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Gareth von Kallenbach (968 KP) rated The Proposal (2009) in Movies
Aug 9, 2019
If you have ever had an awful boss you will commiserate with Andrew Paxton (Ryan Reynolds) executive assistant to fiendish editor Margret Tate (Sandra Bullock). A Canadian, Margret is about to loose her Visa and prestigious job when she devises a plan to stay in the country by marrying Andrew. Realizing that Margret’s deportation also means he will loose his dream chance at becoming an editor, Andrew unhappily agrees.
To make matters worse a tenacious immigration clerk suspects the false conspiracy and threatens fines and felony charges if the bond is not truly romantic. In an effort to make their rouse seem more convincing the two not-so-in-love birds decide to visit Andrew’s family in Alaska.
Through a variety of comedic events and heart to heart discussions their relationship grows. But this new understanding of one another, and appearance of Andrew’s ex-girlfriend, threaten the marriage ploy.
While it is a cute movie the preposterous premise is the core obstacle with the film. Can anyone actually believe a person would ever fall in love with a boss so heinous that the office instant messages warnings of her arrival?
Further detracting from the film’s romantic attempts is the use of disjointed screwball comedy. These scenes, ranging from Ramone’s (Oscar Nuñez) bachelorette strip tease to Grandma Annie’s (Betty White) dancing in the wilderness, would have been more appropriate in “Animal House” than a romantic comedy.
Still the film does have some redeeming qualities; Ryan Reynolds’ bold delivery combines well with Sandra Bullock’s awkward appeal. Also the meritorious supporting cast will surely make you laugh. But if you are looking to be enchantingly swept away this is not the right film.
More funny than romantic the problematic premise makes “The Proposal” simply an OK comedy.
To make matters worse a tenacious immigration clerk suspects the false conspiracy and threatens fines and felony charges if the bond is not truly romantic. In an effort to make their rouse seem more convincing the two not-so-in-love birds decide to visit Andrew’s family in Alaska.
Through a variety of comedic events and heart to heart discussions their relationship grows. But this new understanding of one another, and appearance of Andrew’s ex-girlfriend, threaten the marriage ploy.
While it is a cute movie the preposterous premise is the core obstacle with the film. Can anyone actually believe a person would ever fall in love with a boss so heinous that the office instant messages warnings of her arrival?
Further detracting from the film’s romantic attempts is the use of disjointed screwball comedy. These scenes, ranging from Ramone’s (Oscar Nuñez) bachelorette strip tease to Grandma Annie’s (Betty White) dancing in the wilderness, would have been more appropriate in “Animal House” than a romantic comedy.
Still the film does have some redeeming qualities; Ryan Reynolds’ bold delivery combines well with Sandra Bullock’s awkward appeal. Also the meritorious supporting cast will surely make you laugh. But if you are looking to be enchantingly swept away this is not the right film.
More funny than romantic the problematic premise makes “The Proposal” simply an OK comedy.
BankofMarquis (1832 KP) rated Bird Box (2018) in Movies
Feb 1, 2019
Almost a good movie
One of my favorite films of 2018 is A QUIET PLACE where aliens with extreme hearing can get you if you make a noise. It is a quite interesting and well made film (with a bravura performance by Emily Blunt), so when I heard there was a variant of this theme (this time you can't use your eyes), I decided to check it out and to see if Sandra Bullock could pull off the same sort of bravura performance as Blunt.
And, that's too bad, for by comparison the Netflix flick BIRD BOX is no A QUIET PLACE, but if I don't try to compare it to A QUIET PLACE, BIRD BOX is a very entertaining film, indeed.
The story follows Bullock as Malorie a pregnant single woman who holds no "maternal instinct" towards her unborn child. Malorie is devoid of emotion and compassion and is dreading the day that her child will be born. Enter into this an "end of world event" where unseen aliens show up and, if you look at them, you go insane and try to commit suicide. Amidst this chaos, Malorie and a ragtag assortment of survivors find shelter in the house of Douglas (John Malkovich). Can this disparate group of strangers find a way to survive in this insane new world?
Well...the fun in this kind of movie is in the characters trapped together and the "10 Little Indians" style of demise as the house guests are picked off one by one by the aliens (or each other). It is the drama of these trapped individuals, and the surprise and the ingenuity of how they are killed off that makes or breaks these types of films.
