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Bob Mann (459 KP) rated Downton Abbey (2019) in Movies
Sep 28, 2021
Very little happens…. and it’s totally glorious!
The “Downton Abbey” TV show is comfortingly bland. The tales of the well-heeled Grantham family and the below-stairs antics of their servants. But for those who have followed Julian Fellowes‘ pot-boiler drama through all six seasons, and a number of Christmas specials, it’s like a favourite jumper… or rediscovering your comfy slippers just as the nights start getting colder.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.
Nicole Hadley (380 KP) rated Candy is Magic: Real Ingredients, Modern Recipes in Books
Jun 14, 2018
Candy Is Magic by Jami Curl is a very thorough book about making candy! It's quite amazing and goes through equipment, ingredients, and recipes. From lollipops to caramels, ice cream, marshmallows, gum drops, and even chews. The pictures are mouthwatering and I highly recommend you don't read this while hungry! The recipes are made using real ingredients, including fruit.
The book reviews methods, ingredients, tools and flavors required for candy making. I appreciated the author including such an educational foundational chapter in advance of the recipes. The author breaks down the ingredients for candy making into four main components: sugar, crystal blockers, fat, and salt.
The recipes in the book are divided into six chapters: core ingredients, lollipops, caramels, chewy candies, marshmallows, and gumdrops. Immediately after the Table of Contents is a convenient Recipe List that is categorized by type of recipe so the reader very quickly gets to see the variety of different recipes and flavors that are offered.
The lollipop chapter began with a terrific primer on working with hard candy that broke the process down into simple steps and that described all the required tools. Having this section before the lollipop recipes allowed the recipes to be streamlined with references back to the master instructions for setting up a lollipop station and for pouring the lollipops. The caramel chapter began with a similar primer on caramel technique. The recipes in the Dreams Come Chew chapter referenced the set up, cutting, and wrapping instructions in the caramel chapter. The marshmallow chapter also begins with a review of the ingredients, equipment, and basic steps of marshmallow making. Finally, the gumdrops chapter begins with a discussion of the three basic steps of making gummy candies.
The photography at the beginning of the book is very artistic and doesn’t necessarily depict a particular recipe. It is mostly gorgeous transparent hard candies. In the core recipes chapter, the photographs are still artistic, but have more of a relationship to the recipe. However, there is a particular instance where there is a full-page photograph of luscious peach slices next to a recipe for a roasted peach puree, and the recipe specifically says not to prepare the peaches as in the photograph. All of the fun projects in the book were accompanied by illustrations rather than by photographs.
I received an advanced reader's copy from Ten Speed Press via NetGalley in exchange for an honest review.
The book reviews methods, ingredients, tools and flavors required for candy making. I appreciated the author including such an educational foundational chapter in advance of the recipes. The author breaks down the ingredients for candy making into four main components: sugar, crystal blockers, fat, and salt.
The recipes in the book are divided into six chapters: core ingredients, lollipops, caramels, chewy candies, marshmallows, and gumdrops. Immediately after the Table of Contents is a convenient Recipe List that is categorized by type of recipe so the reader very quickly gets to see the variety of different recipes and flavors that are offered.
The lollipop chapter began with a terrific primer on working with hard candy that broke the process down into simple steps and that described all the required tools. Having this section before the lollipop recipes allowed the recipes to be streamlined with references back to the master instructions for setting up a lollipop station and for pouring the lollipops. The caramel chapter began with a similar primer on caramel technique. The recipes in the Dreams Come Chew chapter referenced the set up, cutting, and wrapping instructions in the caramel chapter. The marshmallow chapter also begins with a review of the ingredients, equipment, and basic steps of marshmallow making. Finally, the gumdrops chapter begins with a discussion of the three basic steps of making gummy candies.
The photography at the beginning of the book is very artistic and doesn’t necessarily depict a particular recipe. It is mostly gorgeous transparent hard candies. In the core recipes chapter, the photographs are still artistic, but have more of a relationship to the recipe. However, there is a particular instance where there is a full-page photograph of luscious peach slices next to a recipe for a roasted peach puree, and the recipe specifically says not to prepare the peaches as in the photograph. All of the fun projects in the book were accompanied by illustrations rather than by photographs.
