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Merissa (11794 KP) created a post
Mar 31, 2023
Debbiereadsbook (1107 KP) rated Hiding Place in Books
Apr 3, 2023
I wanted Robert and I don't get him.
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Zach buys a Pele tower that needs fixing up, in an effort to hide from the loss of his bandmates. Said tower belonged to Robert's grandfather. Someone died in that tower, murdered, and it was never solved. Can Robert and Zach find some answers with what Zach uncovers? Or will Robert's past eat away at him too much.?
Now, if you follow my review, you'll know I'm ALL about sharing of the book feels, right? And I have one overwhelming feeling about this one:
I wanted Robert and I didn't get him.
This book is told entirely from Zach's point of view, in the first person. While I liked Zach well enough, it was ROBERT who held my attention for much of the book and I wanted to hear from him, badly. I needed to know what he felt about his grandfather doing what he did with the tower. What he felt about Zach, cos in the beginning, Robert sure did blow hot and cold! And just what was going on in his head when he finally gets it all out, and tells Zach about his birth. It wasn't pretty, reading Robert telling Zach, but I wanted in Robert's head then the most.
It's quite clear early on, to me anyway, whodunnit, but just not HOW. Zach's discovery in the loft explains that though.
I know I shouldn't have, but I had to chuckle at the bit when Zach was sick and Robert wanted to get some medicine down him. Benylin is cough syrup, and the only and correct way to take said syrup is to swig out the bottle, and Robert says that to Zach, have a swig of Benylin! Made me laugh that did!
So, while I really enjoyed this book, I still felt that Robert might have made it a 5 star read, but I didn't get him, so...
4 good solid stars
*same worded review will appear elsewhere
Zach buys a Pele tower that needs fixing up, in an effort to hide from the loss of his bandmates. Said tower belonged to Robert's grandfather. Someone died in that tower, murdered, and it was never solved. Can Robert and Zach find some answers with what Zach uncovers? Or will Robert's past eat away at him too much.?
Now, if you follow my review, you'll know I'm ALL about sharing of the book feels, right? And I have one overwhelming feeling about this one:
I wanted Robert and I didn't get him.
This book is told entirely from Zach's point of view, in the first person. While I liked Zach well enough, it was ROBERT who held my attention for much of the book and I wanted to hear from him, badly. I needed to know what he felt about his grandfather doing what he did with the tower. What he felt about Zach, cos in the beginning, Robert sure did blow hot and cold! And just what was going on in his head when he finally gets it all out, and tells Zach about his birth. It wasn't pretty, reading Robert telling Zach, but I wanted in Robert's head then the most.
It's quite clear early on, to me anyway, whodunnit, but just not HOW. Zach's discovery in the loft explains that though.
I know I shouldn't have, but I had to chuckle at the bit when Zach was sick and Robert wanted to get some medicine down him. Benylin is cough syrup, and the only and correct way to take said syrup is to swig out the bottle, and Robert says that to Zach, have a swig of Benylin! Made me laugh that did!
So, while I really enjoyed this book, I still felt that Robert might have made it a 5 star read, but I didn't get him, so...
4 good solid stars
*same worded review will appear elsewhere
David McK (3233 KP) rated Enola Holmes (2020) in Movies
Apr 4, 2021
The other Holmes sibling
Sherlock Holmes?
Yep, I'd heard of him.
Mycroft Holmes?
Less well-known, but again: yes. Mainly because of the recent(ish) TV series Sherlock, and the Robert Downey Jr starring films.
Enola Holmes?
I'm afraid to say: nope, never heard of her.
I actually thought at first she was a completely new creation for this Netflix movie, until a little bit of research showed me that she is actually the main character in a series of young adult mystery novels, by American author Nancy Springer (sorry, Nancy: can't say I know who you are either.)
Starring 'Stranger Things' actor Milly Bobby Brown as Enola, I wasn't keen on the talking-straight-to-the-viewer aspects of the movie, which never really held my attention all that much.
I have to say, though, it does contain some considerable 'star power', including the likes of Helena Bonham Carter as the Holmes matriarch (whose disappearance triggers the whole thing) and Henry Cavill - Superman himself! - as a very different take on the middle of the Holms siblings, Sherlock himself
Yep, I'd heard of him.