And in this way, this film succeeds very well for besides Bullock and Malkovich, the housemates are filled with (for the most part) a strong grouping of actors led, most notably, by Trevante Rhodes (MOONLIGHT) and Jacki Weaver (ANIMAL KINGDOM). They are strong presences in this household and are interesting to watch. Good ol' B.D. Wong (JURASSIC PARK among many, many credits) brings his usual, solid game and Lil Rey Howery (GET OUT) brings much needed energy and humor to the proceedings. Add to this the usual, creepy Tom Hollander (IN THE LOOP) as a mysterious houseguest who is...creepy...and there is enough going on to keep my interest.
Add to this the always intriguing work of Malkovich as the paranoid, "me first" homeowner and Bullock underplaying her emotions as a counterbalance to Malkovich overplaying his emotions and the scenes in the house were interesting and (at times) gripping.
The problem I have with this film is that it inter cuts these scenes with scenes of Bullock (and a few other survivors from the house) "5 years later" - so, you already know who makes it and who doesn't - which takes away the tension of the house scenes. It also has an ending that, quite frankly, I saw coming a mile off and so it was not a satisfying conclusion to the proceedings for the ending was uneventful and unsurprising. A poor way to end this sort of film.
Don't get me wrong, the scenes in the house of the initial group of survivors is well worth viewing this film, I just wish Director Susanne Bier (THE NIGHT MANAGER) didn't dilute these scenes by bringing us forward in time too soon. I wonder how much better this film could have been had we just watched the events of the film (including all of the "5 years later scenes") in chronological order, I gotta think it would have been a better film.
This is, by every definition of the term, a "B" film, perfect for a snow, rain or cold-bound afternoon at home.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
And, that's too bad, for by comparison the Netflix flick BIRD BOX is no A QUIET PLACE, but if I don't try to compare it to A QUIET PLACE, BIRD BOX is a very entertaining film, indeed.
The story follows Bullock as Malorie a pregnant single woman who holds no "maternal instinct" towards her unborn child. Malorie is devoid of emotion and compassion and is dreading the day that her child will be born. Enter into this an "end of world event" where unseen aliens show up and, if you look at them, you go insane and try to commit suicide. Amidst this chaos, Malorie and a ragtag assortment of survivors find shelter in the house of Douglas (John Malkovich). Can this disparate group of strangers find a way to survive in this insane new world?
Well...the fun in this kind of movie is in the characters trapped together and the "10 Little Indians" style of demise as the house guests are picked off one by one by the aliens (or each other). It is the drama of these trapped individuals, and the surprise and the ingenuity of how they are killed off that makes or breaks these types of films.
And in this way, this film succeeds very well for besides Bullock and Malkovich, the housemates are filled with (for the most part) a strong grouping of actors led, most notably, by Trevante Rhodes (MOONLIGHT) and Jacki Weaver (ANIMAL KINGDOM). They are strong presences in this household and are interesting to watch. Good ol' B.D. Wong (JURASSIC PARK among many, many credits) brings his usual, solid game and Lil Rey Howery (GET OUT) brings much needed energy and humor to the proceedings. Add to this the usual, creepy Tom Hollander (IN THE LOOP) as a mysterious houseguest who is...creepy...and there is enough going on to keep my interest.
Add to this the always intriguing work of Malkovich as the paranoid, "me first" homeowner and Bullock underplaying her emotions as a counterbalance to Malkovich overplaying his emotions and the scenes in the house were interesting and (at times) gripping.
The problem I have with this film is that it inter cuts these scenes with scenes of Bullock (and a few other survivors from the house) "5 years later" - so, you already know who makes it and who doesn't - which takes away the tension of the house scenes. It also has an ending that, quite frankly, I saw coming a mile off and so it was not a satisfying conclusion to the proceedings for the ending was uneventful and unsurprising. A poor way to end this sort of film.
Don't get me wrong, the scenes in the house of the initial group of survivors is well worth viewing this film, I just wish Director Susanne Bier (THE NIGHT MANAGER) didn't dilute these scenes by bringing us forward in time too soon. I wonder how much better this film could have been had we just watched the events of the film (including all of the "5 years later scenes") in chronological order, I gotta think it would have been a better film.
