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David McK (3180 KP) rated Tribune of Rome in Books
Jan 30, 2019
Ever since (roughly) about a decade ago - when the movie 'Gladiator' first came out - I've been noticing more and more Roman-themed books, from Simon Scarrow's 'Macro and Cato' series to Conn Iggulden's 'Emperor' quartet to Ben Kane's 'Forgotten Legion Chronicles' (and now 'Enemy of Rome' series) to John Stack's 'Masters of the Sea' series to Anthony Riches' 'Empire' series to Harry Sidebottom's 'Warrior of Rome' series to ...
... you get the picture.
To that list, we can now also add Robert Fabbri with his planned 'Vespasian' series of books, of which this is the first. In the interest of full disclosure, I'm also going to state that (from the above list of authors) I've read at least one book in their respective series. Of those all - and, including, now, this book - I have to say, I've found Scarrow's novels to be the most entertaining.
As a novel, I found this one could be split into three distinct sections: the beginning was set during Vespasians early years in the Roman country-side and mainly concerning the relationship between him and his brother, before the setting moves to Rome proper when the two brothers get embroiled in Roman politics, and then (in the latter half of the book), following Vespasians early military career. It was probably this latter aspect of the book that is the most enjoyable, even if it does still suffer from seemingly stilted conversations that are used to move the plot along - that, and some 'Oh, come on! As if ...' moments (one in particular!).
While I read some more of this series? Possibly, but also I'm not going to be going out of my way to look for them.
... you get the picture.
To that list, we can now also add Robert Fabbri with his planned 'Vespasian' series of books, of which this is the first. In the interest of full disclosure, I'm also going to state that (from the above list of authors) I've read at least one book in their respective series. Of those all - and, including, now, this book - I have to say, I've found Scarrow's novels to be the most entertaining.
As a novel, I found this one could be split into three distinct sections: the beginning was set during Vespasians early years in the Roman country-side and mainly concerning the relationship between him and his brother, before the setting moves to Rome proper when the two brothers get embroiled in Roman politics, and then (in the latter half of the book), following Vespasians early military career. It was probably this latter aspect of the book that is the most enjoyable, even if it does still suffer from seemingly stilted conversations that are used to move the plot along - that, and some 'Oh, come on! As if ...' moments (one in particular!).
While I read some more of this series? Possibly, but also I'm not going to be going out of my way to look for them.
Bob Mann (459 KP) rated The Dig (2021) in Movies
Jan 31, 2021
Acting from Fiennes and Mulligan - top notch (1 more)
Cinematography is gorgeous
Why make it so "man heavy" when history was otherwise? (1 more)
Found the asynchronous editing irritating
Archaeology with no fedora required
It’s 1939, and as World War 2 approaches, widower Edith Pretty (Carey Mulligan) hires rough and ready excavator Basil Brown (Ralph Fiennes) to dig into one of the ancient earth mounds on her property at the site that will become famous as Sutton Hoo in Suffolk. Requesting the help of her cousin Rory Lomax (Johnny Flynn) to photograph the effort, the site slowly gives up its Anglo-Saxon treasures attracting the attention of first the Ipswich museum and then the pompous Charles Phillips (Ken Stott) of the British Museum. A battle is on for both the control of the site and the resting place for the treasures found.
Against this backdrop there is a critical illness emerging, a son (Archie Barnes) and his attachment to the father figure of Brown and a potential romance between Rory and archaeologist Peggy Piggott, trapped in a loveless marriage.
Talent:
Starring: Carey Mulligan, Ralph Fiennes, Johnny Flynn, Lily James, Archie Barnes, Ken Stott, Monica Donlan.
Directed by: Simon Stone.
Written by: Moira Buffini (from the novel by John Preston).
Bullet points of my thoughts:
+ Superb acting by Mulligan and Fiennes – Oscar noms for both?
+ Young Archie Barnes impresses as the son Robert
+ Cinematography by Mike Eley shows the open Suffolk skies at their best
+ Based on fact, a fascinating historical record of the real excitement of uncovering the past
o The script deftly melds the archeology with the love story subplot: but was the latter really necessary?
