Search
Search results
David McK (3233 KP) rated Shanghai Knights (2003) in Movies
May 27, 2023
2003 sequel to 2001's Shangai Noon.
I know I've seen that earlier movie, but don't remember all that much about it, other than it was Wild West set and starred the same two lead actors in Jackie Chan and Owen Wilson.
This time around, the two end up in Victorian London in search of a McGuffin after Chon Wang's (Chan's) father - who is the keeper of the Imperial Seal - is murdered, with Wang then reuniting with his estranged sister.
As expected, they then encounter a whole host of historical characters, and get involved in all sorts of escapades, with it never really being in any doubt how it will end ...
So, yeah, family friendly fare that relies heavily on Owen's laid-back approach contrasting with Chan's high-energy slapstick martial arts.
I know I've seen that earlier movie, but don't remember all that much about it, other than it was Wild West set and starred the same two lead actors in Jackie Chan and Owen Wilson.
This time around, the two end up in Victorian London in search of a McGuffin after Chon Wang's (Chan's) father - who is the keeper of the Imperial Seal - is murdered, with Wang then reuniting with his estranged sister.
As expected, they then encounter a whole host of historical characters, and get involved in all sorts of escapades, with it never really being in any doubt how it will end ...
So, yeah, family friendly fare that relies heavily on Owen's laid-back approach contrasting with Chan's high-energy slapstick martial arts.
Alec Baldwin recommended The Royal Tenenbaums (2001) in Movies (curated)
BankofMarquis (1832 KP) rated Cats (2019) in Movies
Nov 20, 2020
Cut what worked in the musical and left in what didn't
I had heard that the movie version of the mega-Broadway hit musical CATS was a "total trainwreck" with bizarre performances and CGI that was incomplete and/or incompetently done making these CATS look more like FREAKS, so I was looking forward to a "so bad it's good" experience at the film. But, instead of being horrified or bemused, I felt another emotion while watching this...
BOREDOM.
I've never been a real fan of the Broadway production - I witnessed the original cast back in the early 1980's and had a follow-up viewing of the show on Broadway in the mid-to-late '90's when 2 people I know were in the cast and both times I enjoyed the music (for the most part) and the dancing was SUPERB, but I was left disappointed by the characters and the plot (or lack thereof) of this show.
And...that's the biggest problem with the film version of CATS, Director Tom Hooper (LES MISERABLES) decided to focus this film ON the characters and the performances - headlined by such stalwarts as Dame Judy Dench, Sir Ian McKellen, Idris, Elba, Ray Winstone, Jennifer Hudson, James Cordon and Rebel Wilson - and ignore the spectacle of the musical numbers and, most heinously, ignoring the dancing aspect of this musical. This approach, quite frankly, just did not work.
Now...add onto this questionable CGI (I'm being kind), a languid pace (I'm being kind) and performers who were miscast (I'm looking at you Idris Elba, Rebel Wilson, Ray Winstone and...if I'm being honest...Ian McKellan and Judy Dench), and don't get me started on Jason Derullo's RumTum Tugger and Taylor Swift's Bumbalurna (really?) - they were just plain awful. Derullo, especially, turned a fun, energizing driving character into a boring embodiment of all that is wrong with this film (okay...Rebel Wilson was worse, but still....) the only players in this film that kept my attention were stage performers like Robbie Fairchild (Munkustrap) and Francesca Hayward (Victoria) and they were sidelined for the most part by the bigger names and had their dance numbers eliminated and/or truncated.
I wish they would have gone for the campy "so bad, it's good" style of filmmaking - it, at least, would have kept my interest, but the movie as it is, did not. I was happy when the "Jellicle Cat" was selected at the end - I knew this experience would be over soon.
Letter Grade D
2 stars (out of 10) and you can take that to the Bank(OfMarquis)
BOREDOM.
I've never been a real fan of the Broadway production - I witnessed the original cast back in the early 1980's and had a follow-up viewing of the show on Broadway in the mid-to-late '90's when 2 people I know were in the cast and both times I enjoyed the music (for the most part) and the dancing was SUPERB, but I was left disappointed by the characters and the plot (or lack thereof) of this show.