This is, by every definition of the term, a "B" film, perfect for a snow, rain or cold-bound afternoon at home.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (968 KP) rated Premonition (2007) in Movies
Aug 14, 2019
Linda Hanson (Sandra Bullock), Is a woman whose comfortable life is about to to turned upside down when her husband (Julian Mc Mahon) is killed in a tragic car accident while away on a business trip. Suddenly a windowed mother of two young girls Linda is grief stricken and falls asleep wondering what she will do to handle her loss.
When Linda awakens the next morning, she is shocked to discover her husband alive and well downstairs. This bizzare occurence sets a chain of events into motion where each day she awakens, finds that her husband is either alive or dead. What is even more bizzare is that some days she awakens days in the future after her husbands accident to learn that other events have transpired while other days she awakens before the accident and wonders about her sanity.
Eventually Linda decides to map out the days she has visited and learns that she is covering the days leading up to and following the accident, and sets a plan into motion to answer the questions she has about why she is suddenly moving back and forth through time each day, as well as the events surrounding her visions of the future.
While the premise of the film is good, it looses momentum very quickly and soon becomes a myriad of plot holes and worn scenarios that ultimately leads to a very silly, and wholly unsatisfying ending, that does little to resolve the premise and mystery of the setup.
What further frustrated me about the film is the utter lack of chemistry between Bullock and Mc Mahon, who come across very stiffly during their scenes with one another, and seem almost to be taken an Acting 101 seminar rather than convincing us they are a married couple.
Mc Mahon’s part is also so lacking in substance I was suprised that an actor of his status would accept such a shallow part, as there is very little for him to do in this film as he is reduced at best to a moving prop and a plot device for much of the film.
This ultimately dooms the film as we feel very little for the characters as Bullock is very bland and by the numbers in her performance, which really strains the audeince to care for the chacters and their outcomes which is essential in a film of this type.
As it stands, Premonition is a good idea that goes nowhere fast, which is what I think will ultimately become of this film after its opening week at the box office.
When Linda awakens the next morning, she is shocked to discover her husband alive and well downstairs. This bizzare occurence sets a chain of events into motion where each day she awakens, finds that her husband is either alive or dead. What is even more bizzare is that some days she awakens days in the future after her husbands accident to learn that other events have transpired while other days she awakens before the accident and wonders about her sanity.
Eventually Linda decides to map out the days she has visited and learns that she is covering the days leading up to and following the accident, and sets a plan into motion to answer the questions she has about why she is suddenly moving back and forth through time each day, as well as the events surrounding her visions of the future.
While the premise of the film is good, it looses momentum very quickly and soon becomes a myriad of plot holes and worn scenarios that ultimately leads to a very silly, and wholly unsatisfying ending, that does little to resolve the premise and mystery of the setup.
What further frustrated me about the film is the utter lack of chemistry between Bullock and Mc Mahon, who come across very stiffly during their scenes with one another, and seem almost to be taken an Acting 101 seminar rather than convincing us they are a married couple.
Mc Mahon’s part is also so lacking in substance I was suprised that an actor of his status would accept such a shallow part, as there is very little for him to do in this film as he is reduced at best to a moving prop and a plot device for much of the film.
This ultimately dooms the film as we feel very little for the characters as Bullock is very bland and by the numbers in her performance, which really strains the audeince to care for the chacters and their outcomes which is essential in a film of this type.
As it stands, Premonition is a good idea that goes nowhere fast, which is what I think will ultimately become of this film after its opening week at the box office.
Suswatibasu (1701 KP) rated Our Brand is Crisis (2015) in Movies
Oct 30, 2017 (Updated Oct 30, 2017)
Would have been a decent film if it wasn't for the ending
Our Brand is Crisis is absolutely current for contemporary affairs given that it's a mix of House of Cards, The Ides of March, and real-life politics. The premise of the film looks completely realistic - a disgraced campaign manager discusses her role in manipulating election campaigns to sway the votes using 'crisis' rhetoric to engage the electorate. Sound familiar?
