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Emma @ The Movies (1786 KP) rated Mrs Lowry & Son (2019) in Movies
Jun 20, 2020
I seriously considered not reviewing this film, I knew that it probably wouldn't be something I'd ever watch again but I was hoping that with Timothy Spall and Vanessa Redgrave at the helm it would be a pleasant thing to watch.
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
Lowry's life revolves around his mother, he cooks for her and keeps her company, but nothing he does seems to be good enough. Her life isn't what she'd like at all, her husband left them with debts and they're living in a neighbourhood that's beneath her and she's clinging to the things that are "better" in the world. He son's hobby of painting isn't to her liking especially after a critic pans a piece he submits. Lowry has one thing to cling to in life but his mother is a fickle person and it may be that nothing is ever enough to her.
The majority of the film is made up of scenes around Lowry and his mother, even at only 1 hour 31 minutes that's a lot of time with limited cast. Both leads are impressive actors and there's no denying that you can see it in this movie but there's something lacking. The story wasn't going to be an overly exciting one and was going to rely on its dramatic performances to keep your interest, everything was "nearly but not quite". You expect some moving moments and at several points you think "oh it's coming now" but it always seems to peter off before the pay-off.
That's not to say that the acting isn't good, it is, but all the scenes were just moments short of something special. Spall does get a few opportunities that get you choked up for him, but as I say, there was opportunity for much more.
It's an intriguing story of the way love for family can dictate the way your life goes. The dynamic between the two is toxic and Lowry's battle between getting his mother's approval and doing what he wants is a powerful one... that this film doesn't quite manage to capture.
What this film does do beautifully is the portrayal of Lowry's paintings. I'm not an expert on his work but it was easy to spot where the scenes had been framed to reflect a piece, you get a chance to see the comparisons briefly at the end of the film. The colours throughout are also spot on for his pieces and the whole film has a very effective range in that respect.
The picturesque doesn't make up for the way the rest of the film cuts off moment in their prime, while I knew it probably wasn't going to hit the high star ratings I had hoped for something above average considering the cast. It sadly didn't deliver and to add even more disappointment it was ended with what I can only describe as a BBC ending to a partially dramatised biography and well, that just put the final nail in the coffin for me.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/09/mrs-lowry-son-movie-review.html
Bob Mann (459 KP) rated All the Money in the World (2017) in Movies
Sep 29, 2021
You can’t take it with you.
The big talking point of this Ridley Scott film is not of course the film itself but the fact that the disgraced Kevin Spacey (“Baby Driver“) was ‘airbrushed’ out of the movie, replaced by the legend that is Christopher Plummer. With that background, and the fact that the re-shoot only took 9 days (NINE DAYS!!!!), I must admit to having been a tad scornful when Plummer was nominated for a Best Supporting Actor Oscar. “Oh” I thought “…it’s Judi Dench’s minimalistic performance in ‘Shakespeare In Love’ all over again”.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
Gareth von Kallenbach (980 KP) rated Jem and the Holograms (2015) in Movies
Jun 19, 2019
Being a teenager is a confusing time, we want to be accepted, popular, and, at times, invisible. In a world where you feel overlooked and ignored, it is gratifying to have a voice, an identity, some special aspect that is going to make you stand out and be accepted. Jem and the Holograms attempts to make this a theme. Creating your identity and having the ability to shape and form it into a way that it becomes your own shield against the ills of the world. It is a very promising concept and idea when attempting to update the series for today’s audience. Unfortunately there isn’t much substance to the film. The substance that is apparent is quite shallow and undeveloped.
Instead of sticking with the original premise and backstory of the popular cartoon series of the 1980s, it tries to modernize itself in a way that holds onto little of its origin other than the name of some of the characters. There is no heart with this film, there is no feeling driving the movie that makes you want to cheer for the characters to become successful. This is mainly due to the film not giving audiences a chance to like the characters or even learn who they really are. The film makes everything look so easy within the music industry. The basic understanding is that if you post a video online, you might be discovered and are immediately offered a recording contract. This storyline will resonate with many of the “Generation Me” and “Kardashian Culture” crowd that is filled dreams of becoming famous for doing little to nothing.
