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Emma @ The Movies (1786 KP) rated Robin Hood (2018) in Movies
Sep 25, 2019
At this point I feel like I've grown u with definitive versions of Robin Hood. Kevin Costner will always be a front runner, and Disney's foxified version brings a smile to my face every time. I was also lucky to have been shown Robin Hood Men In Tights when I was younger and will always appreciate Cary Elwes' rendition. Errol Flynn will always be the high point for class in the role. There's always that one we don't talk about... Russell Crowe, I'm looking at you. We probably should consider the small screen as well, after all should we be excluding Robin from Madi Marian and Her Merry Men?
After the one we don't talk about I had fairly low expectations for this. Did we really need to reboot this icon?
The answer is evidently a resounding yes. No one is more surprised about this than I am. He's still not the best Robin (sorry... Rob) but he's an excellent modern adaptation for those who don't want to go old school with their viewing.
Taron Egerton doesn't quite have the on-screen presence of a lord, he's something or a whipper-snapper in Robin terms. He'd be much more at home in an episode of Arrow. Watch out, Roy. In fact that would be my guess of what happened in the pitching of this one. "Arrow is basically Robin Hood, shall we just do that?"
Ben Mendelsohn proved himself to be an excellent villain in Ready Player One, and he's brought himself back to that high with the Sheriff of Nottingham. Cruel and egotistical he makes an easy focus for everyone's revolutionary efforts.
Friar Tuck... hmm. Tim Minchin was an interesting choice. My main issue is that he basically seems to have played it as Bill Bailey. That was something that stuck out from the very first time we saw him and from that point on all I could think was that they might as well have got Bill Bailey to do it.
I had hoped that like the trailer the film would feature some modern music as well as what turned out to be some very atmospheric background ensemble. Sadly not though. Maybe it's just me pining back to A Knight's Tale.
Round of applause for the cinematography. Everything flowed really well and that opening scene of war (which you can see some of in the trailer above) really drew you in. In fact, the whole scene felt very much more modern than bows and arrows and was a striking moment in the film.
If cinematography is at the top, the writing is somewhere near the bottom. Generally it was passable and I didn't really notice it. That sounds odd, but you know what I mean, sometimes it is just there and doesn't really leave a mark. Every now and then you'd get a curve ball of a line that made me recoil and stopped my enjoyment of the film. Speeches that should have had power in the words didn't, there was no feeling of being roused to action like so many great films are able to do.
As a final comment... why must you mess with the naturally accepted order of characters?
What you should do
Go for the action, not the script. It's quite impressive on the big screen and Jamie Foxx's John holds some quiet moments of humour that are worth seeing.
Movie thing you wish you could take home
I would quite like John's ability to heal and not die. That seems like a massively impressive part of his character.
After the one we don't talk about I had fairly low expectations for this. Did we really need to reboot this icon?
The answer is evidently a resounding yes. No one is more surprised about this than I am. He's still not the best Robin (sorry... Rob) but he's an excellent modern adaptation for those who don't want to go old school with their viewing.
Taron Egerton doesn't quite have the on-screen presence of a lord, he's something or a whipper-snapper in Robin terms. He'd be much more at home in an episode of Arrow. Watch out, Roy. In fact that would be my guess of what happened in the pitching of this one. "Arrow is basically Robin Hood, shall we just do that?"
Ben Mendelsohn proved himself to be an excellent villain in Ready Player One, and he's brought himself back to that high with the Sheriff of Nottingham. Cruel and egotistical he makes an easy focus for everyone's revolutionary efforts.
Friar Tuck... hmm. Tim Minchin was an interesting choice. My main issue is that he basically seems to have played it as Bill Bailey. That was something that stuck out from the very first time we saw him and from that point on all I could think was that they might as well have got Bill Bailey to do it.
I had hoped that like the trailer the film would feature some modern music as well as what turned out to be some very atmospheric background ensemble. Sadly not though. Maybe it's just me pining back to A Knight's Tale.
Round of applause for the cinematography. Everything flowed really well and that opening scene of war (which you can see some of in the trailer above) really drew you in. In fact, the whole scene felt very much more modern than bows and arrows and was a striking moment in the film.
If cinematography is at the top, the writing is somewhere near the bottom. Generally it was passable and I didn't really notice it. That sounds odd, but you know what I mean, sometimes it is just there and doesn't really leave a mark. Every now and then you'd get a curve ball of a line that made me recoil and stopped my enjoyment of the film. Speeches that should have had power in the words didn't, there was no feeling of being roused to action like so many great films are able to do.
As a final comment... why must you mess with the naturally accepted order of characters?
What you should do
Go for the action, not the script. It's quite impressive on the big screen and Jamie Foxx's John holds some quiet moments of humour that are worth seeing.
Movie thing you wish you could take home
I would quite like John's ability to heal and not die. That seems like a massively impressive part of his character.