Sandra Bullock plays a brutal and a downright unlikable character but she's all about winning at any cost. In this case, after hiding away for several years following a public scandal, she's hired to back a dwindling presidential candidate in Bolivia. From dirty tricks such as spreading rumours, to even making her candidate appear emotional in a television chat show, she shows how fickle the election system is. All this down to fighting against an opposing campaign manager, played by Billy Bob Thornton, after he sabotaged another of her projects.
However, there's a reason why it hasn't received such great reviews. Right at the end of everything, she seems to gain a conscience which seemed completely uncharacteristic throughout. It changed it from a decently honest portrayal to a Hollywood film which was a real shame. It definitely had potential.
Sandra Bullock plays a brutal and a downright unlikable character but she's all about winning at any cost. In this case, after hiding away for several years following a public scandal, she's hired to back a dwindling presidential candidate in Bolivia. From dirty tricks such as spreading rumours, to even making her candidate appear emotional in a television chat show, she shows how fickle the election system is. All this down to fighting against an opposing campaign manager, played by Billy Bob Thornton, after he sabotaged another of her projects.
However, there's a reason why it hasn't received such great reviews. Right at the end of everything, she seems to gain a conscience which seemed completely uncharacteristic throughout. It changed it from a decently honest portrayal to a Hollywood film which was a real shame. It definitely had potential.
RəX Regent (349 KP) rated A Time to Kill (1996) in Movies
Mar 7, 2019
Polarising
Contains spoilers, click to show
The lasting appeal of this adapted screenplay of the John Grisham novel is that it's a great debate starter. Everyone seems to have very energised view on the subject of corporal punishment but this delves into even murkier territory, as it asks whether a father has the right to murder his 10-year-old daughters rapists.
The film also takes a position on it which turns it into more of a propaganda piece but still, a very effective and somewhat even handed one. Samual L. Jackson is the father, whilst potentially career best turns form Matthew McConaughey and Sandra Bullock steal the show. Oh and Kevin Spacey turns up but there's little point even mentioning his performance as he makes it all look so easy.
The film follows the events of the rape, the rapist's murder and the trial which ensues. The K.K.K. takes sides, the N.C.A.A.P. wade in and death threats and bombs are flying through the swamps of the deep south. This is a very good thriller and one of the best Grisham adapts to date, but it's the question that drives it throughout; the question of is there ever a time to kill which keeps this 149 minute thriller burning, even when the plot falls foul of the clichés.
The film also takes a position on it which turns it into more of a propaganda piece but still, a very effective and somewhat even handed one. Samual L. Jackson is the father, whilst potentially career best turns form Matthew McConaughey and Sandra Bullock steal the show. Oh and Kevin Spacey turns up but there's little point even mentioning his performance as he makes it all look so easy.
The film follows the events of the rape, the rapist's murder and the trial which ensues. The K.K.K. takes sides, the N.C.A.A.P. wade in and death threats and bombs are flying through the swamps of the deep south. This is a very good thriller and one of the best Grisham adapts to date, but it's the question that drives it throughout; the question of is there ever a time to kill which keeps this 149 minute thriller burning, even when the plot falls foul of the clichés.
Extremely Loud and Incredibly Close
8.8
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Extremely Loud and Incredibly Close is Jonathan Safran Foer's heartrending New York novel In a vase...
Lee (2222 KP) rated Ocean’s 8 (2018) in Movies
Jul 17, 2018
Sandra Bullock stars as Debbie Ocean, sister of Danny Ocean (George Clooney) from the previous Oceans movies. She begins the movie in jail, being released on parole and promising to go straight. She has 45 dollars in her pocket and manages to get to New York, scam herself some free makeup and a hotel room, and pretty much everything else she needs. She's clearly just like her brother, able to con her way to getting whatever she wants.
After that it's all a bit of an incoherent blur for a while. She's got a plan, she knows people who can help, they know people that can help, so they all start joining forces and forming some kind of plan, starting with an old accomplice, Lou (Cate Blanchett). The sloppy plot building is papered over with cool music, witty dialogue and snappy editing techniques similar to those in the far superior Ocean's 11. It's a frustrating and dull start to the movie.
