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Dictionary of Classical Mythology
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Jenny March's acclaimed Dictionary of Classical Mythology, first published in 1998 but long out of...
Opus 80: Oswald Mathias Ungers, Haus Belvederestrasse 60, Koln-Mungersdorf
Book
A house is a representation of the idea of the world, of life, of existence. For the Cologne...
The Sovereign Artist: Charles le Brun and the Image of Louis XIV
Wolf Burchard and Christopher Le Brun
Book
In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector...
Charlie Cobra Reviews (1840 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 7, 2020
A Fairly Tale In Hollywood But Lacks Finesse And Excitement
Once Upon A Time In Hollywood is a 2019 dramedy (drama/comedy) movie written and directed by Quentin Tarantino and producers David Heyman and Shannon Mcintosh. It was produced by Columbia Pictures, Bona Film Group, Heyday Films, and Visiona Romantica and distributed by Sony Pictures Releasing. The movie stars Leonardo DiCaprio, Brad, Margot Robbie, Emile Hirsch and Al Pacino.
In 1969 Los Angeles, actor Rick Dalton (Leonardo DiCaprio) and his best friend and stunt double Cliff Booth (Brad Pitt) navigate their way through an ever changing industry they hardly recognize anymore. Rick laments to Cliff that his career is over, having been the star of Bounty Law a 1950s Western television series and having trouble landing acting jobs as the lead in films. Dalton dreams of befriending actress Sharon Tate (Margot Robbie) and her husband, director Roman Polanski (Rafal Zawierucha), who are now his neighbors, in order to resurrect his career. Booth, who lives in a trailer with his pitbull, Brandy, relies on Dalton for work because of rumors he killed his wife, and drives Dalton around town and does other odd jobs for him.
This movie was definitely not what I expected from Quentin Tarantino. It was very slow building, and honestly boring in a lot of ways. I kept waiting for something to happen, but half way through the movie, still nothing really did. The acting however was outstanding. Leonardo DiCaprio was excellent as Rick Dalton and Brad Pitt was a charmer, I think this movie was awesome in its portrayal of Hollywood from that time and was almost like a fairy tale about Hollywood in a way. The ending of the movie really didn't fit with the rest of the film and was controversial, but to me it didn't fit because it hyper violent like most of Tarantino's other films. To me the ending kind of saved the movie but I see how to others it didn't go with it. I usually really like Tarantino's films but I didn't particularly like this one altogether. It kind of was a collection of good scenes and acting but didn't deliver on an actual story that was good or compelling enough for me personally. But then again I didn't like Inglorious Bastards that much, and thought The Hateful 8 could have been better too. But I loved Django Unchained, and the Kill Bill films and pretty much all his other films. So I would give this movie a 6/10, it's above average in a lot of ways but just fell through for me equally in a lot of ways that can't justify a higher rating from me. Maybe it was overrated or over-hyped, or maybe I just had too high of expectations.
In 1969 Los Angeles, actor Rick Dalton (Leonardo DiCaprio) and his best friend and stunt double Cliff Booth (Brad Pitt) navigate their way through an ever changing industry they hardly recognize anymore. Rick laments to Cliff that his career is over, having been the star of Bounty Law a 1950s Western television series and having trouble landing acting jobs as the lead in films. Dalton dreams of befriending actress Sharon Tate (Margot Robbie) and her husband, director Roman Polanski (Rafal Zawierucha), who are now his neighbors, in order to resurrect his career. Booth, who lives in a trailer with his pitbull, Brandy, relies on Dalton for work because of rumors he killed his wife, and drives Dalton around town and does other odd jobs for him.
This movie was definitely not what I expected from Quentin Tarantino. It was very slow building, and honestly boring in a lot of ways. I kept waiting for something to happen, but half way through the movie, still nothing really did. The acting however was outstanding. Leonardo DiCaprio was excellent as Rick Dalton and Brad Pitt was a charmer, I think this movie was awesome in its portrayal of Hollywood from that time and was almost like a fairy tale about Hollywood in a way. The ending of the movie really didn't fit with the rest of the film and was controversial, but to me it didn't fit because it hyper violent like most of Tarantino's other films. To me the ending kind of saved the movie but I see how to others it didn't go with it. I usually really like Tarantino's films but I didn't particularly like this one altogether. It kind of was a collection of good scenes and acting but didn't deliver on an actual story that was good or compelling enough for me personally. But then again I didn't like Inglorious Bastards that much, and thought The Hateful 8 could have been better too. But I loved Django Unchained, and the Kill Bill films and pretty much all his other films. So I would give this movie a 6/10, it's above average in a lot of ways but just fell through for me equally in a lot of ways that can't justify a higher rating from me. Maybe it was overrated or over-hyped, or maybe I just had too high of expectations.