– Curious “man heavy” script, replacing some of the historical female characters with men and making Peggy Piggott (Lily James) a bit of a klutz
– Asynchronous editing decision I found to be distracting and unnecessary.
For my full review, please see the video at https://youtu.be/m8Ad8B8dkSY .
Against this backdrop there is a critical illness emerging, a son (Archie Barnes) and his attachment to the father figure of Brown and a potential romance between Rory and archaeologist Peggy Piggott, trapped in a loveless marriage.
Talent:
Starring: Carey Mulligan, Ralph Fiennes, Johnny Flynn, Lily James, Archie Barnes, Ken Stott, Monica Donlan.
Directed by: Simon Stone.
Written by: Moira Buffini (from the novel by John Preston).
Bullet points of my thoughts:
+ Superb acting by Mulligan and Fiennes – Oscar noms for both?
+ Young Archie Barnes impresses as the son Robert
+ Cinematography by Mike Eley shows the open Suffolk skies at their best
+ Based on fact, a fascinating historical record of the real excitement of uncovering the past
o The script deftly melds the archeology with the love story subplot: but was the latter really necessary?
– Curious “man heavy” script, replacing some of the historical female characters with men and making Peggy Piggott (Lily James) a bit of a klutz
– Asynchronous editing decision I found to be distracting and unnecessary.
For my full review, please see the video at https://youtu.be/m8Ad8B8dkSY .
Gareth von Kallenbach (965 KP) rated T2 Trainspotting (2017) in Movies
Jul 12, 2019
The first time I saw Trainspotting was my senior year of high school. At the time, I knew that I wanted to get involved in film, and I really did for about ¾ of a year after I graduated. I looked at movies for their artistry and cinematography even at a young age. I was a band geek, so music was also things I would love about movies. I was deep for a 17-year-old, or so I thought any way. But I explain this to you so you don’t think that I loved this movie simply because of the drug use or humor it presented. I have always been of the mind to find something I like about a movie, watch it for what it is, and try to just find the enjoyment value (I know, weird coming from a film reviewer). I didn’t even have to try for Trainspotting. It was the complete package, and ground breaking. It also introduced me to Ewan McGregor, who is one of my favorite actors. I loved the movie so much, I bought Irvine Welsh’s book that the movie was based on of the same title, Trainspotting, which I highly recommend simply for the fact that it’s written in phonetic Scottish. I never picked up Porno, the literary sequel to Trainspotting, but I hear it is bizarre and will need to pick it up, but not because of this movie. I’ll explain in a moment.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Gareth von Kallenbach (965 KP) rated Mars Needs Moms (2011) in Movies
Aug 7, 2019
Milo is your typical 9-year-old boy who doesn’t like doing chores, eating his vegetables or getting disciplined by his mother. But because his mother makes him do his chores and eat his vegetables and scolds him when he doesn’t, she’s made herself the prime target for Martians who need her great mothering skills. Apparently, Martians are “hatched” and raised by “nanny-bots” that are programmed with an Earthling mother’s caregiving and disciplinary abilities. Of course, not any Earthling mother will do. Bypassed are those who spoil their child or fail to care for their child’s safety and wellbeing. So when Milo is spied dutifully, albeit grudgingly, doing as he’s told by his mother, she becomes Mars’ candidate for abduction, because, as the movie title states, Mars needs moms.
On the night Milo’s mom is abducted, Milo (enacted by Seth Green, voiced by Seth Dusky) wakes up in time to witness her being loaded onto a spaceship and he quickly becomes a stowaway. On the red planet, he’s rescued by Gribbler, a chubby, fast-talking, tech-savvy human (voiced by Dan Fogler) who helps him devise a plan to save Milo’s mom, a recognizable Joan Cusack, in voice and, somewhat creepily, in CGI’d face. The two are up against an army of female Martians lead by The Supervisor (voiced by Mindy Sterling) a mean, old Martian. Think Frau Farbissina as a mean E.T. Luckily, Milo and Gribbler find an ally in a rebel Martian named Ki (voiced by Elisabeth Harnois). Milo has less than 6 hours to get to his mom before she’s programmed into the nanny-bots and destroyed by the process. Soon, it’s a race against time for Milo, Gribbler and Ki as they run around endless corridors, hurtle through chutes, tumble down trash mountains, splash into other-worldly caves and fall off cliffs.