Mycroft Holmes?
Less well-known, but again: yes. Mainly because of the recent(ish) TV series Sherlock, and the Robert Downey Jr starring films.
Enola Holmes?
I'm afraid to say: nope, never heard of her.
I actually thought at first she was a completely new creation for this Netflix movie, until a little bit of research showed me that she is actually the main character in a series of young adult mystery novels, by American author Nancy Springer (sorry, Nancy: can't say I know who you are either.)
Starring 'Stranger Things' actor Milly Bobby Brown as Enola, I wasn't keen on the talking-straight-to-the-viewer aspects of the movie, which never really held my attention all that much.
I have to say, though, it does contain some considerable 'star power', including the likes of Helena Bonham Carter as the Holmes matriarch (whose disappearance triggers the whole thing) and Henry Cavill - Superman himself! - as a very different take on the middle of the Holms siblings, Sherlock himself
Gareth von Kallenbach (971 KP) rated Killer Elite (2011) in Movies
Aug 7, 2019
It’s your friendly neighborhood freelance photographer and fellow movie junkie with my take on of the VERY late summer movie release “Killer Elite” starring Jason Statham, Robert DeNiro, Clive Owen, Yvonne Strahovski, and Dominic Purcell.
First off, I’m just going to say that the cast alone warrents giving this movie a look. If you know at least one name on this list, you also know it’s worth watching once.
“Killer Elite” stars Jason Statham (The Transporter Trilogy) as Danny Bryce. A retired speical forces soldier who is lured out of retirement when is mentor Hunter (Robert DeNiro) is held hostage by a mysterious Middle-Eastern sheik. With the help of his former comrade Davies (Dominic Purcell Of Blade:Trinity And TV’s Prison Break), Bryce must complete the task of killing three assassins who are reponsible for the deaths of all but one of the sheik’s sons. Which also means going up against retired SAS comando Spike (Clive Owen Of Sin City, Children Of Men, And The Bourne Identity).
Despite less-than-stellar buzz, when I saw this line-up amongst the cast, I knew the movie had to have some potential and for me it did NOT disappoint. Honestly, I don’t get the beef some critics have with the movie. “Killer Elite” is a an action movie. Typically, action movies concentrate on a basic plotline or little to no plot. Action movies are all about ACTION coupled with good actors/actresses. Killer Elite is not just an action movie … it’s a GREAT ACTION MOVIE.
(Sidenote: The 1975 film of the same title, starring Robert DuVall and James Cann has a similar story line, but the movies are based on entirely different events. Both movies are worth checking out though).
“Killer Elite” is based on a book entitled The FeatherMen written by Sir Ranulph Fiennes, which he claimed to be based on true events to much controversy. It follows the assassinations of members of the British Special Air Services, by a hit squad known as The Clinic. The FeatherMen was a group of retired/vigilante special forces members who went head to head with the hitmen of The Clinic to protect members of the regiment.
Look, if you like action movies, this is one for the books. Even the flashbacks with Statham and his love interest are good. There’s even a litle bit of comic relief provided courtesy of Dominic Purcell who looks alot like Lemmy from Motorhead in this movie, just 30 years younger. There is NOT a dull moment int the movie. Pay the cash. Whether it’s in theaters or DVD or other digital medium. An excellent movie for a Friday night!
First off, I’m just going to say that the cast alone warrents giving this movie a look. If you know at least one name on this list, you also know it’s worth watching once.
“Killer Elite” stars Jason Statham (The Transporter Trilogy) as Danny Bryce. A retired speical forces soldier who is lured out of retirement when is mentor Hunter (Robert DeNiro) is held hostage by a mysterious Middle-Eastern sheik. With the help of his former comrade Davies (Dominic Purcell Of Blade:Trinity And TV’s Prison Break), Bryce must complete the task of killing three assassins who are reponsible for the deaths of all but one of the sheik’s sons. Which also means going up against retired SAS comando Spike (Clive Owen Of Sin City, Children Of Men, And The Bourne Identity).