Prof. Hornet - Easy Autocue
Productivity and Business
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Perfect for any situation: Youtube videos, business or school presentations, video journalism, video...
LiveTunes: LIVE Music Player
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What if you could make any regular song sound like a live concert with the touch of a button? ...
Live.me – Live Video Chat
Social Networking and Entertainment
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Live.me is one of the top live broadcasting apps - Make new friends in your area and around the...
Nicki Minaj: The Empire
Music and Games
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RULE THE WORLD WITH NICKI MINAJ Join the Queen of Rap in a dramatic adventure as you rise from...
Phillip McSween (751 KP) rated Rosemary's Baby (1968) in Movies
Jan 13, 2019
Good...Not Great
Rosemary’s Baby takes you down a rabbit hole and you have no idea what’s waiting for you at the other end. It drove me mad at times as I tried to figure out just what exactly was going on. The story follows a couple and the strange happenings that ensure when they move into a new apartment complex.
Acting: 10
Beginning: 8
I’m watching this movie as I write this as I typically try and do when I write reviews. The beginning is intriguing because it’s chocked full of foreshadowing. Hints are dropped here and there and you recognize almost instantly that something is off. Great job here of being subtle without being overbearing.
Characters: 10
Cinematography/Visuals: 8
The film succeeds with a visual jarring aspect where you never really gain your footing. You spend most of the film trying to figure out up from down and that’s in large part due to the fact that nothing really seems out of sorts…except for a few things here and there. Director Roman Polanski is like a cat owner with a laser pointer directing your attention in the right place for a bit then redirecting. Everything is under the surface waiting to boil over.
Conflict: 8
As the film progresses and Rosemary (Mia Farrow) descends into madness, you are hoping she can unravel the mystery of what exactly is happening. The conflict comes in the tension of the movements, the things moving under the surface that you know are there. Every new occurrence brings you closer to the truth and makes things more tense.
Genre: 4
This was probably a solid pass for the 1960’s, but it’s honestly pretty tame for today’s standards. I might catch some heat for not respecting the time period it was filmed in, but if we are identifying this as a horror film, then it pales in comparison to some of the horror that has kept me up at night. Also, when I compare it to a film like The Birds from the same period, it comes up short for me.
Memorability: 5
Pace: 7
Things move quickly enough, especially after the famous “dream sequence” that occurs. The pace is driven by the mystery of all the craziness unfolding. You are looking for answers along with Rosemary. A handful of scenes could have been shortened, but things never really drag on for the most part.
Plot: 10
Resolution: 4
Probably my biggest issue with the film. I won’t ruin it, but after everything that transpired, I was looking for a bit more hope for Rosemary. A few tweaks here and there may have altered my opinion of the entire film as a whole.
Overall: 74
Great cinematic storytelling isn’t quite enough to elevate Rosemary’s Baby to a classic in my opinion. Intriguing but not earth-shattering. Worth a one-time watch.
Acting: 10
Beginning: 8
I’m watching this movie as I write this as I typically try and do when I write reviews. The beginning is intriguing because it’s chocked full of foreshadowing. Hints are dropped here and there and you recognize almost instantly that something is off. Great job here of being subtle without being overbearing.
Characters: 10
Cinematography/Visuals: 8
The film succeeds with a visual jarring aspect where you never really gain your footing. You spend most of the film trying to figure out up from down and that’s in large part due to the fact that nothing really seems out of sorts…except for a few things here and there. Director Roman Polanski is like a cat owner with a laser pointer directing your attention in the right place for a bit then redirecting. Everything is under the surface waiting to boil over.
Conflict: 8
As the film progresses and Rosemary (Mia Farrow) descends into madness, you are hoping she can unravel the mystery of what exactly is happening. The conflict comes in the tension of the movements, the things moving under the surface that you know are there. Every new occurrence brings you closer to the truth and makes things more tense.
Genre: 4
This was probably a solid pass for the 1960’s, but it’s honestly pretty tame for today’s standards. I might catch some heat for not respecting the time period it was filmed in, but if we are identifying this as a horror film, then it pales in comparison to some of the horror that has kept me up at night. Also, when I compare it to a film like The Birds from the same period, it comes up short for me.
Memorability: 5
Pace: 7
Things move quickly enough, especially after the famous “dream sequence” that occurs. The pace is driven by the mystery of all the craziness unfolding. You are looking for answers along with Rosemary. A handful of scenes could have been shortened, but things never really drag on for the most part.
Plot: 10
Resolution: 4
Probably my biggest issue with the film. I won’t ruin it, but after everything that transpired, I was looking for a bit more hope for Rosemary. A few tweaks here and there may have altered my opinion of the entire film as a whole.
