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BankofMarquis (1832 KP) rated House of Gucci (2021) in Movies
May 14, 2022
Not As Bad As You Heard
“It’s Not As Bad As You Heard” is the very definition of damning with faint praise, but that phrase accurately describes one of the highest profile film failures of 2021 - HOUSE OF GUCCI.
Directed by Ridley Scott with a screenplay by Becky Johnson and Roberto Bentivegna (based on the book by Sara Gay Forden), HOUSE OF GUCCI tells the tale of the Gucci family and their fashion empire as the family sees a transition from the older generation to the new - and the outsider who stirred the pot.
This film is filled with stars - Lady Gaga, Adam Driver, Al Pacino, Jeremy Irons and Jared Leto - and is Directed by the great Ridley Scott, so why didn’t this film work?
Ultimately, films rise and fall with the script and the direction thereof, and unfortunately, both of these fall well short of good…but above bad.
Ridley Scott seemed to direct this film with the attitude of “the actors will fill out the thinness of the script, so I’ll just leave them to their own devices”, and this approach just doesn’t work.
Lady Gaga, so good in A STAR IS BORN, is just a little lost as Patricia Reggiani - the outsider (some would say Gold Digger) who digs her claws into a hapless Maurizio Gucci (Adam Driver). The first part of this film is mostly interesting as we watch Patricia manipulate Maurizio into marrying her - much to the dismay of his unapproving father, Rodolfo Gucci (Jeremy Irons, in the only characterization of this film that works from beginning to end). Driver is mostly good as the milquetoast heir who grows into a Business Mogul, but his character is mostly dealing with internal turmoil that turns into blank expressions on screen - NOT a good move for a movie.
And then the film takes a turn into burlesque with the introduction of Rodolfo’s brother and business partner, Aldo Gucci (Al Pacino) and his “idiot son”, Paolo Gucci (Jared Leto, unrecognizable under his make-up). It’s not often that you can say that Pacino is “out-over-acted” by another performer, but Leto mops the floor with him. While Pacino, actually, dials back his usual tendency to over-act, Leto goes all in on the over-acting front - so much so that one has to wonder what type of film that Leto thought he was acting in.
Ultimately, the film falls short because of a lack of focus. The movie (kind of) tries to tell the story from every characters’ point of view and in that attempt, fails, and ends up telling the story from no one’s point of view. The film starts with Gaga’s character being the entry point into the story for the viewer, but then we kareem off into Driver’s story, somewhat, and them (maybe) Pacino and Leto’s before coming back to Gaga (for a small bit) and then jumping over to Driver’s…
Well, you get the point. House of Gucci loses it’s focus along the way so you are left wishing you could get more from these characters - except for Leto’s - you wish there was a lot less.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed by Ridley Scott with a screenplay by Becky Johnson and Roberto Bentivegna (based on the book by Sara Gay Forden), HOUSE OF GUCCI tells the tale of the Gucci family and their fashion empire as the family sees a transition from the older generation to the new - and the outsider who stirred the pot.
This film is filled with stars - Lady Gaga, Adam Driver, Al Pacino, Jeremy Irons and Jared Leto - and is Directed by the great Ridley Scott, so why didn’t this film work?
Ultimately, films rise and fall with the script and the direction thereof, and unfortunately, both of these fall well short of good…but above bad.
Ridley Scott seemed to direct this film with the attitude of “the actors will fill out the thinness of the script, so I’ll just leave them to their own devices”, and this approach just doesn’t work.
Lady Gaga, so good in A STAR IS BORN, is just a little lost as Patricia Reggiani - the outsider (some would say Gold Digger) who digs her claws into a hapless Maurizio Gucci (Adam Driver). The first part of this film is mostly interesting as we watch Patricia manipulate Maurizio into marrying her - much to the dismay of his unapproving father, Rodolfo Gucci (Jeremy Irons, in the only characterization of this film that works from beginning to end). Driver is mostly good as the milquetoast heir who grows into a Business Mogul, but his character is mostly dealing with internal turmoil that turns into blank expressions on screen - NOT a good move for a movie.
And then the film takes a turn into burlesque with the introduction of Rodolfo’s brother and business partner, Aldo Gucci (Al Pacino) and his “idiot son”, Paolo Gucci (Jared Leto, unrecognizable under his make-up). It’s not often that you can say that Pacino is “out-over-acted” by another performer, but Leto mops the floor with him. While Pacino, actually, dials back his usual tendency to over-act, Leto goes all in on the over-acting front - so much so that one has to wonder what type of film that Leto thought he was acting in.