And...that's the biggest problem with the film version of CATS, Director Tom Hooper (LES MISERABLES) decided to focus this film ON the characters and the performances - headlined by such stalwarts as Dame Judy Dench, Sir Ian McKellen, Idris, Elba, Ray Winstone, Jennifer Hudson, James Cordon and Rebel Wilson - and ignore the spectacle of the musical numbers and, most heinously, ignoring the dancing aspect of this musical. This approach, quite frankly, just did not work.
Now...add onto this questionable CGI (I'm being kind), a languid pace (I'm being kind) and performers who were miscast (I'm looking at you Idris Elba, Rebel Wilson, Ray Winstone and...if I'm being honest...Ian McKellan and Judy Dench), and don't get me started on Jason Derullo's RumTum Tugger and Taylor Swift's Bumbalurna (really?) - they were just plain awful. Derullo, especially, turned a fun, energizing driving character into a boring embodiment of all that is wrong with this film (okay...Rebel Wilson was worse, but still....) the only players in this film that kept my attention were stage performers like Robbie Fairchild (Munkustrap) and Francesca Hayward (Victoria) and they were sidelined for the most part by the bigger names and had their dance numbers eliminated and/or truncated.
I wish they would have gone for the campy "so bad, it's good" style of filmmaking - it, at least, would have kept my interest, but the movie as it is, did not. I was happy when the "Jellicle Cat" was selected at the end - I knew this experience would be over soon.
Letter Grade D
2 stars (out of 10) and you can take that to the Bank(OfMarquis)
Kristy H (1252 KP) rated The Precious One in Books
Feb 13, 2018
I've loved Marisa de los Santos since I read "Love Walked In" 8 or so years ago. She has a lovely, poetic way with words and "The Precious One" doesn't disappoint there. It's told in the alternating voices of two sisters: Taisy, a grown woman, who has always wondered why her domineering father, Wilson, was never a true father to her, and who has been basically estranged from him since 18, and Willow, her 16-year-old half sister, Wilson's pride and joy.
After Wilson suffers a heart attack, he summons for Taisy and her twin, Marcus. Only Taisy -- still longing for the fatherly approval she could never attain-- comes. There she learns that Wilson wants her to write a book about his scholarly life. As she embarks on that quest, she learns more than she bargained for about her father, her halfsister, her stepmother, and herself.
Here's the thing about this book. Much of it is incredibly implausible. It's kind of insanely implausible. There's a line where Willow, who is truly this pure, kind child of 16, after being isolated her entire life by her father, is talking to a school friend and asking how anyone could possibly be so nice. That's how I feel about half the characters in the book. Willow, said friend, Luka, Taisy... we also meet Taisy's high school boyfriend, Ben, whom she abandoned when the Wilson craziness happiness. Even he's amazingly nice.
They're all so kind and amazing and introspective. Well, except for Wilson, who is a completely horrible person: even after you learn about his past, he's just an ass.
But it doesn't matter if the characters seem a little too nice, or things happen a little to easily. There's definitely adversity, and poor Willow is certainly put through the wringer in a short period in this book. You find yourself rooting for her (she's just so nice, dammit) and Taisy (she's just so feisty and kind, dammit!) and for their relationship(s). There's also a beautiful moment, where things sort of come full circle, and you find yourself amazed about de los Santos' writing all over again.
It's a pretty book, and a romantic book, and a slightly improbable book, but still a good read nonetheless. Rated 4 stars here, probably truly a 3.5 rating (there's a little de los Santos nostalgia that goes into that rating).
Note: I received a free ebook copy of this novel from Edelweiss in return for a honest review.
After Wilson suffers a heart attack, he summons for Taisy and her twin, Marcus. Only Taisy -- still longing for the fatherly approval she could never attain-- comes. There she learns that Wilson wants her to write a book about his scholarly life. As she embarks on that quest, she learns more than she bargained for about her father, her halfsister, her stepmother, and herself.
Here's the thing about this book. Much of it is incredibly implausible. It's kind of insanely implausible. There's a line where Willow, who is truly this pure, kind child of 16, after being isolated her entire life by her father, is talking to a school friend and asking how anyone could possibly be so nice. That's how I feel about half the characters in the book. Willow, said friend, Luka, Taisy... we also meet Taisy's high school boyfriend, Ben, whom she abandoned when the Wilson craziness happiness. Even he's amazingly nice.