Overall: 74
Great cinematic storytelling isn’t quite enough to elevate Rosemary’s Baby to a classic in my opinion. Intriguing but not earth-shattering. Worth a one-time watch.
Gareth von Kallenbach (971 KP) rated Ben-Hur (2016) in Movies
Jul 15, 2019
Published in 1880, Ben-Hur: A Tale of the Christ is considered one of the most influential Christian books of the nineteenth century. The success of the novel led to film adaptations, most notably the 1955 academy award winning version of the film string Charlton Heston. Fast forward to 2016 and MGM and Paramount Pictures hope to see continue the success of this proven story with their newest film adaptation Ben-Hur.
The story follows a fictional Jewish Prince, Juda Ben-Hur (Jack Huston) as he is betrayed by his adopted brother and roman officer Messala (Toby Kebbell). Juda’s family is falsely accused of treason and Juda becomes enslaved by the Romans. Fueled by hate, Juda returns to Jerusalem seeking vengeance, until he unexpectedly finds compassion, forgiveness and redemption.
Walking into Ben-Hur, I did not know what to expect. I watched the 1955 version of Ben-Hur in 7th grade and did not remember anything accept the amazing chariot scene. That being said, this 2016 version of Ben-Hur stands on its own as a good film. Set in the time of Jesus, the story of Ben-Hur can be universally understood by people in all walks of life, religious or otherwise. That was something that I really appreciated about this film. Often stories set in a Christian setting can turn out to be distractingly preachy. However, Ben-Hur was the perfect blend of religion being hinted at throughout the story but never actually becoming the focal point of the story as a whole until redemption is found. Sure, it is there throughout for those who want it to be, but it also plays as a quiet catalyst for Juda through the compassion he sees in his wife Esther (Nazanin Boniadi) and Jesus (Rodrigo Santoro).
The film is acted well and the use of relatively unknown actors to play these major roles in an epic like this only works to strengthen the story as a whole. In fact, the most popular actor by far is Morgan Freeman (Ilderim) who has maybe 15-20 minutes of total screen time.
From a technical standpoint, Ben-Hur works not only visually with fantastic epic action scenes, but also in its pacing. The film’s pacing finds balance between intense action moments and the quieter exposition scenes that helps develop these characters, most notably Juda. We witness Juda’s transformation from naive prince, to a slave fighting for survival, to a man on a mission for revenge and the forgiveness he gains along the way.
Ben-Hur stands out to me this summer because at its core, it is a good coherent story told between impressive action pieces. Unlike so many recent summer blockbusters that are intent on showing off huge set pieces and not much more, Ben-Hur doesn’t forget that those action scenes are there to further the plot and tell a human story.
The story follows a fictional Jewish Prince, Juda Ben-Hur (Jack Huston) as he is betrayed by his adopted brother and roman officer Messala (Toby Kebbell). Juda’s family is falsely accused of treason and Juda becomes enslaved by the Romans. Fueled by hate, Juda returns to Jerusalem seeking vengeance, until he unexpectedly finds compassion, forgiveness and redemption.
Walking into Ben-Hur, I did not know what to expect. I watched the 1955 version of Ben-Hur in 7th grade and did not remember anything accept the amazing chariot scene. That being said, this 2016 version of Ben-Hur stands on its own as a good film. Set in the time of Jesus, the story of Ben-Hur can be universally understood by people in all walks of life, religious or otherwise. That was something that I really appreciated about this film. Often stories set in a Christian setting can turn out to be distractingly preachy. However, Ben-Hur was the perfect blend of religion being hinted at throughout the story but never actually becoming the focal point of the story as a whole until redemption is found. Sure, it is there throughout for those who want it to be, but it also plays as a quiet catalyst for Juda through the compassion he sees in his wife Esther (Nazanin Boniadi) and Jesus (Rodrigo Santoro).
The film is acted well and the use of relatively unknown actors to play these major roles in an epic like this only works to strengthen the story as a whole. In fact, the most popular actor by far is Morgan Freeman (Ilderim) who has maybe 15-20 minutes of total screen time.
From a technical standpoint, Ben-Hur works not only visually with fantastic epic action scenes, but also in its pacing. The film’s pacing finds balance between intense action moments and the quieter exposition scenes that helps develop these characters, most notably Juda. We witness Juda’s transformation from naive prince, to a slave fighting for survival, to a man on a mission for revenge and the forgiveness he gains along the way.
Ben-Hur stands out to me this summer because at its core, it is a good coherent story told between impressive action pieces. Unlike so many recent summer blockbusters that are intent on showing off huge set pieces and not much more, Ben-Hur doesn’t forget that those action scenes are there to further the plot and tell a human story.