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Leanne Crabtree (480 KP) rated Venom & Vanilla (The Venom Trilogy, #1) in Books
Jan 11, 2021
It took me a while to get into this. At the start, I wasn't sure how to take it. We're thrown straight into it and it almost read as some bad comedy with her husband. It started off fine but then went a bit downhill with the Barbie thing. I honestly wondered what was happening.
It took a while for me to figure it out and get into the story, probably a good 20% and even then it wasn't a smooth read. I was still struggling to gel with the storyline and the main character. In truth that only happened in the last 30% or so and I actually started to like the book.
I would have liked more romantic content but I can't really moan because it is a trilogy and I'm sure more will happen in the next two books... it's just a case of will I read them? Hmm.
It took a while for me to figure it out and get into the story, probably a good 20% and even then it wasn't a smooth read. I was still struggling to gel with the storyline and the main character. In truth that only happened in the last 30% or so and I actually started to like the book.
I would have liked more romantic content but I can't really moan because it is a trilogy and I'm sure more will happen in the next two books... it's just a case of will I read them? Hmm.
Awix (3310 KP) rated Tie Me Up! Tie Me Down! (¡Átame!) (1989) in Movies
Jun 3, 2020
Black romantic-comedy, a rare misfire from Pedro Almodovar. A mentally-unstable young man kidnaps a troubled actress and junkie and keeps her prisoner until she falls in love with him. Yes, I know: I would say it was a Spanish thing but it's fundamentally the same plot as Passengers and a few other movies.
I suppose it's conceivable that you could make quite an interesting and provocative film based on such a premise, provided you approached it the right way (perhaps in this case doing it ironically might be justified). However, Almodovar plays it unexpectedly straight, and quite apart from how dodgy the basis of the plot is, not even actors like Banderas and Abril (who do the best they can with the material) can make the story work. Lots of interesting characters and story material gets crowded out to the edges of the film, and it's oddly graphic for what's supposed to be a romance. Watchable but not satisfying.
I suppose it's conceivable that you could make quite an interesting and provocative film based on such a premise, provided you approached it the right way (perhaps in this case doing it ironically might be justified). However, Almodovar plays it unexpectedly straight, and quite apart from how dodgy the basis of the plot is, not even actors like Banderas and Abril (who do the best they can with the material) can make the story work. Lots of interesting characters and story material gets crowded out to the edges of the film, and it's oddly graphic for what's supposed to be a romance. Watchable but not satisfying.
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Bob Mann (459 KP) rated Long Shot (2019) in Movies
Sep 28, 2021
#Punching.
#Punching refers to an in-family joke….. my WhatsApp reply to my son when he sent me a picture of his new “Brazilian supermodel girlfriend” (she’s not). Bronwyn is now my daughter-in-law!
Similarly, the ‘out-there’ journalist Fred Flarsky (Seth Rogan) has been holding a candle for the glacial ice-queen Charlotte Field (Charlize Theron) for nearly twenty years. At the age of 16 she was his babysitter. Always with an interest in school issues, she has now risen to the dizzy heights of secretary (“of State”) to the President of the United States (Bob Odenkirk). With Charlotte getting the opportunity to run for President, fate arranges for Fred to get hired as a speechwriter on the team to help inject some necessary humour into Charlotte’s icy public persona. But in terms of romantic options, the shell-suited Fred is surely #punching isn’t he?
A rare thing.
Getting the balance right for a “romantic comedy” is a tricky job, but “Long Shot” just about gets it spot on. The comedy is sharp with a whole heap of great lines, some of which will need a second watch to catch. It’s also pleasingly politically incorrect, with US news anchors in particular being lampooned for their appallingly sexist language.
Just occasionally, the humour flips into Farrelly-levels of dubious taste (one “Mary-style” incident in particular was, for me, very funny but might test some viewer’s “ugh” button). The film also earns its UK15 certificate from the extensive array of “F” words utilized, and for some casual drug use.
Romantically, the film harks back to a classic blockbuster of 1990, but is well done and touching.
Writing and Directing
The sharp and tight screenplay was written by Dan Sterling, who wrote the internationally controversial Seth Rogen/James Franco comedy “The Interview” from 2014, and Liz Hannah, whose movie screenplay debut was the Spielberg drama “The Post“.