David McK (3600 KP) rated Blood's Game in Books
Jan 30, 2019
Like, I'm sure, many others, my first exposure to the writings of [a:Angus Donald|584064|Angus Donald|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png] was when I picked up [b:Outlaw|6624899|Outlaw (The Outlaw Chronicles, #1)|Angus Donald|https://images.gr-assets.com/books/1347668868s/6624899.jpg|6819139] on sale: a novel which reimagined the familiar character of Robin Hood, and which I thoroughly enjoyed: so much so that I made it a point to pick up all the novels in that series ([b:Outlaw|6624899|Outlaw (The Outlaw Chronicles, #1)|Angus Donald|https://images.gr-assets.com/books/1347668868s/6624899.jpg|6819139], [b:Holy Warrior|7710240|Holy Warrior (The Outlaw Chronicles, #2)|Angus Donald|https://images.gr-assets.com/books/1327539941s/7710240.jpg|10428506], [b:King's Man|11351795|King's Man (The Outlaw Chronicles, #3)|Angus Donald|https://images.gr-assets.com/books/1328436464s/11351795.jpg|16281574], [b:Warlord|13077584|Warlord (The Outlaw Chronicles, #4)|Angus Donald|https://images.gr-assets.com/books/1342984405s/13077584.jpg|18244685], [b:Grail Knight|20613734|Grail Knight (The Outlaw Chronicles #5)|Angus Donald|https://images.gr-assets.com/books/1410172817s/20613734.jpg|21976159], [b:The Iron Castle|19857964|The Iron Castle (Outlaw Chronicles, #6)|Angus Donald|https://images.gr-assets.com/books/1402550564s/19857964.jpg|27860558] and (finally) [b:The Death of Robin Hood|29348050|The Death of Robin Hood (The Outlaw Chronicles, #8)|Angus Donald|https://images.gr-assets.com/books/1467543641s/29348050.jpg|49585935]).
This, however, would be the first time I had read one of Donald's novels that concerned a different central character, and that had a different setting: would it, I wondered, be more of the same, or would it have it's own 'feel'?
The answer, I can now say, is the latter.
Replacing Alan-a-Dale with Holcroft Blood, and told in the more traditional her-and-know third-person narrative (instead of the conceit of an elderly Alan recalling his youthful adventures with Robin Hood), this particular novel deals with the (attempted) theft of the Crown Jewels from the Tower of England during the reign of King Charles II, not long after the restoration.
While that (attempted) theft is carried out by Thomas Blood - who was caught red-handed but later, incredibly, was granted a pardon by Charles II - this novel does not have Thomas as the central character: rather, instead, we follow the fortunes of his youngest son Holcroft: a son who, throughout the course of this novel, becomes friends with Sir John Churchill, the future Duke of Marlborough (and Winston Churchill's direct descendant).
Whether true or not, young Holcroft is portrayed in this as suffering from a mild form of Asperger's Syndrome, able to easily code and decode correspondence sent to his master The Duke of Buckingham from his various spies and informants: a skill that comes in handy in this tale! I have to say, too, that the court of King Charles II comes across as incredibly decadent, full of scheming and back-stabbing rivals out wholly for themselves ...
I'd be interested in seeing where this series goes, especially as the next entry ([b:Blood's Revolution|36146468|Blood's Revolution|Angus Donald|https://images.gr-assets.com/books/1504033386s/36146468.jpg|57749834]) concerns itself - at least, according to the blurb at the back of this - with what is (in this country - Northern Ireland - at least) a very divisive and pivotal moment in English history.
This, however, would be the first time I had read one of Donald's novels that concerned a different central character, and that had a different setting: would it, I wondered, be more of the same, or would it have it's own 'feel'?
The answer, I can now say, is the latter.
Replacing Alan-a-Dale with Holcroft Blood, and told in the more traditional her-and-know third-person narrative (instead of the conceit of an elderly Alan recalling his youthful adventures with Robin Hood), this particular novel deals with the (attempted) theft of the Crown Jewels from the Tower of England during the reign of King Charles II, not long after the restoration.
While that (attempted) theft is carried out by Thomas Blood - who was caught red-handed but later, incredibly, was granted a pardon by Charles II - this novel does not have Thomas as the central character: rather, instead, we follow the fortunes of his youngest son Holcroft: a son who, throughout the course of this novel, becomes friends with Sir John Churchill, the future Duke of Marlborough (and Winston Churchill's direct descendant).
Whether true or not, young Holcroft is portrayed in this as suffering from a mild form of Asperger's Syndrome, able to easily code and decode correspondence sent to his master The Duke of Buckingham from his various spies and informants: a skill that comes in handy in this tale! I have to say, too, that the court of King Charles II comes across as incredibly decadent, full of scheming and back-stabbing rivals out wholly for themselves ...
I'd be interested in seeing where this series goes, especially as the next entry ([b:Blood's Revolution|36146468|Blood's Revolution|Angus Donald|https://images.gr-assets.com/books/1504033386s/36146468.jpg|57749834]) concerns itself - at least, according to the blurb at the back of this - with what is (in this country - Northern Ireland - at least) a very divisive and pivotal moment in English history.
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Awix (3310 KP) rated The Court Jester (1956) in Movies
Apr 20, 2020
Lavish musical-comedy spoof. Humble carnival entertainer Hubert Hawkins (Kaye) infiltrates the court of evil king Roderick as his new jester, in an attempt to get the rightful heir back on the throne, little suspecting that the man he's impersonating is the deadliest assassin in Europe.
Feels very dated now, and it's spoofing a genre of films which is even more old-fashioned (e.g. the 1938 Errol Flynn Robin Hood). How you feel about Danny Kaye's clowning, cross-talk routines and patter songs will also affect your response to this movie. Still, you have to admire Kaye's sheer dexterity as a performer, and there is still a touch of genius about routines like the chalice from the palace and the flagon with the dragon. He's well-supported too. Technicolour vaudeville in the end, but still very funny in places.
Feels very dated now, and it's spoofing a genre of films which is even more old-fashioned (e.g. the 1938 Errol Flynn Robin Hood). How you feel about Danny Kaye's clowning, cross-talk routines and patter songs will also affect your response to this movie. Still, you have to admire Kaye's sheer dexterity as a performer, and there is still a touch of genius about routines like the chalice from the palace and the flagon with the dragon. He's well-supported too. Technicolour vaudeville in the end, but still very funny in places.
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In Stars and Wars, Oscar-nominated Art Director Alan Tomkins reveals his unpublished film artwork...