Based on a children’s novel by cartoonist Berkeley Breathed, the film is produced by Robert Zemeckis and directed by Simon Wells in performance-capture 3D, a technique pioneered by Zemeckis in Polar Express and used again in A Christmas Carol. In performance-capture filming, actors are covered in sensors that capture their actions and expressions to animate their digital characters. During the end credits, a sampling of outtakes show the actors in their sensor suits physically acting out various scenes. I have to admit, the most entertaining part of the movie for me was watching Seth Green and Dan Fogler literally throw themselves into their characters.
Even with a run time of 88 minutes, kids around Milo’s age and younger may remain enthralled to the end simply from the countdown suspense. Older kids, maybe not. Yes, the high-point of the tale is Milo’s realization of how truly important his mom is to him. But even with all the running and tumbling around, the story takes a long, meandering walk to get to that point. While the technological achievements of 3D animation get more and more impressive, if the story doesn’t captivate or inspire, it’s practically a wasted effort, especially when watching in 2D would not take much away from the effects.
On the night Milo’s mom is abducted, Milo (enacted by Seth Green, voiced by Seth Dusky) wakes up in time to witness her being loaded onto a spaceship and he quickly becomes a stowaway. On the red planet, he’s rescued by Gribbler, a chubby, fast-talking, tech-savvy human (voiced by Dan Fogler) who helps him devise a plan to save Milo’s mom, a recognizable Joan Cusack, in voice and, somewhat creepily, in CGI’d face. The two are up against an army of female Martians lead by The Supervisor (voiced by Mindy Sterling) a mean, old Martian. Think Frau Farbissina as a mean E.T. Luckily, Milo and Gribbler find an ally in a rebel Martian named Ki (voiced by Elisabeth Harnois). Milo has less than 6 hours to get to his mom before she’s programmed into the nanny-bots and destroyed by the process. Soon, it’s a race against time for Milo, Gribbler and Ki as they run around endless corridors, hurtle through chutes, tumble down trash mountains, splash into other-worldly caves and fall off cliffs.
Based on a children’s novel by cartoonist Berkeley Breathed, the film is produced by Robert Zemeckis and directed by Simon Wells in performance-capture 3D, a technique pioneered by Zemeckis in Polar Express and used again in A Christmas Carol. In performance-capture filming, actors are covered in sensors that capture their actions and expressions to animate their digital characters. During the end credits, a sampling of outtakes show the actors in their sensor suits physically acting out various scenes. I have to admit, the most entertaining part of the movie for me was watching Seth Green and Dan Fogler literally throw themselves into their characters.
Even with a run time of 88 minutes, kids around Milo’s age and younger may remain enthralled to the end simply from the countdown suspense. Older kids, maybe not. Yes, the high-point of the tale is Milo’s realization of how truly important his mom is to him. But even with all the running and tumbling around, the story takes a long, meandering walk to get to that point. While the technological achievements of 3D animation get more and more impressive, if the story doesn’t captivate or inspire, it’s practically a wasted effort, especially when watching in 2D would not take much away from the effects.
BankofMarquis (1832 KP) rated The Pale Blue Eye (2022) in Movies
Jan 15, 2023
Haunting and Intriguing
An eerie, gothic murder mystery pairing an ingenious Detective with a young Edgar Allan Poe is now streaming on Netflix and is the perfect way to shut out the January winds and hibernate on your couch and get involved in the mystery while sitting in front of a warm, roaring fire (or heat lamp) and your favorite warm (possibly adult) beverage).