They're all so kind and amazing and introspective. Well, except for Wilson, who is a completely horrible person: even after you learn about his past, he's just an ass.
But it doesn't matter if the characters seem a little too nice, or things happen a little to easily. There's definitely adversity, and poor Willow is certainly put through the wringer in a short period in this book. You find yourself rooting for her (she's just so nice, dammit) and Taisy (she's just so feisty and kind, dammit!) and for their relationship(s). There's also a beautiful moment, where things sort of come full circle, and you find yourself amazed about de los Santos' writing all over again.
It's a pretty book, and a romantic book, and a slightly improbable book, but still a good read nonetheless. Rated 4 stars here, probably truly a 3.5 rating (there's a little de los Santos nostalgia that goes into that rating).
Note: I received a free ebook copy of this novel from Edelweiss in return for a honest review.
ClareR (5596 KP) rated The Final Revival of Opal and Nev in Books
Nov 21, 2021
The Final Revival of Opal and Nev is everything I could wish for in a book about a band. I loved Daisy Jones and The Six and for a moment, I thought Opal and Nev was going to be a rehash - BUT IT’S NOT!!! Don’t get me wrong, I love them both, but Opal is the woman for me! It’s that element of early Punk - Opal knows what she wants, and she’s not going to settle for anything less.
It’s written in the form of interviews: what you see on the page is the transcript of the interviews conducted by S. Sunny Shelton, editor in chief of Aural magazine. Sunny has an ulterior motive. Her father was the drummer in Opal and Nev’s band, and was beaten to death at one of their first gigs - Sunny hadn’t been born when this happened.
Opal and Nev’s band has been a fascination for her since childhood, so when they announce a revival concert, Sunny sees this as her chance to wet a book about them and perhaps find out more about her father along the way.
The writing is so atmospheric. I could feel myself in the concert hall, the recording studio, and there in the rooms (or planes) where Sunny was conducting her interviews. You get a real feel for the time - the 1970’s - and it’s inherent racism. It was really interesting to read of Opal’s life away from the band and in Paris, and how she coped without Nev (hint: just fine).
And just so you know: I would most definitely buy Opal and Nev’s albums (and there’s a Spotify playlist that I think has been created by Dawnie Wilson - it’s excellent!).
It’s written in the form of interviews: what you see on the page is the transcript of the interviews conducted by S. Sunny Shelton, editor in chief of Aural magazine. Sunny has an ulterior motive. Her father was the drummer in Opal and Nev’s band, and was beaten to death at one of their first gigs - Sunny hadn’t been born when this happened.
Opal and Nev’s band has been a fascination for her since childhood, so when they announce a revival concert, Sunny sees this as her chance to wet a book about them and perhaps find out more about her father along the way.
The writing is so atmospheric. I could feel myself in the concert hall, the recording studio, and there in the rooms (or planes) where Sunny was conducting her interviews. You get a real feel for the time - the 1970’s - and it’s inherent racism. It was really interesting to read of Opal’s life away from the band and in Paris, and how she coped without Nev (hint: just fine).
And just so you know: I would most definitely buy Opal and Nev’s albums (and there’s a Spotify playlist that I think has been created by Dawnie Wilson - it’s excellent!).
Erika (17788 KP) rated Jojo Rabbit (2019) in Movies
Nov 2, 2019
I think my expectations were too high for this film. I love Taika Waititi's films, and @What We Do In The Shadows (2014) is one of my favorite movies.
The satire wasn't strong enough in my opinion, this film was very much JoJo's Bildungsroman. There's nothing wrong with that, but I feel like that should have been more prominent in the marketing. There was not enough of making fun of Nazis. Taika was amusing as (s)Hitler. Something that bothered me (which probably won't bother other people), was the amount of 'Heil Hitlers'; that phrase just creeps me out to my core.
An interesting observation made at the beginning of the film was that the fans of Hitler were very much like the crazed fans of the Beatles. The way it's shown is very interesting.