The story is beyond far-fetched in that it every problem, riddle, issue, and negative moment is resolved in the next scene. There is no struggle for any of the characters other than the possibility that their aunt and foster mother may lose their house, but even this is solved within two minutes.
The one shining light in the film is Juliette Lewis as Erica Raymond, CEO of Starlight Records who gives Jem and her sisters the opportunity to take over the spotlight. She is not only the comic relief, but serves the role as a conniving, manipulative recording manager. This is pretty much the only similarity that exists between this film and the original series. Erica prompts older audiences to think of the Misfits (the nemesis to the Holograms) who were continuously trying to sabotage their careers. The rest of the cast, leaves one not feeling connected to them or their storylines. There is no development for any of the people throughout the film. It almost seems as though when making the film, the production team sat around thinking, “It’s Jem, the music will carry the story.” Unfortunately, the music that is included goes no further than being the typical pop music similar to that which is on every station today. There is nothing that stands out about the music, as catchy as it is, that makes you feel as though you should become invested in who these girls are or even that they have something that makes them stand out. With the time that has passed since the cartoon appeared on television, there should have been more investment in who these girls are and why we should care about them. Audiences don’t have that opportunity, as they become famous, seemingly overnight. It almost makes one want to root against them.
There is a real opportunity missed with this film to combine the original show, catering to older audiences who watched the show as children, and update it for a newer generation. The film would have been much better served with inclusion of many of the elements that made the series have such appeal. The approach is very juvenile and rushed. The original show was more than music, it was about the relationships formed by many of the characters and the various adventures that they would pursue. There were stories with depth and continuity which reinforced the aspects of working hard and achievement of goals. The whole movie looks like a diary entry of what an American tween would see as their life in entertainment. The one positive note about the film is the way that it incorporates social media in the development of the story. It demonstrates the connection that is and can be made through music and pop culture.
Sadly, in contrast to the original series, the film demeans and belittles women. Its approach is short-sighted and does not deal with any aspect of reality that one would expect. Jem is nothing more than a manufactured pop music story. There is little that audiences could relate to. In a sense, it is anti-music, and anti-intellectual. The film itself, is filler and a corruption of the origin story and the time that has passed since it first debuted. Audiences of Jem the TV series may be appalled at what they witness, if they do decide to actually watch the film. For younger audiences, this film reinforces the belief that all kids should get participation trophies because they tried. There is the sense that if you just show up, the opportunity will be handed to you. There is no real work on the screen and it seems as though there was no real work or effort put into creating this film. Younger audiences will tout the music and friendship displayed. Older audiences who were fans of the television show will be soundly disappointed in what they witness on the screen. It is a bastardization of what Jem should be in a modern age. There is no soul to this film. Every note that it hits is flat.
http://sknr.net/2015/10/23/jem-and-the-holograms/
Instead of sticking with the original premise and backstory of the popular cartoon series of the 1980s, it tries to modernize itself in a way that holds onto little of its origin other than the name of some of the characters. There is no heart with this film, there is no feeling driving the movie that makes you want to cheer for the characters to become successful. This is mainly due to the film not giving audiences a chance to like the characters or even learn who they really are. The film makes everything look so easy within the music industry. The basic understanding is that if you post a video online, you might be discovered and are immediately offered a recording contract. This storyline will resonate with many of the “Generation Me” and “Kardashian Culture” crowd that is filled dreams of becoming famous for doing little to nothing.
The story is beyond far-fetched in that it every problem, riddle, issue, and negative moment is resolved in the next scene. There is no struggle for any of the characters other than the possibility that their aunt and foster mother may lose their house, but even this is solved within two minutes.