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written for the screen (from book by Louis Bayard) and Directed by Scott Cooper (OUT OF THE FURNACE), THE PALE BLUE EYE stars the always good Christian Bale (probably my favorite actor working today) as Civilian Detective Augustus Landor who is summoned to 1830’s West Point Military Academy to solve a murder. He is aided by a young cadet played by Harry Melling (Dudley Dursley in the HARRY POTTER FILMS) who turns out to be none other than Edgar Allan Poe.
Cooper films this movie in shadow and dark brown and yellow tones, giving the 1830’s setting a certain dream-like, dreary quality that underscores the gruesome goings-on happening behind the scenes at the fledgling United States Military Academy. These types of films - and the mood that is permeated throughout - can often be slow slogs and often times bogs down under the weight of it’s own pretentiousness - but Cooper keeps the action moving forward (though at a deliberate pace) often-times mimicking the piecing together of the circumstances that Bale’s character is doing.
Thank goodness Cooper had the good sense to reunite with his OUT OF THE FURNACE star and cast Bale in the lead role. The character of Detective Augustus Landor is dark and brooding - himself still working through the emotions of a tragedy from his past. But he is also thoughtful and deliberate in his detective work and Bale handles these moods…and the pacing of the film…like the pro that he is. If for no other reason, check out THE PALE BLUE EYE (a reference to Poe’s TELL TALE HEART) for Bale’s performance at the center of things.
Fortunately, Bale is aided in this film by a strong ensemble of (mostly) British actors from Toby Jones to Gillian Anderson to Simon McBurney and Timothy Spall - they all bring their considerable talents to lesser roles as suspects and/or witnesses in this “whodunnit”. Cooper also trots out good ol’ (and I do mean old) Robert Duvall for a “blink or you’ll miss it” cameo. The casting works well for this gothic murder mystery.
And then there is Melling as Edgar Allan Poe. He plays Poe as you might expect one to play a young Edgar Allan Poe - as an “odd duck” who is fascinated by macabre scenarios (which would be later found in his storytelling), but Melling gives him an intelligence and gentleness of soul that really works in this case.
The Cinematography of this movie is bleak and dark - as befits a gothic murder mystery - and the pacing is not fast in any sense of the word, but if you click into this world, you’ll be rewarding by an interesting murder mystery that resolves itself in a surprising - and satisfactory - way.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
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.
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original – a staple of many Bank Holiday afternoons in my youth – I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Gareth von Kallenbach (965 KP) rated Star Trek (2009) in Movies
Aug 14, 2019
With declining attendance at conventions and a dwindling audience for recent films and the last Star Trek series, Enterprise, Paramount was desperate to find a way to breathe new life into their franchise. So they pinned their hopes on director J.J. Abrams. Even with a string of hit movies and television series under his belt, some believed that Abrams was facing an uphill battle in trying to resuscitate Star Trek, with its legions of rabid fans obsessively protective of the series’ 40-plus years of established history.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
While many fans were thrilled with the choice of Abrams, some of the casting choices of its beloved characters were met with doubt and skepticism. Thankfully, the man behind such motion picture hits as “Cloverfield”, “Mission Impossible 3”, and television series LOST, Alias and Fringe, was more than up to the task and has crafted a visually spectacular action film that combines the best of Trek with groundbreaking effects and creative vitality.
Using a script by Robert Orci and Alex Kurtzman, the new film focuses on the early days of the crew, and how young James. T. Kirk (Chris Pine) went from being a joy-riding, bar-fighting hothead into captain of the Enterprise. Kirk is challenged by Captain Christopher Pike (Bruce Greenwood) to live up to the legacy of his father and make something of his life in Starfleet. Despite his cocky attitude, the young man is able to thrive at the academy despite his arrogant behavior and his womanizing ways.
At the same time, a threat has arisen in the form of a Romulan named Nero (Eric Bana), who seeks to cause massive death and destruction in his quest for vengeance. With danger looming, Kirk and his fellow classmates are pressed into action, and thanks to some skillful work from his friend Leonard Mc Coy (Karl Urban), Kirk finds himself onboard the new Federation flagship Enterprise.