Once the team of girls are all together though and they begin working through their plan, things loosen up a bit and are a bit more enjoyable. The heist they're planning is to steal a very expensive Cartier necklace from the neck of movie star Daphne Kluger (Anne Hathaway) while she attends New York's Met Gala, and under the watchful gaze of a team of security guys. With the help of a hacker (Rihanna), a fashion designer (Helena Bonham Carter), a pickpocket (Awkwafina), a jeweller (Mindy Kaling) and another old con partner (Sarah Paulson), the details of the heist are slowly refined - security cameras hacked, the necklace analysed and recreated via 3D printing. When it comes to the heist itself, it all plays enjoyably enough, but everything goes far too smoothly, with no real tension or suspense or any suggestion that they might not pull it off. Once again, it just feels inferior compared to Ocean's 11.
Sandra Bullock is the only one here displaying real screen presence, which is a real shame when you consider the talent involved. Cate Blanchett feels underused and Anne Hathaway is the only other actress making any real impact. Everyone else just feels wasted, too restricted to the roles they need to carry out in order to get the job done, with not much else going on.
We didn't really need another Ocean's movie. The quality of the previous series diminished with each one anyway and although I'm all up for the refreshing change of an all female heist movie, I felt this would have been much better overall without the whole 'Ocean' connection and the need to live up to the previous movies.
After that it's all a bit of an incoherent blur for a while. She's got a plan, she knows people who can help, they know people that can help, so they all start joining forces and forming some kind of plan, starting with an old accomplice, Lou (Cate Blanchett). The sloppy plot building is papered over with cool music, witty dialogue and snappy editing techniques similar to those in the far superior Ocean's 11. It's a frustrating and dull start to the movie.
Once the team of girls are all together though and they begin working through their plan, things loosen up a bit and are a bit more enjoyable. The heist they're planning is to steal a very expensive Cartier necklace from the neck of movie star Daphne Kluger (Anne Hathaway) while she attends New York's Met Gala, and under the watchful gaze of a team of security guys. With the help of a hacker (Rihanna), a fashion designer (Helena Bonham Carter), a pickpocket (Awkwafina), a jeweller (Mindy Kaling) and another old con partner (Sarah Paulson), the details of the heist are slowly refined - security cameras hacked, the necklace analysed and recreated via 3D printing. When it comes to the heist itself, it all plays enjoyably enough, but everything goes far too smoothly, with no real tension or suspense or any suggestion that they might not pull it off. Once again, it just feels inferior compared to Ocean's 11.
Sandra Bullock is the only one here displaying real screen presence, which is a real shame when you consider the talent involved. Cate Blanchett feels underused and Anne Hathaway is the only other actress making any real impact. Everyone else just feels wasted, too restricted to the roles they need to carry out in order to get the job done, with not much else going on.
We didn't really need another Ocean's movie. The quality of the previous series diminished with each one anyway and although I'm all up for the refreshing change of an all female heist movie, I felt this would have been much better overall without the whole 'Ocean' connection and the need to live up to the previous movies.
Screen World: The Films of 2009: v. 61
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Movie fans eagerly await each new edition of Screen World, the definitive record of the cinema since...
Bob Mann (459 KP) rated Ocean’s 8 (2018) in Movies
Sep 29, 2021
Can 8 women do the work of 11, 12 or even 13 men?
The female empowerment #SheToo implications of the title are clearly writ large for this movie! The answer of course…. is a major spoiler, so we won’t go there.
Debbie Ocean (Sandra Bullock, “Gravity“), the previously unreferenced sister of arch-scoundrel Danny Ocean (George Clooney) from the reboot trilogy, is released from prison after a 5 year stretch. This has given her plenty of time to plan her next job – a jewellry heist from the New York Met – in intricate detail. She recruits biker-chick Lou (Cate Blanchett , “Carol“) as her partner and they then proceed to recruit a team of expert crimimals: well… some are not criminals, but soon will be! Will they succeed, or will Debbie have an even longer time to plan her next heist?
Stiff as planks…. Sandra Bullock and Cate Blanchett.
The movie unfortunately is rather like watching paint dry. It’s very glossy and expensive paint, I grant you, but compared to certainly Ocean’s 11 and even Ocean’s 13 it’s not in the premier league. There’s virtually nothing about the plot that leaves you surprised. Even the twists are merely “oh”s rather than “OH!’s”.
