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Jesters_folly (230 KP) rated Kiss Me First in TV
Aug 1, 2019
Kiss me first is six part T.V. series form 2018 that is (loosely) based on a book of the same title by Lottie Moggach. Set in the near future the series follows Leila, a young woman living alone in the house she shared with her mother, who had recently died. Leila spends most of her time in the Virtual Reality world of Azana where she goes by the name Shadowfax. Whilst in Azana, Shadowfax meets another play known as Mania who introduces her to a group known as ‘Red Pill’. As Shadowfax begins to spend more time with red pill she starts to realise that events in the game are being mirrored in real life.
As we are introduced to the characters the first couple of episodes’ flip between the real world and the VR world of Azana but, as the series progresses the VR gives way to the real world, pulling you into the madness of the characters and making the games being played even more sinister.
Kiss me first is not a light hearted series and through the red pill members it tackles subjects like depression, suicide & euthanasia as well as the core theme of manipulation which also makes it quite a slow burn.
I said that Kiss Me First was based on a book of the same title and, after watching the series I went off and read the book and found it to be quite different but also the same, let me explain. The book has the main core characters but Red Pill is a chat room and there is no VR or other version of Azana. Shadowfax/Leila only meets/speaks to two of the group (Mania and Adrian) and one of those are dead for most of the novel. Most of the same subjects are still covered in the book but the book seems to have a bigger focus on suicide whereas the T.V. series spends more time on depression. The book also seems to be a search for purpose and the series a search for belonging and friendship and the changes made in the series seem to make the Leila/ Jonty relationship a bit forced and almost irrelevant. If you enjoyed the book the series is worth a shot but expect a lot of changes and a bit more of a techie element.
As we are introduced to the characters the first couple of episodes’ flip between the real world and the VR world of Azana but, as the series progresses the VR gives way to the real world, pulling you into the madness of the characters and making the games being played even more sinister.
Kiss me first is not a light hearted series and through the red pill members it tackles subjects like depression, suicide & euthanasia as well as the core theme of manipulation which also makes it quite a slow burn.
I said that Kiss Me First was based on a book of the same title and, after watching the series I went off and read the book and found it to be quite different but also the same, let me explain. The book has the main core characters but Red Pill is a chat room and there is no VR or other version of Azana. Shadowfax/Leila only meets/speaks to two of the group (Mania and Adrian) and one of those are dead for most of the novel. Most of the same subjects are still covered in the book but the book seems to have a bigger focus on suicide whereas the T.V. series spends more time on depression. The book also seems to be a search for purpose and the series a search for belonging and friendship and the changes made in the series seem to make the Leila/ Jonty relationship a bit forced and almost irrelevant. If you enjoyed the book the series is worth a shot but expect a lot of changes and a bit more of a techie element.
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Emma @ The Movies (1786 KP) rated Judy (2019) in Movies
Dec 8, 2019
There's a definite fatigue now with films based on music stars and their works, I was already feeling it earlier in the year with Yesterday and Blinded By The Light. While I wasn't particularly enthusiastic about seeing Judy the trailer had me as soon as I heard "Somewhere over the rainbow".
Judy, once a household name, is short on money and her reputation is making it hard to get the work she needs. As her welcome at hotels is no longer guaranteed and her ex-husband's concern for what sort of life she's giving their children grows she realises she needs to find a way to make enough money to get them a proper home.
Her answer lies in England with nightly sellout performances to the crowds. But as the loneliness and isolation set in it might be that her not so glamorous lifestyle has caught up with her.
As with many real life depictions I came out wanting to know what was true to Garland's actual life and what was added with artistic license. Perhaps the worst thing about this film is just how accurate it is, the bullying, the abuse, the drugs, it shows a shocking side of Hollywood as it brought up its young stars. It was a little sad to find out that my two favourite bits of the film were probably the only bits in the whole thing that weren't based on actual events, but when you think about it that's not a bad statistic.
Renée Zellweger is outstanding. A year of vocal training before even getting to the set and being able to deliver such a stellar singing performance while simultaneously having to act like you're high on pills, exhaustion and drink... I'm genuinely amazed when I think back to some moments in the film.
I didn't get that same rush from listening to her singing in the film as I did in the trailer. She's wonderful performing the songs but I just felt that everything around the songs was too much of a distraction from it.
Yes, there are other people in Judy beyond Renée Zellweger but I'm not sure that there was anything to them that could shine as much as she did. Jessie Buckley felt underused, and after seeing Wild Rose earlier this year it was sad to see her so close to a stage without her getting to sing. I thought Andy Nyman made a good show as Dan, one half of the gay couple Judy befriends, the emotion that ran through his scenes with her had me wrecked.