Despite less-than-stellar buzz, when I saw this line-up amongst the cast, I knew the movie had to have some potential and for me it did NOT disappoint. Honestly, I don’t get the beef some critics have with the movie. “Killer Elite” is a an action movie. Typically, action movies concentrate on a basic plotline or little to no plot. Action movies are all about ACTION coupled with good actors/actresses. Killer Elite is not just an action movie … it’s a GREAT ACTION MOVIE.
(Sidenote: The 1975 film of the same title, starring Robert DuVall and James Cann has a similar story line, but the movies are based on entirely different events. Both movies are worth checking out though).
“Killer Elite” is based on a book entitled The FeatherMen written by Sir Ranulph Fiennes, which he claimed to be based on true events to much controversy. It follows the assassinations of members of the British Special Air Services, by a hit squad known as The Clinic. The FeatherMen was a group of retired/vigilante special forces members who went head to head with the hitmen of The Clinic to protect members of the regiment.
Look, if you like action movies, this is one for the books. Even the flashbacks with Statham and his love interest are good. There’s even a litle bit of comic relief provided courtesy of Dominic Purcell who looks alot like Lemmy from Motorhead in this movie, just 30 years younger. There is NOT a dull moment int the movie. Pay the cash. Whether it’s in theaters or DVD or other digital medium. An excellent movie for a Friday night!
Gareth von Kallenbach (971 KP) rated Dark Waters (2019) in Movies
Nov 28, 2019
Dark Waters, the screenplay developed from the New York Times Magazine article: The Lawyer Who Became DuPont’s Worst Nightmare. The article tells of Robert Bilott (Mark Ruffalo), a corporate environmental lawyer, who headed the years long battle against DuPont in one of the landmark cases that held the company accountable for their actions.
Bilott, is visited by a farmer, Wilbur Tennant (Jim Azelvandre), who was an acquaintance of his Grandmother. As a child, he visited her home in West Virginia during the summers and had fond memories of that farm. Robert, having worked with DuPont on many cases, felt confident that he would be able to sort out the situation for Tennant. What he does not realize until he visits Wilbur’s farm is that the situation is more dire than he had known.
Wilbur had arrived with multiple VHS tapes recording the various issues that were happening to his farm animals. Bilott witnesses the mass graves that littered Tennant’s farm from his herd that had died from various illnesses. Wilbur is convinced that the reason is the dump that DuPont has created next to his property.
Mark Ruffalo’s portrayal of Bilott is an exercise in subtlety. He becomes more purpose driven once his investigation and research in the information that DuPont had sent due to discovery. Anne Hathaway plays Sarah Bilott, Robert’s wife and steadfast partner. Over the years, Sarah had been supportive, however as the case drags on and Rob’s pay gets cut repeatedly, the strain begins to show.
This film has a stellar cast. From Tim Robbins, as Tom Terp, the managing partner at the firm, Victor Garber as DuPont’s in-house counsel. Mare Winningham as Darlene Kiger, a lead plaintiff in the class action suit and Bill Pullman as Harry Dietzler, lead counsel for the plaintiffs.
This movie has the quality that awards season loves. It is a David vs. Goliath, under dog wins story. Mark Ruffalo does a great portrayal of a man who initially does not want to pursue the case, then shifts to the defender of the people.
This movie is along the lines of Erin Brockovich and Norma Rae.
4.5 out of 5 Stars
Bilott, is visited by a farmer, Wilbur Tennant (Jim Azelvandre), who was an acquaintance of his Grandmother. As a child, he visited her home in West Virginia during the summers and had fond memories of that farm. Robert, having worked with DuPont on many cases, felt confident that he would be able to sort out the situation for Tennant. What he does not realize until he visits Wilbur’s farm is that the situation is more dire than he had known.
Wilbur had arrived with multiple VHS tapes recording the various issues that were happening to his farm animals. Bilott witnesses the mass graves that littered Tennant’s farm from his herd that had died from various illnesses. Wilbur is convinced that the reason is the dump that DuPont has created next to his property.
Mark Ruffalo’s portrayal of Bilott is an exercise in subtlety. He becomes more purpose driven once his investigation and research in the information that DuPont had sent due to discovery. Anne Hathaway plays Sarah Bilott, Robert’s wife and steadfast partner. Over the years, Sarah had been supportive, however as the case drags on and Rob’s pay gets cut repeatedly, the strain begins to show.