Stylistically the film attempts to model the Soderbergh split-screen visuals of his films, doing it quite well, and is accompanied by a similar jazz-style soundtrack which works effectively. Arguably, the well-chosen music by Daniel Pemberton (“King Arthur: Legend of the Sword“) is the best thing in the film.
When they said they were stealing from the Met…. perhaps I misunderstood?
Otherwise though, that’s where most of the similarities end, with there being limited character development to make you really care all that much whether the team win or lose. The script, by director Gary Ross (“The Hunger Games”) and Olivia Milch had a few clever lines that made me smile: but it’s not laugh-out-loud territory. So the story had better be good. Unfortunately, here Gary Ross’s story has so many implausible coincidences and incredulous leaps of intuition – “yeah, I’m from the hood innit but I have a grasp of magnetic resonance couplings learnt the hard way, from the street up!” – that belief is less suspended and more hung, drawn and quartered. This is not saying that the Ocean’s trilogy was without a few similar issues – reaching its nadir with Julia Roberts pretending to be Julia Roberts in “Ocean’s 12” – but this film is more consistently bonkers.
Hang on… I only count seven here?
I have to admit that the build up to the heist through the first half of the film left me sufficiently entertained, but that momentum suddenly fizzles out and the final reel becomes quite tedious. I also expected something to happen at the end, cameo-wise, that never did!
Acting wise, the best turn comes from Anne Hathaway (“Colossal“, “Les Miserables”) as a vainglorious actress but Helena Bonham Carter (“Suffragette“, “Harry Potter”) is also good value as the quirky fashion expert, coming across like some sort of ditzy Fatima Blush.
Good value – Anne Hathaway and Helena Bonham Carter.
I also liked Rihanna’s ‘Nine Ball’ character. Less successful for me was Bullock, who I felt came across as very wooden, and Blanchett, slightly less so. There are also some ‘B-list’ celebrities attending the Met-gala that are fun to watch out for, as well as two members of the earlier films’ cast.
After Diamonds but with nowhere to store an Umbrella: Rihanna knocks them dead on the red carpet.
So, it’s a disappointing effort from Gary Ross. All glitz and glamour but with little substance.
Debbie Ocean (Sandra Bullock, “Gravity“), the previously unreferenced sister of arch-scoundrel Danny Ocean (George Clooney) from the reboot trilogy, is released from prison after a 5 year stretch. This has given her plenty of time to plan her next job – a jewellry heist from the New York Met – in intricate detail. She recruits biker-chick Lou (Cate Blanchett , “Carol“) as her partner and they then proceed to recruit a team of expert crimimals: well… some are not criminals, but soon will be! Will they succeed, or will Debbie have an even longer time to plan her next heist?
Stiff as planks…. Sandra Bullock and Cate Blanchett.
The movie unfortunately is rather like watching paint dry. It’s very glossy and expensive paint, I grant you, but compared to certainly Ocean’s 11 and even Ocean’s 13 it’s not in the premier league. There’s virtually nothing about the plot that leaves you surprised. Even the twists are merely “oh”s rather than “OH!’s”.
Stylistically the film attempts to model the Soderbergh split-screen visuals of his films, doing it quite well, and is accompanied by a similar jazz-style soundtrack which works effectively. Arguably, the well-chosen music by Daniel Pemberton (“King Arthur: Legend of the Sword“) is the best thing in the film.
When they said they were stealing from the Met…. perhaps I misunderstood?
Otherwise though, that’s where most of the similarities end, with there being limited character development to make you really care all that much whether the team win or lose. The script, by director Gary Ross (“The Hunger Games”) and Olivia Milch had a few clever lines that made me smile: but it’s not laugh-out-loud territory. So the story had better be good. Unfortunately, here Gary Ross’s story has so many implausible coincidences and incredulous leaps of intuition – “yeah, I’m from the hood innit but I have a grasp of magnetic resonance couplings learnt the hard way, from the street up!” – that belief is less suspended and more hung, drawn and quartered. This is not saying that the Ocean’s trilogy was without a few similar issues – reaching its nadir with Julia Roberts pretending to be Julia Roberts in “Ocean’s 12” – but this film is more consistently bonkers.
Hang on… I only count seven here?