I received an advanced reader's copy from Ten Speed Press via NetGalley in exchange for an honest review.
Gareth von Kallenbach (971 KP) rated Deep Blue Sea 2 (2018) in Movies
Jun 19, 2019
Back in 1999 I fondly remember covering “Deep Blue Sea”. The press screening was a pleasant surprise as the film presented a fresh take on the shark on the loose genre and gave what was one of the more enjoyable films in the genre since “Jaws 2”.
I had always wondered why the film had never generated a sequel and talk of a direct to DVD follow up a few years later never materialized.
Now in 2018, we finally get the long-awaited follow up as “Deep Blue Seas 2” has arrived as a direct to DVD from Warner Bros Home Entertainment.
I eagerly awaited the arrival of my review copy as not only do I enjoy Shark movies, but my son is very big on the study of sharks and his insights always add a new dimension to me as he can tell me things like the difference between the species being portrayed, number of offspring they have, and their behavior.
The story centers on Dr. Misty Calhoun (Danielle Savre), who is tasked to give her professional opinions to a facility headed by billionaire Carl Durant (Michael Beach). At an underwater lab in South Africa, Dr. Calhoun arrives with a team and learns that the group is experimenting on Bull Sharks with a method that will increase brain abilities in humans.
Naturally things do not go as planned and before long, there are several very angry and genetically enhanced sharks on the loose with the humans desperately trying to find a way to escape and survive.
The story and characters are not overly complex but the goal is clearly to get the cast into the path of the CGI sharks as soon as possible and letting the carnage begin.
I had expected visuals on par with the SYFY films due to the direct to video nature of the film but what we were given was much better than expected.
The CGI effects are quite good and the cinema photography of the film is quite good as there are many really impressive shots in the film of the aquatic setting.
The film is hampered by the thin plot and characters and a lack of star power but it is worth a watch and is certainly better quality than many of the other creature on the loose films out there.
http://sknr.net/2018/05/07/deep-blue-sea-2/
I had always wondered why the film had never generated a sequel and talk of a direct to DVD follow up a few years later never materialized.
Now in 2018, we finally get the long-awaited follow up as “Deep Blue Seas 2” has arrived as a direct to DVD from Warner Bros Home Entertainment.
I eagerly awaited the arrival of my review copy as not only do I enjoy Shark movies, but my son is very big on the study of sharks and his insights always add a new dimension to me as he can tell me things like the difference between the species being portrayed, number of offspring they have, and their behavior.
The story centers on Dr. Misty Calhoun (Danielle Savre), who is tasked to give her professional opinions to a facility headed by billionaire Carl Durant (Michael Beach). At an underwater lab in South Africa, Dr. Calhoun arrives with a team and learns that the group is experimenting on Bull Sharks with a method that will increase brain abilities in humans.
Naturally things do not go as planned and before long, there are several very angry and genetically enhanced sharks on the loose with the humans desperately trying to find a way to escape and survive.
The story and characters are not overly complex but the goal is clearly to get the cast into the path of the CGI sharks as soon as possible and letting the carnage begin.
I had expected visuals on par with the SYFY films due to the direct to video nature of the film but what we were given was much better than expected.
The CGI effects are quite good and the cinema photography of the film is quite good as there are many really impressive shots in the film of the aquatic setting.
The film is hampered by the thin plot and characters and a lack of star power but it is worth a watch and is certainly better quality than many of the other creature on the loose films out there.
http://sknr.net/2018/05/07/deep-blue-sea-2/
Nick Rhodes recommended Nightclubbing by Grace Jones in Music (curated)
Whatchareadin (174 KP) rated Little Fires Everywhere in Books
May 10, 2018
Mia and Pearl move around a lot, but they may have found their forever home in Shaker Heights, Ohio. They are renting the top floor of a duplex owned by the Richardson family. The Richardson's have four children who are all close in age to Pearl. When controversy hits the small tight knit community and Mrs. Richardson finds out that Mia is behind it, she will stop at nothing to find out more about this woman who has disrupted this town.
For me, this book moved very slowly. The story as a whole was good, but there was something about the writing that I just couldn't connect with. The story was told from everyone's point of view, but at times it seemed like that changed in mid-sentence.