This film has a stellar cast. From Tim Robbins, as Tom Terp, the managing partner at the firm, Victor Garber as DuPont’s in-house counsel. Mare Winningham as Darlene Kiger, a lead plaintiff in the class action suit and Bill Pullman as Harry Dietzler, lead counsel for the plaintiffs.
This movie has the quality that awards season loves. It is a David vs. Goliath, under dog wins story. Mark Ruffalo does a great portrayal of a man who initially does not want to pursue the case, then shifts to the defender of the people.
This movie is along the lines of Erin Brockovich and Norma Rae.
4.5 out of 5 Stars
LeftSideCut (3778 KP) rated Jaws (1975) in Movies
Apr 20, 2022
When you think of classic blockbusters, or classic horror, or classic creature features, Jaws is surely a title that will spring to mind. A true masterpiece of cinema that manages to fit and excel in all of the above categories.
Spielberg completely changed how films were planned and released with what is widely considered to be the first summer blockbuster, and all these years later, it's still an effective rollercoaster ride.
The opening scene is utterly harrowing without a drop of blood to be seen, and sets the tone in a dramatic and iconic manner. After some efficient character introductions, we're straight into one of the most anxiety inducing scenes in cinema history, as Chief Brody sits on a packed beach, scanning the shore for danger. The constant barrage of characters interrupting his line of view and talking at him, over him, over eachother, it's almost unbearable, and is paid off with a truly horrifying moment. It's one of many scenes in Jaws that flaunts some masterful editing.
The second half of the film is essentially the three leads - Roy Scheider, Robert Shaw, Richard Dreyfuss - all jostling to chew up the scenery. The chemistry between all of them is wonderful, from the thrilling chase of hunting the shark, to them kicking back, trading scar stories and singing shanties, to Quints incredible monologue, to the infamous Ahab-esque climax. It's a joy to watch unfold.
The shark itself has a tendency to look a little goofy by todays standards, but an incredible feat for the time.
Jaws is held in such high regard for a reason. It's a film that truly thrills, scares, and delights its audience in equal measure, and still stands tall almost 50 years later. One of the best of all time.
Spielberg completely changed how films were planned and released with what is widely considered to be the first summer blockbuster, and all these years later, it's still an effective rollercoaster ride.
The opening scene is utterly harrowing without a drop of blood to be seen, and sets the tone in a dramatic and iconic manner. After some efficient character introductions, we're straight into one of the most anxiety inducing scenes in cinema history, as Chief Brody sits on a packed beach, scanning the shore for danger. The constant barrage of characters interrupting his line of view and talking at him, over him, over eachother, it's almost unbearable, and is paid off with a truly horrifying moment. It's one of many scenes in Jaws that flaunts some masterful editing.
The second half of the film is essentially the three leads - Roy Scheider, Robert Shaw, Richard Dreyfuss - all jostling to chew up the scenery. The chemistry between all of them is wonderful, from the thrilling chase of hunting the shark, to them kicking back, trading scar stories and singing shanties, to Quints incredible monologue, to the infamous Ahab-esque climax. It's a joy to watch unfold.
The shark itself has a tendency to look a little goofy by todays standards, but an incredible feat for the time.
Jaws is held in such high regard for a reason. It's a film that truly thrills, scares, and delights its audience in equal measure, and still stands tall almost 50 years later. One of the best of all time.
BankofMarquis (1832 KP) rated The Lighthouse (2019) in Movies
Jan 25, 2021
Weird - and I couldn't look away
I have viewed some really strange films in my day. When asked, I often mention MIRRORMASK (based on a Neil Gaiman story) and mother! (the Darren Aronofsky oddity) as the strangest films I have ever seen.
Add Robert Eggers’ THE LIGHTHOUSE to this list.
Based on a real life tragedy from 1801, THE LIGHTHOUSE follows 2 isolated Lighthouse keepers as they interact with each other, slowly going mad in the process…or did they? Is one of them mad and the other sane? Are they both mad? Or…is it the viewer who is going mad? Eggers let’s you, the viewer, decide.
And…good for him. I have now encountered 2 films directed by former Production Designer Eggers - THE WITCH and now this film. In both cases, the movies are interestingly shot and intriguing to view but almost incomprehensible. The more so with THE LIGHTHOUSE, it is almost as if Eggers heard the criticism of THE WITCH of being incomprehensible and said “hold my beer”.