I have to admit that the build up to the heist through the first half of the film left me sufficiently entertained, but that momentum suddenly fizzles out and the final reel becomes quite tedious. I also expected something to happen at the end, cameo-wise, that never did!
Acting wise, the best turn comes from Anne Hathaway (“Colossal“, “Les Miserables”) as a vainglorious actress but Helena Bonham Carter (“Suffragette“, “Harry Potter”) is also good value as the quirky fashion expert, coming across like some sort of ditzy Fatima Blush.
Good value – Anne Hathaway and Helena Bonham Carter.
I also liked Rihanna’s ‘Nine Ball’ character. Less successful for me was Bullock, who I felt came across as very wooden, and Blanchett, slightly less so. There are also some ‘B-list’ celebrities attending the Met-gala that are fun to watch out for, as well as two members of the earlier films’ cast.
After Diamonds but with nowhere to store an Umbrella: Rihanna knocks them dead on the red carpet.
So, it’s a disappointing effort from Gary Ross. All glitz and glamour but with little substance.
Goddess in the Stacks (553 KP) rated The Rules of Magic in Books
Feb 19, 2018
So I actually didn't know that Practical Magic the movie was based on a book. But when I saw The Rules of Magic billed as the prequel to a movie I had loved, I knew I had to read it. And I'm so glad I did. The Rules of Magic is, well, magical. Magical and nostalgic and spell-binding. Most book worlds feel different than their respective movie-worlds, but this felt like a logical prequel. (It may be because I haven't seen the movie in some time - I intend to remedy that soon, and I might just have to read the book as well.)
Practical Magic, the well known movie with Sandra Bullock and Nicole Kidman, centers around the two girls and their elderly aunts. The Rules of Magic is the aunts' story. And what a story. It begins in New York, as the older of the two aunts is turning 17. On an Owens' girl's seventeenth birthday, they receive an invitation to spend the summer at the Owens home in Massachusetts. Frances, the older of the two girls, receives the invitation, and her two siblings won't let her go alone, so all three of them (yes, three, the movie doesn't mention their brother that I recall, though I suppose Bullock and Kidman's characters had to come from somewhere!) pack up and head to Massachusetts, where they meet their Aunt Isabelle. Over the course of the summer, they learn their family history, and get verification that they are indeed witches. (They'd had certain powers throughout childhood, though their mother tried to deny it.)
It was Vincent's storyline that intrigued me, since I knew where Frances and Jet ended up. There was an unexpected curveball that I won't spoil here, but I enjoyed it. It was Jet and Frances' storylines that had me crying at the end of the book, though. Not the very last chapter - it ended on a hopeful note - but the few chapters preceding it had me in tears. (It was midnight, and everyone else was asleep, so I had myself a good cry over my book, and then had to try to sleep on a wet pillow.)
If you enjoyed Practical Magic the movie, you should read this book. It's a perfect prequel.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Practical Magic, the well known movie with Sandra Bullock and Nicole Kidman, centers around the two girls and their elderly aunts. The Rules of Magic is the aunts' story. And what a story. It begins in New York, as the older of the two aunts is turning 17. On an Owens' girl's seventeenth birthday, they receive an invitation to spend the summer at the Owens home in Massachusetts. Frances, the older of the two girls, receives the invitation, and her two siblings won't let her go alone, so all three of them (yes, three, the movie doesn't mention their brother that I recall, though I suppose Bullock and Kidman's characters had to come from somewhere!) pack up and head to Massachusetts, where they meet their Aunt Isabelle. Over the course of the summer, they learn their family history, and get verification that they are indeed witches. (They'd had certain powers throughout childhood, though their mother tried to deny it.)
It was Vincent's storyline that intrigued me, since I knew where Frances and Jet ended up. There was an unexpected curveball that I won't spoil here, but I enjoyed it. It was Jet and Frances' storylines that had me crying at the end of the book, though. Not the very last chapter - it ended on a hopeful note - but the few chapters preceding it had me in tears. (It was midnight, and everyone else was asleep, so I had myself a good cry over my book, and then had to try to sleep on a wet pillow.)
If you enjoyed Practical Magic the movie, you should read this book. It's a perfect prequel.
You can find all my reviews at http://goddessinthestacks.wordpress.com