as the main characters come off as being more human, more realistic, and easier to relate to during those situations. Unfortunately those scenes really only begin to transpire in the last 15-20 minutes of the film and even though the point is made, I can't help but think of how a great film could have been even better if those events had occurred earlier on to have an even bigger impact. The biggest issue for me was that most of the scenes in the trailers were either not in the film at all or were different takes from scenes that actually made it into the theatrical version of the film. That means the DVD will probably be unrated and have x amount of extra footage not seen in theaters, but at least 50% of the scenes you're looking forward to were probably left on the cutting room floor which is just disappointing.
Get Him to the Greek may very well be this year's The Hangover, but isn't quite as laugh out loud funny as the 2009 comedy blockbuster. Get Him to the Greek is a wonderfully amusing comedy with a highly entertaining soundtrack that effectively gives a little more depth to the already remarkable for all the wrong reasons character Aldous Snow, but unfortunately doesn't live up to the reputation of being the uproarious riot that everyone seems to be making it out to be. Nevertheless, it is still an extremely solid comedy that comes highly recommended from me.
Why Me? Why Not. by Liam Gallagher
7.5
Rate It
Album Watch
Good things come to those who wait: and so, this summer, Liam Gallagher returns with a new single, a...
Bob Mann (459 KP) rated Green Book (2018) in Movies
Sep 28, 2021
“Vacation without Aggravation.”
The “Green Book” was a handbook (now, thankfully, out of print) for blacks travelling in the southern states of the US , who want to stay in or dine in places they will be welcomed rather than abused. It is of course 1962 and Bobby Kennedy as Attorney General has racial equality strongly in his firing line.
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
Daniel Boyd (1066 KP) rated Big Little Lies - Season 1 in TV
Feb 8, 2019 (Updated Feb 8, 2019)
Rich White People Problems: The Show
As more news of Season 2 of this show seeps out, I decided to eventually get around to catching the first season of this highly praised and seemingly universally lauded show. I went in expecting greatness from this thing after reading all of the glowing critic's reviews. I am also a huge fan of many of the cast members involved in this project, so knowing nothing about the plot or subject matter the show is based on, I went in blind; excited to see what this series had in store.
The series opens with some ominous editing and vague hints that a major crime has been committed, which we eventually realise to be a murder. Then we are taken backwards tin time and are introduced to Reese Witherspoon's character Madeline, whom initially comes off as entitled and annoying, but you assume that this is going to have a purpose in her character's arc and she will grow on you. You are wrong to assume that as she is extremely irritating throughout the entire duration of the series, constantly interrupting other characters lines and sticking her oar in during group situations, just for the sake of clinging on to the spotlight and keeping herself at the centre of attention.
Thankfully, Nicole Kidman's character Celeste is less annoying and instead just a bit strange. We see pretty early on that she is a victim of domestic abuse at the hands of her much younger husband played by Alexander Skarsgard. At first this is pretty harrowing and sad to see, but for some reason, - and I don't want to kink shame anyone, - but it seems like she kind of likes it. The third main character we are introduced to is Jane, played by Shailene Woodley who immediately seems like damaged goods.
The "conflict," is then set up. After the first day at school we see a highly unrealistic scene play out as the most insensitive teacher in the world with zero foresight gathers all of the children in her class along with their parents outside the school gates. A girl has marks on her neck from being choked by one of the other kids. The teacher then asks the girl to point out the kid that did this to her (in front of the entire class and their parents!) and she points to Jane's son Ziggy. The boy denies any wrongdoing, but the girl who has been hurt's mother, (played by Laura Dern, whom I normally really like,) is a horrible, bitter bitch who responds to the situation by berating the accused boy in front of everyone, degrading his mother in the process for defending her child and not "making," him apologise.
*Insert Peter Griffin "Oh my God, who the hell cares?" meme here.*
Yeah, this is the kind of schoolyard bullshit that this show expects us to treat as a life or death issue. The whole thing is full of non-issues and petty whines centred around 'he said/she said,' nonsense. Then we are supposed to relate to these immature, venomous parents who don't do anything to help the situation whatsoever. Meanwhile the show treats domestic abuse, - something that is a very real and threatening issue, - as just a weird kink in this oddball couple's relationship.
It is clear that all of these parents clearly care far more about self-image than they do about their own children, which makes all of them extremely gross and off putting as characters. They constantly make up excuses as if to try and justify themselves and claim that the bitchy, conniving choices that they make towards each other is for the sake of their kids, when it is clearly just to one up each other in pathetic, petty social warfare and childish beefs.