The one shining light in the film is Juliette Lewis as Erica Raymond, CEO of Starlight Records who gives Jem and her sisters the opportunity to take over the spotlight. She is not only the comic relief, but serves the role as a conniving, manipulative recording manager. This is pretty much the only similarity that exists between this film and the original series. Erica prompts older audiences to think of the Misfits (the nemesis to the Holograms) who were continuously trying to sabotage their careers. The rest of the cast, leaves one not feeling connected to them or their storylines. There is no development for any of the people throughout the film. It almost seems as though when making the film, the production team sat around thinking, “It’s Jem, the music will carry the story.” Unfortunately, the music that is included goes no further than being the typical pop music similar to that which is on every station today. There is nothing that stands out about the music, as catchy as it is, that makes you feel as though you should become invested in who these girls are or even that they have something that makes them stand out. With the time that has passed since the cartoon appeared on television, there should have been more investment in who these girls are and why we should care about them. Audiences don’t have that opportunity, as they become famous, seemingly overnight. It almost makes one want to root against them.
There is a real opportunity missed with this film to combine the original show, catering to older audiences who watched the show as children, and update it for a newer generation. The film would have been much better served with inclusion of many of the elements that made the series have such appeal. The approach is very juvenile and rushed. The original show was more than music, it was about the relationships formed by many of the characters and the various adventures that they would pursue. There were stories with depth and continuity which reinforced the aspects of working hard and achievement of goals. The whole movie looks like a diary entry of what an American tween would see as their life in entertainment. The one positive note about the film is the way that it incorporates social media in the development of the story. It demonstrates the connection that is and can be made through music and pop culture.
Sadly, in contrast to the original series, the film demeans and belittles women. Its approach is short-sighted and does not deal with any aspect of reality that one would expect. Jem is nothing more than a manufactured pop music story. There is little that audiences could relate to. In a sense, it is anti-music, and anti-intellectual. The film itself, is filler and a corruption of the origin story and the time that has passed since it first debuted. Audiences of Jem the TV series may be appalled at what they witness, if they do decide to actually watch the film. For younger audiences, this film reinforces the belief that all kids should get participation trophies because they tried. There is the sense that if you just show up, the opportunity will be handed to you. There is no real work on the screen and it seems as though there was no real work or effort put into creating this film. Younger audiences will tout the music and friendship displayed. Older audiences who were fans of the television show will be soundly disappointed in what they witness on the screen. It is a bastardization of what Jem should be in a modern age. There is no soul to this film. Every note that it hits is flat.
http://sknr.net/2015/10/23/jem-and-the-holograms/
Bob Mann (459 KP) rated Marriage Story (2019) in Movies
Sep 28, 2021
One Mann’s Movies Review of “Marriage Story” – a “Kramer vs Kramer lite” in my book, albeit with some great acting performances.
K vs K Lite.
For me, mention the phrase “divorce movie” and there’s only one film that comes to mind – the Oscar-laden classic from 1979 starring an immaculate Dustin Hoffman and Meryl Streep. THAT toy plane; THOSE stiches! (Gulp). This is the yardstick by which I judge such movies… and to be honest, “Marriage Story” didn’t measure up.
The story.
We start the movie seeing the apparently idyllic married life of theatre impresario Charlie (Adam Driver) and his lead actress and muse Nicole (Scarlett Johansson), together bringing up their young child. But spin forwards and the pair are in the middle of an ‘amicable’ separation, with Nicole returning to her home roots in California and Charlie having an expensive commute to and from New York where he’s struggling to premiere his show on Broadway.
But despite an agreement to keep lawyers out of the equation, Nicole is persuaded to lawyer up with Nora Fanshaw (Laura Dern) tightening up the legal screws until Charlie’s life risks being torn apart. It’s time for him to fight back.
Well regarded by the Academy.
As for “Kramer vs Kramer”, this is a movie that has been garlanded with multiple Oscar nominations. Both Driver and Johansson are nominated in the lead acting roles and Laura Dern seems to be favourite for the Best Supporting Actress gong (after winning the Golden Globe and the BAFTA). Three more Oscar nominations come for the score (by Randy Newman); the original screenplay (by director Noah Baumbach); and a Best Film nomination.
Both leads deliver really emotional performances, with Johansson in particular being very believable in the role. But who knew she was so short?! She always strikes me as a statuesque beauty, but she’s only 5′ 3” and it’s particularly noticeable in a scene filmed at Warner Brothers Studios.