Mia is the kind of woman, I think a lot of us wish we could be. She is artistic and carefree. She is an attentive mother and compassionate with her fellow co-workers. But she can't sit still. Every few months, she and Pearl are on the move again for one reason or another. For Pearl, she doesn't mind so much. She has never been able to make and keep friends easily, so it feels good to start over. But Shaker Heights is different. Immediately, she befriends, Moody, the Richardson's youngest son. They have an instant bond. Pearl begins to spend afternoons at their house and walks back and forth to school with Moody. Making friends feels good to Pearl and she is glad that they have decided to spend a little more time in this town than most.
Mia works all kinds of odd jobs to support her in Pearl why she works on her photography. Mia has sold many pieces through an art gallery in New York. Sometimes the pieces go quickly and other times they do not. While in Shaker Heights, Mia is working the take out counter for a Chinese Restaurant. There she befriends a girl who becomes a part of the center of the controversy. With Mia's help this girl finds the strength she needs to do what is necessary.
Mrs. Robinson works as a reporter for the local paper. Covering various events throughout the town. Mrs. Robinson likes Mia and Pearl when they move in, and she even offers Mia a job to do some light housekeeping and cooking at their house. But maybe they shouldn't have allowed Mia to get so close. Maybe then one of her best friends would not have to go through the turmoil she is currently in.
I think many people will like this book, but for me, it was just alright.
For me, this book moved very slowly. The story as a whole was good, but there was something about the writing that I just couldn't connect with. The story was told from everyone's point of view, but at times it seemed like that changed in mid-sentence.
Mia is the kind of woman, I think a lot of us wish we could be. She is artistic and carefree. She is an attentive mother and compassionate with her fellow co-workers. But she can't sit still. Every few months, she and Pearl are on the move again for one reason or another. For Pearl, she doesn't mind so much. She has never been able to make and keep friends easily, so it feels good to start over. But Shaker Heights is different. Immediately, she befriends, Moody, the Richardson's youngest son. They have an instant bond. Pearl begins to spend afternoons at their house and walks back and forth to school with Moody. Making friends feels good to Pearl and she is glad that they have decided to spend a little more time in this town than most.
Mia works all kinds of odd jobs to support her in Pearl why she works on her photography. Mia has sold many pieces through an art gallery in New York. Sometimes the pieces go quickly and other times they do not. While in Shaker Heights, Mia is working the take out counter for a Chinese Restaurant. There she befriends a girl who becomes a part of the center of the controversy. With Mia's help this girl finds the strength she needs to do what is necessary.
Mrs. Robinson works as a reporter for the local paper. Covering various events throughout the town. Mrs. Robinson likes Mia and Pearl when they move in, and she even offers Mia a job to do some light housekeeping and cooking at their house. But maybe they shouldn't have allowed Mia to get so close. Maybe then one of her best friends would not have to go through the turmoil she is currently in.
I think many people will like this book, but for me, it was just alright.
Midge (525 KP) rated The Nowhere Child in Books
Mar 11, 2019
Brilliant And Dark
“The Nowhere Child” is a debut psychological thriller by Christian White and it was so special! Several things cast their spell - my favourite genre; a very smart cover design; winner of the Victorian Premier Literary Award; and great ratings from the offset. It could only be a winner!
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
Matthew Krueger (10051 KP) rated Payback (1999) in Movies
Jul 15, 2020
Get Ready To Root For The Bad Guy
Payback- is a intresting revenge action thriller. Maybe its me, but i fell like this movie is boring. Its good, but some what boring, like nothing going on. Also its kinda of confusing, again it might just be me, but i fell like its confusing as well. Like i said before its good, but in the end its both boring and confusing.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
Becs (244 KP) rated Hollow City: The Second Novel of Miss Peregrine's Children in Books
Oct 2, 2019
Hollow City: The Second Novel of Miss Peregrine’s Peculiar Children by Ransom Riggs
Synopsis: September 3, 1940. Ten peculiar children flee an army of deadly monsters. And only one person can help them—but she’s trapped in the body of a bird. The extraordinary journey that began in Miss Peregrine’s Home for Peculiar Children continues as Jacob Portman and his newfound friends journey to London, the peculiar capital of the world. There, they hope to find a cure for their beloved headmistress, Miss Peregrine. But in this war-torn city, hideous surprises lurk around every corner. And before Jacob can deliver the peculiar children to safety, he must make an important decision about his love for Emma Bloom.