En route to their destination, Kirk realizes they are heading into a trap and warns Captain Pike of his concerns. Naturally this does not sit well with some of the seasoned officers, especially Spock (Zachary Quinto), who sees the emotional Kirk as an unwanted reminder of his human half, which he tries to hide at all costs.
Eventually the Enterprise is confronted by Nero and in an impressive sequence of events Kirk and Sulu (John Cho), lead an orbital skydive mission to thwart Nero’s plot. Spock finds himself commanding the ship and he and Kirk, two polar opposites, disagree over a course of action. Citing insurbordination and dereliction, Spock expels Kirk from the ship onto a frigid and dangerous planet. What follows is an amazing and thrilling adventure that culminates in an impressive finale, that proves that Trek has got plenty of life left in it.
While I loved the film, I found that I had to detach myself from my love of classic Trek to fully enjoy it. The film covers changes in established cannon by setting events in an alternate timeline. Despite the different eras of the previous series and films, there was always a certain continuity to the ships, planets, and characters that always seemed to fit, which I found myself missing in this new incarnation.
In Abram’s version, the Enterprise engine room is awash in catwalks, pipes, and valves that seemed out of place on a ship set in the 23rd century. I also found myself asking why such strategically valuable planets such as Earth and Vulcan would not have massive defense fleets in orbit, and would task only a handful of ships for their defense. There was a suggestion, that the ships of the fleet were amassed elsewhere on another matter of importance, but that does not explain what would leave the planets relatively unguarded. Defense codes aside, I found it hard to believe that automated defenses would be all that was left behind, and that reinforcements were not available.
I also had an issue with what Nero was supposedly doing for 25 years and how he kept such a low profile while he plotted his revenge. The final issue I had was with product placement as I found it hard to believe that Nokia and its familiar ringtone and Budweiser would be around as Trek lore is based on the planet narrowly surviving a nuclear war in the past that nearly destroyed everything. While this may seem like minor criticism, from the perspective of a long time Star Trek fan, it contradicts much of what had been established.
Thankfully, Abrams and crew take the series in a new direction without totally losing sight of where it came from. There are many nods to the series and Abrams clearly respects the original material enough to let fans know that their beloved Trek is still there in the original timeline, with its history intact. By cleverly establishing a different timeline, Abrams has creative freedom to go in any direction he desires.
The cast is strong, with Chris Pine’s Kirk as cocky and entertaining as his predecessor. I loved Anton Yelchin as Chekov and his struggles with the English language, Simon Pegg’s quick quips as Scotty, and the sassy attitude Zoe Saldana’s injects into her Uhura. The amazing visuals and designs of the film are breathtaking and it was clear that the Industrial Light & Magic (ILM) crew pushed themselves to bring everything they had to the film. In the end, Star Trek is a remarkable film that, despite some issues, has a solid new lease on life. Abrams boldly, and triumphantly, goes where fans, old and new, will gladly follow.
graveyardgremlin (7194 KP) rated Nightmares: A New Decade of Modern Horror in Books
Feb 15, 2019
Shallaballah by [a:Mark Samuels|679023|Mark Samuels|https://images.gr-assets.com/authors/1485638875p2/679023.jpg]
Weird and I didn't completely understand it. I'm not big on surreal-like stories.
1.5 stars
Sob in the Silence by [a:Gene Wolfe|23069|Gene Wolfe|https://images.gr-assets.com/authors/1207670073p2/23069.jpg]
I liked it okay, but wasn't wowed. I feel like there was a missed opportunity and that the ending was too abrupt.
3 stars
Our Tun Too Will One Day Come by [a:Brian Hodge|167606|Brian Hodge|https://images.gr-assets.com/authors/1326937946p2/167606.jpg]
Folklore and horror equal an interesting tale. I'd read more from Brian Hodge.