Behind the camera is Jonathan Levine, who previously directed the pretty awful “Snatched” from 2017 (a film I have started watching on a plane but never finished) but on the flip side he has on his bio the interesting rom-com-zombie film “Warm Bodies” and the moving cancer comedy “50:50”, also with Rogan, from 2011.
Also worthy of note in the technical department is the cinematography by Yves Bélanger (“The Mule“, “Brooklyn“, “Dallas Buyers Club“) with some lovely angles and tracking shots (a kitchen dance scene has an impressively leisurely track-away).
The Cast
Seth Rogen is a bit of an acquired taste: he’s like the US version of Johnny Vegas. Here he is suitably geeky when he needs to be, but has the range to make some of the pathos work in the inevitable “downer” scenes. Theron is absolutely gorgeous on-screen (although unlike the US anchors I OBVIOUSLY also appreciate her style and acting ability!). She really is the Grace Kelly of the modern age. She’s no stranger to comedy, having been in the other Seth (Macfarlane)’s “A Million Ways to Die in the West“. But she seems to be more comfortable with this material, and again gets the mix of comedy, romance and drama spot-on.
The strong supporting cast includes the unknown (to me) June Diane Raphael who is very effective at the cock-blocking Maggie, Charlotte’s aide; O’Shea Jackson Jr. as Fred’s buddy Lance; and Ravi Patel as the staffer Tom.
But winning the prize for the most unrecognizable cast member was Andy Serkis as the wizened old Rupert Murdoch-style media tycoon Parker Wembley: I genuinely got a shock as the titles rolled that this was him.
Final thoughts.
Although possibly causing offence to some, this is a fine example of a US comedy that delivers consistent laughs. Most of the audience chatter coming out of the screening was positive. At just over 2 hours, it breaks my “90 minute comedy” rule, but just about gets away with it. It’s not quite for me at the bar of “Game Night“, but it’s pretty close. Recommended.
#Punching refers to an in-family joke….. my WhatsApp reply to my son when he sent me a picture of his new “Brazilian supermodel girlfriend” (she’s not). Bronwyn is now my daughter-in-law!
Similarly, the ‘out-there’ journalist Fred Flarsky (Seth Rogan) has been holding a candle for the glacial ice-queen Charlotte Field (Charlize Theron) for nearly twenty years. At the age of 16 she was his babysitter. Always with an interest in school issues, she has now risen to the dizzy heights of secretary (“of State”) to the President of the United States (Bob Odenkirk). With Charlotte getting the opportunity to run for President, fate arranges for Fred to get hired as a speechwriter on the team to help inject some necessary humour into Charlotte’s icy public persona. But in terms of romantic options, the shell-suited Fred is surely #punching isn’t he?
A rare thing.
Getting the balance right for a “romantic comedy” is a tricky job, but “Long Shot” just about gets it spot on. The comedy is sharp with a whole heap of great lines, some of which will need a second watch to catch. It’s also pleasingly politically incorrect, with US news anchors in particular being lampooned for their appallingly sexist language.
Just occasionally, the humour flips into Farrelly-levels of dubious taste (one “Mary-style” incident in particular was, for me, very funny but might test some viewer’s “ugh” button). The film also earns its UK15 certificate from the extensive array of “F” words utilized, and for some casual drug use.
Romantically, the film harks back to a classic blockbuster of 1990, but is well done and touching.
Writing and Directing
The sharp and tight screenplay was written by Dan Sterling, who wrote the internationally controversial Seth Rogen/James Franco comedy “The Interview” from 2014, and Liz Hannah, whose movie screenplay debut was the Spielberg drama “The Post“.
Behind the camera is Jonathan Levine, who previously directed the pretty awful “Snatched” from 2017 (a film I have started watching on a plane but never finished) but on the flip side he has on his bio the interesting rom-com-zombie film “Warm Bodies” and the moving cancer comedy “50:50”, also with Rogan, from 2011.
Also worthy of note in the technical department is the cinematography by Yves Bélanger (“The Mule“, “Brooklyn“, “Dallas Buyers Club“) with some lovely angles and tracking shots (a kitchen dance scene has an impressively leisurely track-away).