Genre: Fantasy, Young Adult, Paranormal, Fiction
Audience/Reading Level: Middle School+
Interests: Fantasy, Young Adult, Paranormal
Style: Light Read
Point of View: Third Person
Difficulty Reading: It was a very easy read and know even younger individuals will be able to understand what the underlying meaning of the story is.
Promise: Like its predecessor, this second novel in the Peculiar Children series blends thrilling fantasy with newly discovered (and thoroughly mesmerizing) vintage photography to create a one-of-a-kind reading experience that will delight readers of all ages.
Quality: Like your favorite cake with extra whip cream and ice cream. 😉
Insights: When I first read this series, I read Tales of the Peculiar by Ransom Riggs first to get a better understanding of the characters since I had a feeling that there was going to be a lot of references to it. I was right. I honestly fell in love with this series and love the way that Ransom Riggs writes. It just captures my attention and transports me into a world of fantasy that is a great escape from reality!
Favorite Quotes: “Laughing doesn’t make bad things worse any more than crying makes them better.”
“There was romance in the unknown, but once a place had been discovered and cataloged and mapped, it was diminished, just another dusty fact in a book, sapped of mystery. So maybe it was better to leave a few spots on the map blank. To let the world keep a little of its magic, rather than forcing it to divulge every last secret. Maybe it was better, now and then, to wonder.”
What will you gain: A love of a new fantasy world that will make you wish, you too were a part of the Peculiar children’s world.
Aesthetics: I absolutely love the vintage style this series has. The photographs help give an idea of who and what the characters look like. The way that Ransom Riggs writes, just draws anybody of any age into the plot and storyline, like an enchantment that takes you from the real world, into a world filled with magic, hope, love, and adventure.
“Some truths are expressed best in the form of myth.”
Synopsis: September 3, 1940. Ten peculiar children flee an army of deadly monsters. And only one person can help them—but she’s trapped in the body of a bird. The extraordinary journey that began in Miss Peregrine’s Home for Peculiar Children continues as Jacob Portman and his newfound friends journey to London, the peculiar capital of the world. There, they hope to find a cure for their beloved headmistress, Miss Peregrine. But in this war-torn city, hideous surprises lurk around every corner. And before Jacob can deliver the peculiar children to safety, he must make an important decision about his love for Emma Bloom.
Genre: Fantasy, Young Adult, Paranormal, Fiction
Audience/Reading Level: Middle School+
Interests: Fantasy, Young Adult, Paranormal
Style: Light Read
Point of View: Third Person
Difficulty Reading: It was a very easy read and know even younger individuals will be able to understand what the underlying meaning of the story is.
Promise: Like its predecessor, this second novel in the Peculiar Children series blends thrilling fantasy with newly discovered (and thoroughly mesmerizing) vintage photography to create a one-of-a-kind reading experience that will delight readers of all ages.
Quality: Like your favorite cake with extra whip cream and ice cream. 😉
Insights: When I first read this series, I read Tales of the Peculiar by Ransom Riggs first to get a better understanding of the characters since I had a feeling that there was going to be a lot of references to it. I was right. I honestly fell in love with this series and love the way that Ransom Riggs writes. It just captures my attention and transports me into a world of fantasy that is a great escape from reality!
Favorite Quotes: “Laughing doesn’t make bad things worse any more than crying makes them better.”
“There was romance in the unknown, but once a place had been discovered and cataloged and mapped, it was diminished, just another dusty fact in a book, sapped of mystery. So maybe it was better to leave a few spots on the map blank. To let the world keep a little of its magic, rather than forcing it to divulge every last secret. Maybe it was better, now and then, to wonder.”
What will you gain: A love of a new fantasy world that will make you wish, you too were a part of the Peculiar children’s world.
Aesthetics: I absolutely love the vintage style this series has. The photographs help give an idea of who and what the characters look like. The way that Ransom Riggs writes, just draws anybody of any age into the plot and storyline, like an enchantment that takes you from the real world, into a world filled with magic, hope, love, and adventure.