Rebel Wilson was annoying, and her character added nothing. The stupid lines she had should have been left on the cutting room floor. Same Rockwell was my favorite character, by far. The kid that played JoJo was also very good, and I hope he does more films.
Overall, worth a watch if you're a Taika fan, but I personally needed more ruthless teasing of Nazis.
The satire wasn't strong enough in my opinion, this film was very much JoJo's Bildungsroman. There's nothing wrong with that, but I feel like that should have been more prominent in the marketing. There was not enough of making fun of Nazis. Taika was amusing as (s)Hitler. Something that bothered me (which probably won't bother other people), was the amount of 'Heil Hitlers'; that phrase just creeps me out to my core.
An interesting observation made at the beginning of the film was that the fans of Hitler were very much like the crazed fans of the Beatles. The way it's shown is very interesting.
Rebel Wilson was annoying, and her character added nothing. The stupid lines she had should have been left on the cutting room floor. Same Rockwell was my favorite character, by far. The kid that played JoJo was also very good, and I hope he does more films.
Overall, worth a watch if you're a Taika fan, but I personally needed more ruthless teasing of Nazis.
Bob Mann (459 KP) rated Last Night in Soho (2021) in Movies
Nov 11, 2021
Edgar Wright’s Haunting Love Letter to the Swinging Sixties.
A young 21st-century teen walks in her nightclothes down a darkened alley emerging into a bustling 60’s Soho street across from a theatre showing “Thunderball”. She enters the Cafe de Paris with a reflection mimicking her actions but showing a very different girl. So it was that the trailer for Edgar Wright’s “Last Night in Soho” hit earlier this year.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.
Stephen (210 KP) rated Isn't It Romantic (2019) in Movies
Mar 18, 2019 (Updated Mar 18, 2019)
The good thing about a rom com is that even if it’s not that good, there’s still always something to like in there somewhere.
‘Isn’t It Romantic’ sets out to lovingly spoof the rom com formula, and does this perfectly, but still ends up delivering everything a good rom com should do.
It’s lovely to see the wonderful Rebel Wilson getting a starring role, normally she just gets to inject a bit of her talents here and there, but she really gets her teeth into this role. She comes across as a really lovely person, her natural self shining through the character she plays.
There are lots of references to other much loved rom coms (e.g. Bridget Jones and 13 Going On 30), all done with an obvious passion.
One touch of genius was the way Rebel Wilson’s character’s expletives were drowned out by an assortment of background noises - a really simple idea but so refreshing and also hilarious.
The karaoke scene, in which the cast sing along to Whitney Houston’s ‘I Wanna Dance With Somebody’ is superb, and equals the magic of ‘13 Going On 30’s outstanding ‘Thriller’ scene.
Overall, I adored this movie, great cast, great music, and loads of love poured into the film by all those involved.
‘Isn’t It Romantic’ sets out to lovingly spoof the rom com formula, and does this perfectly, but still ends up delivering everything a good rom com should do.
It’s lovely to see the wonderful Rebel Wilson getting a starring role, normally she just gets to inject a bit of her talents here and there, but she really gets her teeth into this role. She comes across as a really lovely person, her natural self shining through the character she plays.
There are lots of references to other much loved rom coms (e.g. Bridget Jones and 13 Going On 30), all done with an obvious passion.
One touch of genius was the way Rebel Wilson’s character’s expletives were drowned out by an assortment of background noises - a really simple idea but so refreshing and also hilarious.
The karaoke scene, in which the cast sing along to Whitney Houston’s ‘I Wanna Dance With Somebody’ is superb, and equals the magic of ‘13 Going On 30’s outstanding ‘Thriller’ scene.
Overall, I adored this movie, great cast, great music, and loads of love poured into the film by all those involved.
BankofMarquis (1832 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Feb 12, 2021
Give Chadwick the Oscar
Pulitzer Prize winning Playwright August Wilson wrote 10 plays that he labeled his “Century Cycle” - one placed in each decade of the 20th century that depicts the Negro experience in America. Denzel Washington has pledged to produce a film for each one of these plays.