The Cast
Seth Rogen is a bit of an acquired taste: he’s like the US version of Johnny Vegas. Here he is suitably geeky when he needs to be, but has the range to make some of the pathos work in the inevitable “downer” scenes. Theron is absolutely gorgeous on-screen (although unlike the US anchors I OBVIOUSLY also appreciate her style and acting ability!). She really is the Grace Kelly of the modern age. She’s no stranger to comedy, having been in the other Seth (Macfarlane)’s “A Million Ways to Die in the West“. But she seems to be more comfortable with this material, and again gets the mix of comedy, romance and drama spot-on.
The strong supporting cast includes the unknown (to me) June Diane Raphael who is very effective at the cock-blocking Maggie, Charlotte’s aide; O’Shea Jackson Jr. as Fred’s buddy Lance; and Ravi Patel as the staffer Tom.
But winning the prize for the most unrecognizable cast member was Andy Serkis as the wizened old Rupert Murdoch-style media tycoon Parker Wembley: I genuinely got a shock as the titles rolled that this was him.
Final thoughts.
Although possibly causing offence to some, this is a fine example of a US comedy that delivers consistent laughs. Most of the audience chatter coming out of the screening was positive. At just over 2 hours, it breaks my “90 minute comedy” rule, but just about gets away with it. It’s not quite for me at the bar of “Game Night“, but it’s pretty close. Recommended.
Mark @ Carstairs Considers (2206 KP) rated Read It and Weep in Books
Oct 12, 2019
Romance Overshadows Mystery
This fall, Lindsey’s friend Violet La Rue is directing a local theater production of A Midsummer Night’s Dream, and she is encouraging everyone to try out for it. Lindsey is more interested in working behind the scenes on the costumes, but many of her friends land parts in the play. The one non-community member cast is Violet’s friend, Robbie Vine, a celebrated actor. He brings with him his wife and his girlfriend, but he still is immediately smitten with Lindsey, and he starts flirting with her, which does nothing but irritate Sully, Lindsey’s ex. However, Lindsey’s romantic troubles aren’t the biggest issue on the stage. Instead, a series of increasingly more serious accidents seem to be happening in the theater. Is someone out to destroy the production? Is any one person the target? Will Lindsey get to the bottom of things before someone dies?
Since I’m behind on this series, I knew that Lindsey was going to have some serious issues with her love life, and that is the case here. In fact, it feels more like the focus of the book with the mystery being a sub-plot. I’m a guy, so I don’t tend to read romances, and I stir clear of many romantic comedies because they aren’t my thing. The romantic comedy aspect of this book certainly bothered me. While there are some mysterious occurrences, it wasn’t really until the second half when the mystery really got going and even then, is often overshadowed by the romance. There is a good twist to the mystery, however. And I adore the series characters. We get to see a different side of a couple of them and finally spend some time getting to know Violet. On the other hand, the suspects were rather weak. I’ve read enough of author Jenn McKinlay’s books to know this is a blip from an author I usually adore. If you are a fan of her books, you’ll still want to see what happens here. If you are new to her books, you’ll be better served starting with a different book and coming back to this one later. Personally, I am looking forward to visiting Lindsey again soon.
Since I’m behind on this series, I knew that Lindsey was going to have some serious issues with her love life, and that is the case here. In fact, it feels more like the focus of the book with the mystery being a sub-plot. I’m a guy, so I don’t tend to read romances, and I stir clear of many romantic comedies because they aren’t my thing. The romantic comedy aspect of this book certainly bothered me. While there are some mysterious occurrences, it wasn’t really until the second half when the mystery really got going and even then, is often overshadowed by the romance. There is a good twist to the mystery, however. And I adore the series characters. We get to see a different side of a couple of them and finally spend some time getting to know Violet. On the other hand, the suspects were rather weak. I’ve read enough of author Jenn McKinlay’s books to know this is a blip from an author I usually adore. If you are a fan of her books, you’ll still want to see what happens here. If you are new to her books, you’ll be better served starting with a different book and coming back to this one later. Personally, I am looking forward to visiting Lindsey again soon.