4 stars
Dead Sea Fruit by [a:Kaaron Warren|1207458|Kaaron Warren|https://images.gr-assets.com/authors/1303270263p2/1207458.jpg]
So far the best in the book. Perfectly paced and pretty darned creepy.
4.5 stars
Closet Dreams by [a:Lisa Tuttle|38313|Lisa Tuttle|https://images.gr-assets.com/authors/1296860221p2/38313.jpg]
Haunting. That's the first word that popped into my head when I finished this story. Also, disturbing, sad, and devastating. Trigger warning: <spoiler>pedophilia and abduction, although not described in any kind of detail</spoiler>
5 stars
Spectral Evidence by [a:Gemma Files|765702|Gemma Files|https://images.gr-assets.com/authors/1266869494p2/765702.jpg]
I had a hard time with this, especially at the beginning since it's written as a case study with footnotes. Had this been written as a regular short story, I do believe the horror is there for a good tale, but as it stands it didn't feel at all scary or nightmarish.
2.5 stars
Hushabye by [a:Simon Bestwick|2830642|Simon Bestwick|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
This was...okay. It sorta fit the book, but it also sorta didn't. The story almost felt noir, but not quite, plus everything was rather vague. Not bad, but fine.
3 stars
Very Low-Flying Aircraft by [a:Nicholas Royle|20435|Nicholas Royle|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png]
The only horror in this is the fact that it's included in a horror anthology. I'm not even sure what the point was.
1.5 stars
The Goosle by [a:Margo Lanagan|277536|Margo Lanagan|https://images.gr-assets.com/authors/1361153347p2/277536.jpg]
Meh. An even more twisted sequel of sorts to Hansel and Gretel sans Gretel. While it's gory, it didn't bother me but I didn't love it.
3 stars
The Clay Party by [a:Steve Duffy|376166|Steve Duffy|https://images.gr-assets.com/authors/1329037438p2/376166.jpg]
A take on the Donner Party told through diary entries and a letter at the end.
4 stars
Strappado by [a:Laird Barron|466494|Laird Barron|https://images.gr-assets.com/authors/1446325324p2/466494.jpg]
This didn't do anything for me; it was just too vague.
2 stars
Lonegan's Luck by [a:Stephen Graham Jones|96300|Stephen Graham Jones|https://images.gr-assets.com/authors/1458951688p2/96300.jpg]
Interesting, the writing and pace was good. The MC is a conman of the old(?) West. I didn't understand why he did what he did exactly, like were there circumstances of something that happened to the country as a whole, but it's not such a big thing. I only hoped he'd get a taste of his own medicine, so to speak.
3 stars
Mr. Pigsny by [a:Reggie Oliver|518983|Reggie Oliver|https://images.gr-assets.com/authors/1477924368p2/518983.jpg]
An odd, creepy little tale.
4 stars
At Night, When the Demons Come by [a:Ray Cluley|4446653|Ray Cluley|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
Perfectly told, perfectly paced, with a horrible-ish ending. Definitely memorable.
4.5 stars
Was She Wicked? Was She Good by [a:Mary Rickert|7344680|Mary Rickert|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] (as M. Rickert)
Meh. Not bad, but not great either. I don't really have much to say about it.
3 stars
The Shallows by [a:John Langan|58413|John Langan|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
I honestly don't even remember this one so it must not have been all that bad or good.
2 stars
Little Pig by [a:Anna Taborska|4343515|Anna Taborska|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
Horrific only in the way of what you might do to for the survival of those you love. A quirky start with an powerful ending.
4 stars
Omphalos by [a:Livia Llewellyn|2966042|Livia Llewellyn|https://images.gr-assets.com/authors/1298571003p2/2966042.jpg]
Well-written but definitely not one for everybody. It's sick, a little too descriptive with the incest. I don't need an actual scene with explicitness. While I felt sorry for the MC and her brother, the story made me sad for actual victims. Possibly the point, but it's an upsetting story that some should probably skip. Also, what happened in the end? I get some of it, but it was so confusing and vague that I didn't fully comprehend the conclusion. It doesn't matter much, but I'm getting tired of vague endings or other scenes in these stories.