Besides the production values - which really are quite good (especially Eggers use of Black and White) - what holds this movie in high regards is the acting of the 2 people in film. These 2 characters are the only speaking parts in this movie.
Willem Dafoe portrays the older, veteran Lighthouseman who tells the tales of Mermaids and Curses and has a generally air of foreboding from the start. It is a masterwork by Dafoe - his best work of his career (and that’s saying something). He is unnerving to view from the start. The only thing the viewer needs to figure out is whether he is insane or very, very, very sane.
The surprise for me in this movie is the work of Robert Pattinson, the younger Lighthouseman who is in his first assignment. He is the audience’s eyes into this weird world and he is very much sane at the beginning. At the end…well…you decide. He was able to go toe-to-toe with DaFoe and held his own very well. This young actor has made a conscious choice following the Twilight films and with this movie and with Christopher Nolan's TENANT he is establishing himself as a darn good performer.
As for the film itself, my one recommendation for you is to not be too concerned of making sense of what is going on in the scene you are watching…you’ll drive yourself mad doing this (at least it was driving me mad). After awhile I just sat back and drank in the weirdness - and the quality acting and production values - that was enfolding in front of me and the ending was satisfying (enough).
All in all one of the stranger times I’ve had at the movies.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Add Robert Eggers’ THE LIGHTHOUSE to this list.
Based on a real life tragedy from 1801, THE LIGHTHOUSE follows 2 isolated Lighthouse keepers as they interact with each other, slowly going mad in the process…or did they? Is one of them mad and the other sane? Are they both mad? Or…is it the viewer who is going mad? Eggers let’s you, the viewer, decide.
And…good for him. I have now encountered 2 films directed by former Production Designer Eggers - THE WITCH and now this film. In both cases, the movies are interestingly shot and intriguing to view but almost incomprehensible. The more so with THE LIGHTHOUSE, it is almost as if Eggers heard the criticism of THE WITCH of being incomprehensible and said “hold my beer”.
Besides the production values - which really are quite good (especially Eggers use of Black and White) - what holds this movie in high regards is the acting of the 2 people in film. These 2 characters are the only speaking parts in this movie.
Willem Dafoe portrays the older, veteran Lighthouseman who tells the tales of Mermaids and Curses and has a generally air of foreboding from the start. It is a masterwork by Dafoe - his best work of his career (and that’s saying something). He is unnerving to view from the start. The only thing the viewer needs to figure out is whether he is insane or very, very, very sane.
The surprise for me in this movie is the work of Robert Pattinson, the younger Lighthouseman who is in his first assignment. He is the audience’s eyes into this weird world and he is very much sane at the beginning. At the end…well…you decide. He was able to go toe-to-toe with DaFoe and held his own very well. This young actor has made a conscious choice following the Twilight films and with this movie and with Christopher Nolan's TENANT he is establishing himself as a darn good performer.
As for the film itself, my one recommendation for you is to not be too concerned of making sense of what is going on in the scene you are watching…you’ll drive yourself mad doing this (at least it was driving me mad). After awhile I just sat back and drank in the weirdness - and the quality acting and production values - that was enfolding in front of me and the ending was satisfying (enough).
All in all one of the stranger times I’ve had at the movies.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Chris Sawin (602 KP) rated Kiss Kiss, Bang Bang (2005) in Movies
Jun 18, 2019
In the early to mid-2000s, Robert Downey Jr wasn’t one of the highest paid actors in the world. He was busy attempting to rebuild his career after five years of constant struggles with various drugs, being in and out of rehab, and even spent at least a year and a half incarcerated. With all of the films Downey did in that period, including Gothika, A Guide to Recognizing Your Saints, A Scanner Darkly, Zodiac, and Charlie Bartlett, perhaps none are as memorable as Shane Black’s directorial debut and neo-noir black comedy Kiss Kiss Bang Bang.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Gareth von Kallenbach (971 KP) rated Firewall (2006) in Movies
Aug 14, 2019
Following a three year absence from the big screen, box office megastar Harrison Ford returns in Firewall as Ford Jack Stanfield, a devoted family man who works designing and maintaining networks and security systems for a small chain of banks. Jack who along with his wife Beth (Virginia Madsen), and their two children live a comfortable life in a Seattle suburb in a luxurious home that Beth designed.