Ultimately, the film falls short because of a lack of focus. The movie (kind of) tries to tell the story from every characters’ point of view and in that attempt, fails, and ends up telling the story from no one’s point of view. The film starts with Gaga’s character being the entry point into the story for the viewer, but then we kareem off into Driver’s story, somewhat, and them (maybe) Pacino and Leto’s before coming back to Gaga (for a small bit) and then jumping over to Driver’s…
Well, you get the point. House of Gucci loses it’s focus along the way so you are left wishing you could get more from these characters - except for Leto’s - you wish there was a lot less.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
graveyardgremlin (7194 KP) rated Coyote Moon (Buffy the Vampire Slayer: Season 1, #3) in Books
Feb 15, 2019
<b>3.5 stars
A carnival full of odd workers comes to Sunnydale, Buffy's friends are preoccupied dating a couple of these workers, and a pack of strange coyotes are running amok in the streets. Buffy suspects all of these events are related but has no proof. What's a slayer to do?</b>
Set in the summer between the first and second seasons of <b>Buffy the Vampire Slayer</b>, <b><u>Coyote Moon</u></b> is a short and concise story that conveys the spirit of the show without too many noticeable inaccuracies. The major anachronism was Buffy staying in Sunnydale for the summer, which didn't happen during this time. Since this was written before any of the major angst occurred in the series, this has a lighter feel that carries through to the end. The author manages to get the characters and dialogue right via few lines and passages. The only misstep I caught was Giles' wrong definition of a blue moon -- I don't believe that's something he wouldn't have known. Otherwise everyone (Buffy, Willow, Xander, and Giles) rings true to their early incarnations, though more as a basic outline of their characters than anything too substantial. At first the plot reminded me slightly of the episode "The Pack," though this had to do with coyotes instead of hyenas, but once I got into it the story was completely different. The pace was brisk, and though the Big Bad's defeat was over in the blink of an eye, it was a solid read. I can easily see this fitting right in on screen and it's a good companion piece to read in between re-watching episodes.
A carnival full of odd workers comes to Sunnydale, Buffy's friends are preoccupied dating a couple of these workers, and a pack of strange coyotes are running amok in the streets. Buffy suspects all of these events are related but has no proof. What's a slayer to do?</b>
Set in the summer between the first and second seasons of <b>Buffy the Vampire Slayer</b>, <b><u>Coyote Moon</u></b> is a short and concise story that conveys the spirit of the show without too many noticeable inaccuracies. The major anachronism was Buffy staying in Sunnydale for the summer, which didn't happen during this time. Since this was written before any of the major angst occurred in the series, this has a lighter feel that carries through to the end. The author manages to get the characters and dialogue right via few lines and passages. The only misstep I caught was Giles' wrong definition of a blue moon -- I don't believe that's something he wouldn't have known. Otherwise everyone (Buffy, Willow, Xander, and Giles) rings true to their early incarnations, though more as a basic outline of their characters than anything too substantial. At first the plot reminded me slightly of the episode "The Pack," though this had to do with coyotes instead of hyenas, but once I got into it the story was completely different. The pace was brisk, and though the Big Bad's defeat was over in the blink of an eye, it was a solid read. I can easily see this fitting right in on screen and it's a good companion piece to read in between re-watching episodes.
Ross (3284 KP) rated Sword of Destiny in Books
Jul 26, 2018
This is a largely well-written set of Witcher short stories, which start to piece together some of the stories in the Last Wish with the main books (which I have yet to read!).
While this time there is no over-arching story linking them together this is to the book's credit. I got annoyed with the Last Wish/Season of Storms's clumsy attempt to sew together a number of different stories - like those old episodes of a sitcom that was just a hashing together of different flashbacks. Though it does mean you could struggle with the chronology, but I think assuming the stories are after the Season of Storms is a safe bet.
All of the stories are reasonably exciting, but Sapkowski does have a tendency to start these stories with the Witcher's triumph over another creature, and focus on the aftermath - sometimes you long for the thrill of the preceding hunt.
The final story, which I feel is the main link into the first book, includes a number of sections where the Witcher is hallucinating. The segue between these isn't always clear, and while this adds to the atmosphere and feel of the Witcher being drugged, it does leave you a little confused at times (though this passes briefly).
A good set of stories and a decent translation with few clunky parts.
I would recommend these are read after the main books (i.e. in published order) - while I haven't read those, I have probably taken some characters/stories for granted and not appreciated how they feed in to the overall canon of Witcher works (without googling for spoilers).
While this time there is no over-arching story linking them together this is to the book's credit. I got annoyed with the Last Wish/Season of Storms's clumsy attempt to sew together a number of different stories - like those old episodes of a sitcom that was just a hashing together of different flashbacks. Though it does mean you could struggle with the chronology, but I think assuming the stories are after the Season of Storms is a safe bet.
All of the stories are reasonably exciting, but Sapkowski does have a tendency to start these stories with the Witcher's triumph over another creature, and focus on the aftermath - sometimes you long for the thrill of the preceding hunt.