“Some truths are expressed best in the form of myth.”
Kirk Bage (1775 KP) rated Roma (2018) in Movies
Mar 2, 2020 (Updated Mar 3, 2020)
I watched Roma exactly a week ago today. And although I knew 20 minutes in that I loved it, and at the end that I really loved it, I have taken that time to let it settle within me in before coming to write about it. Some films are so good that you have to do that: let it sink into you fully, before doing anything so trivial as judging and comparing them. Roma is incomparable! I have never seen anything like it, or felt as deeply moved by a film in a long time.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Darren (1599 KP) rated Ringu 2 (Ring 2) (2005) in Movies
Nov 7, 2019
Characters – Rachel has moved her child to a smaller town to start a new life away from the pain of the previous one. she gets a new job, only for the first day on the job, Samara takes her next victim. Wanting to stop the spread of the curse in this new town, Rachel destroys the video tape, only to see herself become the target once again of Samara. Rachel will need to continue the investigation into who Samara was and why she is still haunting the world. Max is one of the co-workers at the newspaper, he isn’t trying to hit on Rachel, but does become the only person that Rachel can turn too. Aidan is the son that has started to take after his father with his love of photography, he does become the target of Samara, we see two different sides to David in this film. Dr Temple is trying to figure out what has been happening to Aidan, first seeing that it could be child abuse, she needs to make sure the child is safe before anything else.
Performances – Naomi Watts is still strong in the leading role, we need her to show extra motherly emotions in the film this time around. Simon Baker doesn’t get a chance to get going in this film, while David Dorfman does make a big improvement because of the extra additions to his character. The supporting cast are not the strongest either with most getting left to limited screen time.
Story – The story here continues to see Rachel haunted by Samara needing to continue to unlock the truth about Samara to save her own son from her curse. Now this is a confusing as for a story because everything felt pretty wrapped up at the end of the film, this did end up just putting a forced sequel out there which tries to build more on the Samara legacy. Where this falls short in the story as by giving us weak supporting characters, having the events literally start the day Rachel arrives in the new town and going against certain things that happen in the first film.
Horror/Mystery – The horror in the film does give us basic moments of scares, though dream sequences a hoping the same jumps can worked in the first film. the mystery continues to look at the mystery about Samara and why she has continued to haunt people.
Settings – The film was moved to a smaller location, while returning to certain other locations with them being an extra clue involved in the film.
Special Effects – The effects in the film have dated already, you can see certain green screens being used, which were meant for uneasy scenes.
Scene of the Movie – The bath surprise.
That Moment That Annoyed Me – The dated effects.
Final Thoughts – This is a weaker sequel that tries to build up on the original legacy, only to dive further into something we didn’t need to get more about what is happening.
Overall: Simple and weak sequel.
Performances – Naomi Watts is still strong in the leading role, we need her to show extra motherly emotions in the film this time around. Simon Baker doesn’t get a chance to get going in this film, while David Dorfman does make a big improvement because of the extra additions to his character. The supporting cast are not the strongest either with most getting left to limited screen time.
Story – The story here continues to see Rachel haunted by Samara needing to continue to unlock the truth about Samara to save her own son from her curse. Now this is a confusing as for a story because everything felt pretty wrapped up at the end of the film, this did end up just putting a forced sequel out there which tries to build more on the Samara legacy. Where this falls short in the story as by giving us weak supporting characters, having the events literally start the day Rachel arrives in the new town and going against certain things that happen in the first film.
Horror/Mystery – The horror in the film does give us basic moments of scares, though dream sequences a hoping the same jumps can worked in the first film. the mystery continues to look at the mystery about Samara and why she has continued to haunt people.
Settings – The film was moved to a smaller location, while returning to certain other locations with them being an extra clue involved in the film.
Special Effects – The effects in the film have dated already, you can see certain green screens being used, which were meant for uneasy scenes.
Scene of the Movie – The bath surprise.
That Moment That Annoyed Me – The dated effects.
Final Thoughts – This is a weaker sequel that tries to build up on the original legacy, only to dive further into something we didn’t need to get more about what is happening.
Overall: Simple and weak sequel.