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Mark Jaye (65 KP) rated The Conjuring (2013) in Movies
May 13, 2019
The Conjuring Review
Contains spoilers, click to show
Originally wrote in 2013:
As an avid fan of horror I look for a few little things which if aren't apparent within the first minute decide on whether I'm going to bother with the rest of the film. Usually the company releasing the movie is a good starting point, reputable/recognised director or producer, recognisable actor/s, good production values - that sort of thing. I've seen some hum-dingers over the years - those films where Johnny Nobody has gathered several of his buddies together with a cheap camcorder or two and filmed some alleged zombie epic in the woods at the back of their school.
**The Conjuring is not one of those**
I like to think I have a strong disposition when it comes to scares - usually it takes a lot to make me squint. Examples that come to mind are 'Sinister', 'The Grudge', the end of 'The Ring' (you know, the scary dark haired girl climbing out of the TV!). The Conjuring is one of those - I watched this in the middle of the morning and found it pretty scary in places.
James Wan certainly knows how to make a movie of this type and is great at evoking atmosphere and notching up the scares as the film develops. In a nutshell, this is the alleged real life story of the Perron family who in 1971 moved into a new farmhouse. It isn't long before the usual shenanigans begin - pictures pulled off walls, doors knocking in the dead of night, the children befriending mysterious 'imaginary' kids (who we all know watching are going to show up at some point). The film sticks to the tried and tested story - gradual possession of one of the adults (Lily Taylor), gradually increasing appearances by ghostly figures, calling in the ghostbusters, gathering the proof, then the exorcism. It may be join the dots territory but it works.
Patrick Wilson shines and seems to be making his mark in films of this nature (Insidious and Insidious Chapter 2) - he portrays real life paranormal investigator Ed Warren who with his wife Lorraine (played just as well by Vera Farmiga) become immersed in the life of the Perron's making themselves targets of the supernatural force at work in the process.
The demonic spirit at work is that of a witch who was married to the guy who built the house back in the 1800's who cursed the land before committing suicide after murdering their child whilst a few days old. There is one particularly pant browning scene where the witch makes her first appearance atop a bedroom wardrobe....and I'll leave it there!
Quality. Best horror I've seen since Sinister.
As an avid fan of horror I look for a few little things which if aren't apparent within the first minute decide on whether I'm going to bother with the rest of the film. Usually the company releasing the movie is a good starting point, reputable/recognised director or producer, recognisable actor/s, good production values - that sort of thing. I've seen some hum-dingers over the years - those films where Johnny Nobody has gathered several of his buddies together with a cheap camcorder or two and filmed some alleged zombie epic in the woods at the back of their school.
**The Conjuring is not one of those**
I like to think I have a strong disposition when it comes to scares - usually it takes a lot to make me squint. Examples that come to mind are 'Sinister', 'The Grudge', the end of 'The Ring' (you know, the scary dark haired girl climbing out of the TV!). The Conjuring is one of those - I watched this in the middle of the morning and found it pretty scary in places.
James Wan certainly knows how to make a movie of this type and is great at evoking atmosphere and notching up the scares as the film develops. In a nutshell, this is the alleged real life story of the Perron family who in 1971 moved into a new farmhouse. It isn't long before the usual shenanigans begin - pictures pulled off walls, doors knocking in the dead of night, the children befriending mysterious 'imaginary' kids (who we all know watching are going to show up at some point). The film sticks to the tried and tested story - gradual possession of one of the adults (Lily Taylor), gradually increasing appearances by ghostly figures, calling in the ghostbusters, gathering the proof, then the exorcism. It may be join the dots territory but it works.
Patrick Wilson shines and seems to be making his mark in films of this nature (Insidious and Insidious Chapter 2) - he portrays real life paranormal investigator Ed Warren who with his wife Lorraine (played just as well by Vera Farmiga) become immersed in the life of the Perron's making themselves targets of the supernatural force at work in the process.
The demonic spirit at work is that of a witch who was married to the guy who built the house back in the 1800's who cursed the land before committing suicide after murdering their child whilst a few days old. There is one particularly pant browning scene where the witch makes her first appearance atop a bedroom wardrobe....and I'll leave it there!
Quality. Best horror I've seen since Sinister.