The twenty-four banks owned by Jack’s firm are in the process of being acquired by a large chain and the resulting windfall from this venture is making people on both sides tense and excited as the merger draws closure. Jack has some reservations about the new firm’s lack of customer service and acceptance of security losses which he believes will be passed on to their customers. This stance draws tension from a representative of the new partner (Robert Patrick), and has caused Jack to go to a meeting with a potential client who is looking to engage Jack’s services.
What begins as a promising business venture soon takes a dangerous turn as Jack is hijacked and learns that he and his family are being held hostage by a gang of thugs lead by the charismatic and dangerous Bill Cox (Paul Bettany), who wires Jack for sight and sound so they can monitor his every move at work. Jack is told that should he deviate from instructions or attempt to alert others to his situation, his family will be killed for his defiance.
In time, Jack is instructed to withdraw $10,000 from several of the banks top accounts and erase any history of the transactions or the resulting deposits in offshore accounts. The plan hits an unexpected snag when as a result of the pending merger, the hardware needed for Jack to input his requests has been moved to a remote locale out of state.
Undaunted Bill ups the stakes and forces Jack to find a way to get the money to him before time is up and his family is killed. Things go from bad to worse when complications arise forcing Jack to take desperate measures that soon has him fighting both his captors, his co-workers, and the law as he attempts to free his family and save them from their captors.
Firewall like last years Hostage suffers from a severe lack of urgency. We are told and shown just how evil the captors are yet, when people are told not do certain things and they continue to do so without repercussions, one would have to think that they would eventually cut their losses and start killing people off.
Ford does his best to make the by-the-numbers story work, but there are just not enough thrills and tension in the film to make it gripping. There is a heavy sense of “been there, seen that” to almost every portion of the film. What could have been a tight thriller is lost in clichés and gaps in logic that undermine the supposed seriousness of the situation.
The twenty-four banks owned by Jack’s firm are in the process of being acquired by a large chain and the resulting windfall from this venture is making people on both sides tense and excited as the merger draws closure. Jack has some reservations about the new firm’s lack of customer service and acceptance of security losses which he believes will be passed on to their customers. This stance draws tension from a representative of the new partner (Robert Patrick), and has caused Jack to go to a meeting with a potential client who is looking to engage Jack’s services.
What begins as a promising business venture soon takes a dangerous turn as Jack is hijacked and learns that he and his family are being held hostage by a gang of thugs lead by the charismatic and dangerous Bill Cox (Paul Bettany), who wires Jack for sight and sound so they can monitor his every move at work. Jack is told that should he deviate from instructions or attempt to alert others to his situation, his family will be killed for his defiance.
In time, Jack is instructed to withdraw $10,000 from several of the banks top accounts and erase any history of the transactions or the resulting deposits in offshore accounts. The plan hits an unexpected snag when as a result of the pending merger, the hardware needed for Jack to input his requests has been moved to a remote locale out of state.
Undaunted Bill ups the stakes and forces Jack to find a way to get the money to him before time is up and his family is killed. Things go from bad to worse when complications arise forcing Jack to take desperate measures that soon has him fighting both his captors, his co-workers, and the law as he attempts to free his family and save them from their captors.
Firewall like last years Hostage suffers from a severe lack of urgency. We are told and shown just how evil the captors are yet, when people are told not do certain things and they continue to do so without repercussions, one would have to think that they would eventually cut their losses and start killing people off.
Ford does his best to make the by-the-numbers story work, but there are just not enough thrills and tension in the film to make it gripping. There is a heavy sense of “been there, seen that” to almost every portion of the film. What could have been a tight thriller is lost in clichés and gaps in logic that undermine the supposed seriousness of the situation.
RəX Regent (349 KP) rated Network (1976) in Movies
Feb 19, 2019
“I’m mad as hell and I’m not gonna take it anymore!”
…the lasting legacy of Peter Finch’s rants, which began with a breakdown and became the ratings winner in the 1970’s Network driven news media. This is of course, fiction but the commentary on the changing and more corporate driven American media industry of the the time is not without merit.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.