The final story, which I feel is the main link into the first book, includes a number of sections where the Witcher is hallucinating. The segue between these isn't always clear, and while this adds to the atmosphere and feel of the Witcher being drugged, it does leave you a little confused at times (though this passes briefly).
A good set of stories and a decent translation with few clunky parts.
I would recommend these are read after the main books (i.e. in published order) - while I haven't read those, I have probably taken some characters/stories for granted and not appreciated how they feed in to the overall canon of Witcher works (without googling for spoilers).
A very uncomfortable read.
We know straight from the very first page what has happened and who committed the murder of 2 small children: it’s the nanny. This book is far more to do with the ‘why’ of it. Why exactly did she do it? Were there any mitigating circumstances?
This short novel shows a middle-aged woman who is very lonely, poor and under-educated. She does the work she loves though, looking after children in their own homes. She becomes very attached to all of her charges, and it seems that they all adore her.
This isn’t a story with a nice explanation or reason for a murder. It’s a lot like real life in that way: sometimes people become overwhelmed and can’t cope. It seemed obvious to me from early in that the nanny, Louise, had mental health problems. She seemed to be given full responsibility of two small children for a large part of the day, whilst their parents worked really long hours. I think the changing opinions of the parents don’t help her: one minute she can do no wrong and is an integral part of the family, the next, she’s ‘just’ the hired help. The ending isn’t wrapped up all nicely with a resolution. There’s no happy ending for any of them. Just like real life. I wasn’t surprised to learn that this could actually be based on the true story of a nanny murdering her employers children in much the same way, which made it all the more chilling.
If you’re not ok with reading about child murders, I’d steer well clear of this book, otherwise, it’s a very compelling read.
This short novel shows a middle-aged woman who is very lonely, poor and under-educated. She does the work she loves though, looking after children in their own homes. She becomes very attached to all of her charges, and it seems that they all adore her.
This isn’t a story with a nice explanation or reason for a murder. It’s a lot like real life in that way: sometimes people become overwhelmed and can’t cope. It seemed obvious to me from early in that the nanny, Louise, had mental health problems. She seemed to be given full responsibility of two small children for a large part of the day, whilst their parents worked really long hours. I think the changing opinions of the parents don’t help her: one minute she can do no wrong and is an integral part of the family, the next, she’s ‘just’ the hired help. The ending isn’t wrapped up all nicely with a resolution. There’s no happy ending for any of them. Just like real life. I wasn’t surprised to learn that this could actually be based on the true story of a nanny murdering her employers children in much the same way, which made it all the more chilling.
If you’re not ok with reading about child murders, I’d steer well clear of this book, otherwise, it’s a very compelling read.
An interesting take on the tale
If you take for granted that the makers of this short series have taken some liberties with the classic tale, then you will enjoy this adaptation all the more. My wife, who hasn't read the book and barely remembers the Gary Oldman film, really enjoyed this series. I, who have read and loved the book and a few prequel/sequel attempts, enjoyed it a little less. However, for what it is, it's a very clever and witty interpretation of the story.
The three episodes are largely standalone and in a different setting. The first episode we are in familiar territory with Jonathan Harker in Castle Dracula. Here the makers explored Harker's passive imprisonment and gradual blood-draining far more than in other adaptations, giving the viewer a real confused, frustrated and claustrophobic feeling. The second episode takes place on the Count's journey to the UK. Again previous adaptations have skipped over this, and the crew's gradual diminution, which was a bigger factor of the book. This is when Dracula's psychological twisting and sick sense of humour start to feature more heavily, with some good head-scratching twists.
The third episode covers Dracula's time in the UK, but not as you've ever seen before. I thought this part was brilliant, but won't give any spoilers. The main features of this part of the original story are retained (Dracula's mutual obsession with Lucy Westenra), but Dracula is now revealed like never before, with some of his weaknesses explored and exposed for what they are.
Like I say, if you can accept the liberties taken, this is a great adaptation with a really sassy Dracula.
The three episodes are largely standalone and in a different setting. The first episode we are in familiar territory with Jonathan Harker in Castle Dracula. Here the makers explored Harker's passive imprisonment and gradual blood-draining far more than in other adaptations, giving the viewer a real confused, frustrated and claustrophobic feeling. The second episode takes place on the Count's journey to the UK. Again previous adaptations have skipped over this, and the crew's gradual diminution, which was a bigger factor of the book. This is when Dracula's psychological twisting and sick sense of humour start to feature more heavily, with some good head-scratching twists.
The third episode covers Dracula's time in the UK, but not as you've ever seen before. I thought this part was brilliant, but won't give any spoilers. The main features of this part of the original story are retained (Dracula's mutual obsession with Lucy Westenra), but Dracula is now revealed like never before, with some of his weaknesses explored and exposed for what they are.