3.5 stars
How We Escaped Our Certain Fate by [a:Dan Chaon|16560|Dan Chaon|https://images.gr-assets.com/authors/1241719844p2/16560.jpg]
Interesting and thoughtful zombie tale. Slightly melancholy.
3.5 stars
That Tiny Flutter of The Heart I Used to Call Love by [a:Robert Shearman|128037|Robert Shearman|https://images.gr-assets.com/authors/1363523036p2/128037.jpg]
Strange. I'm not sure exactly what I thought of this tale, and I'm not sure I totally get what happened at the end, but that seems to be my lot with some of these stories.
3 stars
Interstate Love Song (Murder Ballad No. 8) by [a:Caitlín R. Kiernan|4798562|Caitlín R. Kiernan|https://images.gr-assets.com/authors/1491390729p2/4798562.jpg]
I liked this story. It was....interesting to say the least. Not my favorite but solid.
3.75 stars
Shay Corsham Worsted by [a:Garth Nix|8347|Garth Nix|https://images.gr-assets.com/authors/1207583754p2/8347.jpg]
3.5 stars
The Atlas of Hell by [a:Nathan Ballingrud|2957979|Nathan Ballingrud|https://images.gr-assets.com/authors/1354770124p2/2957979.jpg]
4.5 stars
Ambitious Boys Like You by [a:Richard Kadrey|37557|Richard Kadrey|https://images.gr-assets.com/authors/1252945001p2/37557.jpg]
4 - 4.5 stars
Okay, I kinda ran out of reviewing steam near the end, but the last two stories were excellent.
Weird and I didn't completely understand it. I'm not big on surreal-like stories.
1.5 stars
Sob in the Silence by [a:Gene Wolfe|23069|Gene Wolfe|https://images.gr-assets.com/authors/1207670073p2/23069.jpg]
I liked it okay, but wasn't wowed. I feel like there was a missed opportunity and that the ending was too abrupt.
3 stars
Our Tun Too Will One Day Come by [a:Brian Hodge|167606|Brian Hodge|https://images.gr-assets.com/authors/1326937946p2/167606.jpg]
Folklore and horror equal an interesting tale. I'd read more from Brian Hodge.
4 stars
Dead Sea Fruit by [a:Kaaron Warren|1207458|Kaaron Warren|https://images.gr-assets.com/authors/1303270263p2/1207458.jpg]
So far the best in the book. Perfectly paced and pretty darned creepy.
4.5 stars
Closet Dreams by [a:Lisa Tuttle|38313|Lisa Tuttle|https://images.gr-assets.com/authors/1296860221p2/38313.jpg]
Haunting. That's the first word that popped into my head when I finished this story. Also, disturbing, sad, and devastating. Trigger warning: <spoiler>pedophilia and abduction, although not described in any kind of detail</spoiler>
5 stars
Spectral Evidence by [a:Gemma Files|765702|Gemma Files|https://images.gr-assets.com/authors/1266869494p2/765702.jpg]
I had a hard time with this, especially at the beginning since it's written as a case study with footnotes. Had this been written as a regular short story, I do believe the horror is there for a good tale, but as it stands it didn't feel at all scary or nightmarish.
2.5 stars
Hushabye by [a:Simon Bestwick|2830642|Simon Bestwick|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
This was...okay. It sorta fit the book, but it also sorta didn't. The story almost felt noir, but not quite, plus everything was rather vague. Not bad, but fine.
3 stars
Very Low-Flying Aircraft by [a:Nicholas Royle|20435|Nicholas Royle|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png]
The only horror in this is the fact that it's included in a horror anthology. I'm not even sure what the point was.
1.5 stars
The Goosle by [a:Margo Lanagan|277536|Margo Lanagan|https://images.gr-assets.com/authors/1361153347p2/277536.jpg]
Meh. An even more twisted sequel of sorts to Hansel and Gretel sans Gretel. While it's gory, it didn't bother me but I didn't love it.