Website theodysseyonline.com has an article called, '13 Reasons Why Big Little Lies Is So Powerful.' I truly fail to see what is apparently so powerful and ground-breaking about this series. I'm not even sure what it is trying to say; that domestic abuse and rape are bad things done by evil people? Wow, what a brave and unique stance to take! I also resent the idea that everyone that says anything remotely negative about this show is a women-hating misogynist. I consider myself a left-leaning liberal and a feminist, I am a strong supporter of equal rights amongst all genders and races and I do regular work for a women's mental health charity, but I can still spot an overrated, hollow waste of 7 hours when I see one.
Overall, even though this season only last 7 episodes, it is not worth your time. After watching the first 2 episodes I thought about giving up on it, but then I thought about all of the glowing reviews and thought, 'no, surely this must get better.' Let me save you seven hours of your time; it doesn't. This is a melodramatic glorified soap opera that doesn't handle any of the issues that it tries to tackle well and it is filled, - to the point it is bursting at the seams, - with small scope issues and minor annoyances treated as life threatening scenarios, all the while brushing off the genuinely scary and potentially life threatening scenario of domestic abuse.
The series opens with some ominous editing and vague hints that a major crime has been committed, which we eventually realise to be a murder. Then we are taken backwards tin time and are introduced to Reese Witherspoon's character Madeline, whom initially comes off as entitled and annoying, but you assume that this is going to have a purpose in her character's arc and she will grow on you. You are wrong to assume that as she is extremely irritating throughout the entire duration of the series, constantly interrupting other characters lines and sticking her oar in during group situations, just for the sake of clinging on to the spotlight and keeping herself at the centre of attention.
Thankfully, Nicole Kidman's character Celeste is less annoying and instead just a bit strange. We see pretty early on that she is a victim of domestic abuse at the hands of her much younger husband played by Alexander Skarsgard. At first this is pretty harrowing and sad to see, but for some reason, - and I don't want to kink shame anyone, - but it seems like she kind of likes it. The third main character we are introduced to is Jane, played by Shailene Woodley who immediately seems like damaged goods.
The "conflict," is then set up. After the first day at school we see a highly unrealistic scene play out as the most insensitive teacher in the world with zero foresight gathers all of the children in her class along with their parents outside the school gates. A girl has marks on her neck from being choked by one of the other kids. The teacher then asks the girl to point out the kid that did this to her (in front of the entire class and their parents!) and she points to Jane's son Ziggy. The boy denies any wrongdoing, but the girl who has been hurt's mother, (played by Laura Dern, whom I normally really like,) is a horrible, bitter bitch who responds to the situation by berating the accused boy in front of everyone, degrading his mother in the process for defending her child and not "making," him apologise.
*Insert Peter Griffin "Oh my God, who the hell cares?" meme here.*
Yeah, this is the kind of schoolyard bullshit that this show expects us to treat as a life or death issue. The whole thing is full of non-issues and petty whines centred around 'he said/she said,' nonsense. Then we are supposed to relate to these immature, venomous parents who don't do anything to help the situation whatsoever. Meanwhile the show treats domestic abuse, - something that is a very real and threatening issue, - as just a weird kink in this oddball couple's relationship.
It is clear that all of these parents clearly care far more about self-image than they do about their own children, which makes all of them extremely gross and off putting as characters. They constantly make up excuses as if to try and justify themselves and claim that the bitchy, conniving choices that they make towards each other is for the sake of their kids, when it is clearly just to one up each other in pathetic, petty social warfare and childish beefs.
Website theodysseyonline.com has an article called, '13 Reasons Why Big Little Lies Is So Powerful.' I truly fail to see what is apparently so powerful and ground-breaking about this series. I'm not even sure what it is trying to say; that domestic abuse and rape are bad things done by evil people? Wow, what a brave and unique stance to take! I also resent the idea that everyone that says anything remotely negative about this show is a women-hating misogynist. I consider myself a left-leaning liberal and a feminist, I am a strong supporter of equal rights amongst all genders and races and I do regular work for a women's mental health charity, but I can still spot an overrated, hollow waste of 7 hours when I see one.
Overall, even though this season only last 7 episodes, it is not worth your time. After watching the first 2 episodes I thought about giving up on it, but then I thought about all of the glowing reviews and thought, 'no, surely this must get better.' Let me save you seven hours of your time; it doesn't. This is a melodramatic glorified soap opera that doesn't handle any of the issues that it tries to tackle well and it is filled, - to the point it is bursting at the seams, - with small scope issues and minor annoyances treated as life threatening scenarios, all the while brushing off the genuinely scary and potentially life threatening scenario of domestic abuse.