I felt a little thrown by the flashbacks initially, but the drip feeding of scenes from her life as we progressed through the modern part of the story worked well. Each reveal would make you a little more heartbroken and concerned for adult Judy, the balance was perfect.
From the glamorous hotels to the dark night streets of London I thought all the settings were chosen well. The design overall with the costumes and sets felt spot on too. Seeing images of the cast against their real life counterparts really gives you pause to think about how hard everyone on that film worked to make the perfect shot.
There aren't all that many drawbacks here, apart from the fatigue for this sort of film that I mentioned earlier it felt very much like I've seen this film before. The recent biopic Stan & Ollie has so many similar features and scenarios that Judy ended up feeling like it wasn't such a new release. Despite that I did enjoy it, I just wish there had been more songs in it, I'm a sucker for a good tune.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/judy-movie-review.html
Judy, once a household name, is short on money and her reputation is making it hard to get the work she needs. As her welcome at hotels is no longer guaranteed and her ex-husband's concern for what sort of life she's giving their children grows she realises she needs to find a way to make enough money to get them a proper home.
Her answer lies in England with nightly sellout performances to the crowds. But as the loneliness and isolation set in it might be that her not so glamorous lifestyle has caught up with her.
As with many real life depictions I came out wanting to know what was true to Garland's actual life and what was added with artistic license. Perhaps the worst thing about this film is just how accurate it is, the bullying, the abuse, the drugs, it shows a shocking side of Hollywood as it brought up its young stars. It was a little sad to find out that my two favourite bits of the film were probably the only bits in the whole thing that weren't based on actual events, but when you think about it that's not a bad statistic.
Renée Zellweger is outstanding. A year of vocal training before even getting to the set and being able to deliver such a stellar singing performance while simultaneously having to act like you're high on pills, exhaustion and drink... I'm genuinely amazed when I think back to some moments in the film.
I didn't get that same rush from listening to her singing in the film as I did in the trailer. She's wonderful performing the songs but I just felt that everything around the songs was too much of a distraction from it.
Yes, there are other people in Judy beyond Renée Zellweger but I'm not sure that there was anything to them that could shine as much as she did. Jessie Buckley felt underused, and after seeing Wild Rose earlier this year it was sad to see her so close to a stage without her getting to sing. I thought Andy Nyman made a good show as Dan, one half of the gay couple Judy befriends, the emotion that ran through his scenes with her had me wrecked.
I felt a little thrown by the flashbacks initially, but the drip feeding of scenes from her life as we progressed through the modern part of the story worked well. Each reveal would make you a little more heartbroken and concerned for adult Judy, the balance was perfect.
From the glamorous hotels to the dark night streets of London I thought all the settings were chosen well. The design overall with the costumes and sets felt spot on too. Seeing images of the cast against their real life counterparts really gives you pause to think about how hard everyone on that film worked to make the perfect shot.
There aren't all that many drawbacks here, apart from the fatigue for this sort of film that I mentioned earlier it felt very much like I've seen this film before. The recent biopic Stan & Ollie has so many similar features and scenarios that Judy ended up feeling like it wasn't such a new release. Despite that I did enjoy it, I just wish there had been more songs in it, I'm a sucker for a good tune.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/judy-movie-review.html
Gareth von Kallenbach (980 KP) rated Father Figures (2018) in Movies
Jul 11, 2019
Expectations, all of us have them and occasionally our expectations live up to exactly as we assume they will; other times, we are wrong. The movie Father Figures, a comedy film directed by Lawrence Sher and written by Justin Malen is not only about two brothers searching for their biological father, but the journey and the expectations that go along with the journey.
Peter Reynolds (Ed Helms) is a man who is disenchanted with his life. He’s a doctor who’s still struggling with his divorce from three years ago, and the prospects of connecting with a son who wants nothing to do with him. His fraternal twin brother Kyle, on the other hand, has the picture-perfect life. Wealthy for being nothing more than a surf bum on the beach and being at the right place at the right time; with a new baby on the way with his long-term (6 month) relationship.
An unlikely event opens Peter’s eyes to the life he has known; a life where the father he believed to be his died of colon cancer, which dictated his career and life choices. The event exposed the lies that their mother had told them and the man they believed to be their father all along, never was.
The realization sends the two brothers on a mission to discover who their real father is, and also discover a bit about themselves along the way. Their journey of discovery will take them from Florida to Massachusetts, and several places in-between. All of this, with of hopes of unraveling the mystery of who their real father is and what role, if any, he could fill in their existing lives.