3 stars
The Clay Party by [a:Steve Duffy|376166|Steve Duffy|https://images.gr-assets.com/authors/1329037438p2/376166.jpg]
A take on the Donner Party told through diary entries and a letter at the end.
4 stars
Strappado by [a:Laird Barron|466494|Laird Barron|https://images.gr-assets.com/authors/1446325324p2/466494.jpg]
This didn't do anything for me; it was just too vague.
2 stars
Lonegan's Luck by [a:Stephen Graham Jones|96300|Stephen Graham Jones|https://images.gr-assets.com/authors/1458951688p2/96300.jpg]
Interesting, the writing and pace was good. The MC is a conman of the old(?) West. I didn't understand why he did what he did exactly, like were there circumstances of something that happened to the country as a whole, but it's not such a big thing. I only hoped he'd get a taste of his own medicine, so to speak.
3 stars
Mr. Pigsny by [a:Reggie Oliver|518983|Reggie Oliver|https://images.gr-assets.com/authors/1477924368p2/518983.jpg]
An odd, creepy little tale.
4 stars
At Night, When the Demons Come by [a:Ray Cluley|4446653|Ray Cluley|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
Perfectly told, perfectly paced, with a horrible-ish ending. Definitely memorable.
4.5 stars
Was She Wicked? Was She Good by [a:Mary Rickert|7344680|Mary Rickert|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] (as M. Rickert)
Meh. Not bad, but not great either. I don't really have much to say about it.
3 stars
The Shallows by [a:John Langan|58413|John Langan|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
I honestly don't even remember this one so it must not have been all that bad or good.
2 stars
Little Pig by [a:Anna Taborska|4343515|Anna Taborska|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
Horrific only in the way of what you might do to for the survival of those you love. A quirky start with an powerful ending.
4 stars
Omphalos by [a:Livia Llewellyn|2966042|Livia Llewellyn|https://images.gr-assets.com/authors/1298571003p2/2966042.jpg]
Well-written but definitely not one for everybody. It's sick, a little too descriptive with the incest. I don't need an actual scene with explicitness. While I felt sorry for the MC and her brother, the story made me sad for actual victims. Possibly the point, but it's an upsetting story that some should probably skip. Also, what happened in the end? I get some of it, but it was so confusing and vague that I didn't fully comprehend the conclusion. It doesn't matter much, but I'm getting tired of vague endings or other scenes in these stories.
3.5 stars
How We Escaped Our Certain Fate by [a:Dan Chaon|16560|Dan Chaon|https://images.gr-assets.com/authors/1241719844p2/16560.jpg]
Interesting and thoughtful zombie tale. Slightly melancholy.
3.5 stars
That Tiny Flutter of The Heart I Used to Call Love by [a:Robert Shearman|128037|Robert Shearman|https://images.gr-assets.com/authors/1363523036p2/128037.jpg]
Strange. I'm not sure exactly what I thought of this tale, and I'm not sure I totally get what happened at the end, but that seems to be my lot with some of these stories.
3 stars
Interstate Love Song (Murder Ballad No. 8) by [a:Caitlín R. Kiernan|4798562|Caitlín R. Kiernan|https://images.gr-assets.com/authors/1491390729p2/4798562.jpg]
I liked this story. It was....interesting to say the least. Not my favorite but solid.
3.75 stars
Shay Corsham Worsted by [a:Garth Nix|8347|Garth Nix|https://images.gr-assets.com/authors/1207583754p2/8347.jpg]
3.5 stars
The Atlas of Hell by [a:Nathan Ballingrud|2957979|Nathan Ballingrud|https://images.gr-assets.com/authors/1354770124p2/2957979.jpg]
4.5 stars
Ambitious Boys Like You by [a:Richard Kadrey|37557|Richard Kadrey|https://images.gr-assets.com/authors/1252945001p2/37557.jpg]
4 - 4.5 stars
Okay, I kinda ran out of reviewing steam near the end, but the last two stories were excellent.
Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.