Like I say, if you can accept the liberties taken, this is a great adaptation with a really sassy Dracula.
Ross (3284 KP) rated God of Broken Things in Books
Aug 1, 2019
Excellent conclusion to the duology
* I received an advance copy of this book from the publishers and NetGalley in exchange for an honest review *
The second and final book in the short series (for once an author who is willing to restrict his series to two books rather than padding out to a trilogy with a low quality middle book!) continues Edrin Walker's fight for his life. Where in the first book the coward found himself accidentally returning to the city where he was banished from, and thrown into a conspiracy to destroy the city, here he is more of a willing participant.
The scarrabus (the mind-controlling parasite race) are rife in the city and Walker starts to uncover their plot. Events see him sent to hold off a fast approaching army, where he once again battles with mind-controlled mages and warriors.
The action is thick and fast in this book, and while there are some metaphysical sections, and some epic sections of exposition it keeps the reader engaged throughout.
Walker is a likeable, though thoroughly detestable selfish coward who sometimes ends up doing the right things, if not for the right reason. His magic power of mind-control is used more here than in the first book (where I felt it had been a little neglected for fear of being a Mary Sue), but not over-used and at times it wonderfully helps the story move along while his body can't allow him to be in the thick of the action.
There are twists and conflict galore in this brilliant gritty conclusion to a great story with some really strong, original characters.
The second and final book in the short series (for once an author who is willing to restrict his series to two books rather than padding out to a trilogy with a low quality middle book!) continues Edrin Walker's fight for his life. Where in the first book the coward found himself accidentally returning to the city where he was banished from, and thrown into a conspiracy to destroy the city, here he is more of a willing participant.
The scarrabus (the mind-controlling parasite race) are rife in the city and Walker starts to uncover their plot. Events see him sent to hold off a fast approaching army, where he once again battles with mind-controlled mages and warriors.
The action is thick and fast in this book, and while there are some metaphysical sections, and some epic sections of exposition it keeps the reader engaged throughout.
Walker is a likeable, though thoroughly detestable selfish coward who sometimes ends up doing the right things, if not for the right reason. His magic power of mind-control is used more here than in the first book (where I felt it had been a little neglected for fear of being a Mary Sue), but not over-used and at times it wonderfully helps the story move along while his body can't allow him to be in the thick of the action.
There are twists and conflict galore in this brilliant gritty conclusion to a great story with some really strong, original characters.
AJaneClark (3975 KP) rated Hardwired (Hacker, #1) in Books
Apr 19, 2020
From the back of the book: Determined to overcome a difficult past, Erica Hathaway learns early on how to make it on her own. Days after her college graduation she finds herself face to face with a panel of investors who will make or break her fledgling startup. The only thing she didn't prepare for was going weak in the knees over an arrogant and gorgeous investor who's seemingly determined to derail her presentation.
Billionaire and rumored hacker Blake Landon has already made his fortune in software, and he's used to getting what he wants with very little resistance. Captivated by Erica's drive and unassuming beauty, he's wanted nothing more since she stepped into his boardroom. Determined to win her over, he breaks down her defenses and fights for her trust, even if that means sacrificing a level of control he's grown accustomed to.
But when Blake uncovers a dark secret from Erica's past, he threatens not just her trust, but the life she's fought so hard to create.
I’m not familiar with the author and this is the first of her books that I have read. The premise of the story is interesting, although most definitely a little fifty shadesesque.
I found it an enjoyable short read of 260+ pages.
However I do feel that it could be improved through a little better character development and backgrounds. The storyline is via choppy and jumpy, in no way linear. Erica’s hot and cold, yes/no, sub/doe/switch attitude leaves you with a touch of whiplash, and Blake’s controlling nature is slightly worrying. Hopefully the second novel in the story is an improvement.
Billionaire and rumored hacker Blake Landon has already made his fortune in software, and he's used to getting what he wants with very little resistance. Captivated by Erica's drive and unassuming beauty, he's wanted nothing more since she stepped into his boardroom. Determined to win her over, he breaks down her defenses and fights for her trust, even if that means sacrificing a level of control he's grown accustomed to.
But when Blake uncovers a dark secret from Erica's past, he threatens not just her trust, but the life she's fought so hard to create.
I’m not familiar with the author and this is the first of her books that I have read. The premise of the story is interesting, although most definitely a little fifty shadesesque.
I found it an enjoyable short read of 260+ pages.
However I do feel that it could be improved through a little better character development and backgrounds. The storyline is via choppy and jumpy, in no way linear. Erica’s hot and cold, yes/no, sub/doe/switch attitude leaves you with a touch of whiplash, and Blake’s controlling nature is slightly worrying. Hopefully the second novel in the story is an improvement.
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