Ed Helms, portrays his character brilliantly. A man who is kind, good-hearted and responsible. The one who even with all his good intentions, never feels like he is able to get ahead. Owen Wilson plays what I feel is one of his best roles to date, as the ying to Ed Helms yang, the happy-go-lucky, never have a care in the world character. The two have a chemistry on the screen that draws you into their personal struggles with lots of laughter along the way.
The cast of “fathers”, are all brilliantly portrayed, whether it’s Terry Bradshaw portraying himself; J. K. Simons, as the lovable “jerk”; and the always talented Christopher Walken as the family veterinarian Dr. Walter Tinkler. Glenn Close does an absolutely amazing performance as the brother’s mother Helen Baxter.
There are plenty of laughs to be had through the movie, but it’s the amount of heart that the movie shows that really drew me in. As I spoke in the beginning, about expectations, I myself had expectations that the movie would be just another slap-stick comedy, with the characters getting into one hilarious situation after another. While this certainly did happen (it is still a comedy after-all), none of the bits seemed outrageous or done for the sake of shock value. As with most movies that fall into this genre, there are scenes which some may feel provided nothing to the story, and were there simply for adolescent humor or to justify the R rating, but none of these detracted from the film as a whole. I didn’t expect to come out of this movie not only quoting some of the very memorable lines, but also reflecting on where their journey began and where it ended.
Father Figures is much more than a simple comedy, and it’s far more than simply a “who’s your daddy” adventure. It’s a movie about self-discovery and more importantly, the journey to get you there. The folks at Warner Bros. Pictures should be commended on not only the casting of the roles, but for producing a story they can be proud of.
Peter Reynolds (Ed Helms) is a man who is disenchanted with his life. He’s a doctor who’s still struggling with his divorce from three years ago, and the prospects of connecting with a son who wants nothing to do with him. His fraternal twin brother Kyle, on the other hand, has the picture-perfect life. Wealthy for being nothing more than a surf bum on the beach and being at the right place at the right time; with a new baby on the way with his long-term (6 month) relationship.
An unlikely event opens Peter’s eyes to the life he has known; a life where the father he believed to be his died of colon cancer, which dictated his career and life choices. The event exposed the lies that their mother had told them and the man they believed to be their father all along, never was.
The realization sends the two brothers on a mission to discover who their real father is, and also discover a bit about themselves along the way. Their journey of discovery will take them from Florida to Massachusetts, and several places in-between. All of this, with of hopes of unraveling the mystery of who their real father is and what role, if any, he could fill in their existing lives.
Ed Helms, portrays his character brilliantly. A man who is kind, good-hearted and responsible. The one who even with all his good intentions, never feels like he is able to get ahead. Owen Wilson plays what I feel is one of his best roles to date, as the ying to Ed Helms yang, the happy-go-lucky, never have a care in the world character. The two have a chemistry on the screen that draws you into their personal struggles with lots of laughter along the way.
The cast of “fathers”, are all brilliantly portrayed, whether it’s Terry Bradshaw portraying himself; J. K. Simons, as the lovable “jerk”; and the always talented Christopher Walken as the family veterinarian Dr. Walter Tinkler. Glenn Close does an absolutely amazing performance as the brother’s mother Helen Baxter.
There are plenty of laughs to be had through the movie, but it’s the amount of heart that the movie shows that really drew me in. As I spoke in the beginning, about expectations, I myself had expectations that the movie would be just another slap-stick comedy, with the characters getting into one hilarious situation after another. While this certainly did happen (it is still a comedy after-all), none of the bits seemed outrageous or done for the sake of shock value. As with most movies that fall into this genre, there are scenes which some may feel provided nothing to the story, and were there simply for adolescent humor or to justify the R rating, but none of these detracted from the film as a whole. I didn’t expect to come out of this movie not only quoting some of the very memorable lines, but also reflecting on where their journey began and where it ended.
Father Figures is much more than a simple comedy, and it’s far more than simply a “who’s your daddy” adventure. It’s a movie about self-discovery and more importantly, the journey to get you there. The folks at Warner Bros. Pictures should be commended on not only the casting of the roles, but for producing a story they can be proud of.
Movie Metropolis (309 KP) rated Christopher Robin (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Future Classic
The characters of Pooh, Eeyore, Piglet and Tigger are synonymous with the childhood of millions of adults across the globe. A.A. Milne’s classic creatures are etched into the memories of many, passed down through generations with tatty old story books and stuffed animals.
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/