It’s also fabulous to see both the great Alan Alda (here showing signs of his Parkinson’s) and Ray Liotta on screen again, as both low-rent and top-dollar lawyers respectively.
But WHY exactly are they divorcing?
I found the whole set up of the movie as frustrating. There seemed no clear understanding of why the separation is happening. True there is an affair involved (and Mrs Movie Man and I have always lived our nearly 40 years of marriage with the understanding that a “one strike” rule applies). But notwithstanding that, it seems to be more of a ‘drifting apart’ that’s gone on. I just wanted to give them a good shaking and get them to work it out!
This is all obviously unfair – because (and I also know this from experience) that in many marriages ‘shit happens’: some people do just want to do different things; feel suffocated; etc. And – thinking about it – I’m not sure there was any real reason given for Meryl Streep‘s departure in K vs K: which was part of the reason for Dustin Hoffman‘s character’s frustration.
Who do you sympathise with?
This is a movie where the audience is bound to take a side. But for me, there was only one side to take and that was Charlie’s. The actions of Nicole seem reprehensible and unforgivable, and when there are lines to be crossed she seems to have little hesitation in crossing them.
Many people seem to rave about this movie, but…
…I found the pace to be inconsistent. At one point, the story just stops for a soulful rendition by Charlie of a song in a bar, and I frankly just got bored with it. And while there’s a steady build up of the legal case involved, suddenly we seem to skip to a resolution without any real rationale for it. Or did I fall asleep??
A further irritation for me was Julie Hagerty as Nicole’s mum Sandra. She does the kooky mum turn that she did perfectly well in last year’s funny “Instant Family“, but its a role that really didn’t seem to fit in this movie. There’s an element of slapstick comedy in these scenes that just didn’t suit the general tone of the movie.
Overall, I just don’t share the love for this movie. Given the choice, I’d much rather watch Kramer vs Kramer again.
And what was that punchline?
By the way, Alan Alda is a fantastic comedian, and really knows how to deliver a joke. In this movie he’s regaling Charlie with a long-winded story (on the clock) when Charlie interrupts him. How did it end…. Alda revealed the full joke after a press screening at the New York Film Festival… and it’s a corker!
This woman’s at her hairdresser’s, and she says, “I’m going to Rome on holiday.”
He says, “Oh really, what airline are you taking?”
She says, “Alitalia.”
He says, “Alitalia, are you crazy? That’s terrible, don’t take that.”
He says, “Where are you gonna stay?”
She says, “I’m gonna stay at The Hassler.”
“The Hassler! What, are you kidding? They’re renovating the Hassler. You’ll hear hammering all night long. You won’t sleep! What are you gonna see?”
She says, “I think I’m going to try to go to the Vatican.” “The Vatican? You’ll be standing in line all day long—”
(Charlie interrupts at this point, but the joke goes on)
So she goes to Rome. She comes back, and the hairdresser says, “How was it?”
She says, “It was a great trip, it was wonderful.”
“How was the Vatican?”
“Wonderful! We happened to meet the Pope.”
“You met the Pope?”
“Yeah, and he spoke to me.”
“What did he say to you?”
“He said, ‘Where’d you get that f***ing haircut?’”
LOL!
For me, mention the phrase “divorce movie” and there’s only one film that comes to mind – the Oscar-laden classic from 1979 starring an immaculate Dustin Hoffman and Meryl Streep. THAT toy plane; THOSE stiches! (Gulp). This is the yardstick by which I judge such movies… and to be honest, “Marriage Story” didn’t measure up.
The story.
We start the movie seeing the apparently idyllic married life of theatre impresario Charlie (Adam Driver) and his lead actress and muse Nicole (Scarlett Johansson), together bringing up their young child. But spin forwards and the pair are in the middle of an ‘amicable’ separation, with Nicole returning to her home roots in California and Charlie having an expensive commute to and from New York where he’s struggling to premiere his show on Broadway.
But despite an agreement to keep lawyers out of the equation, Nicole is persuaded to lawyer up with Nora Fanshaw (Laura Dern) tightening up the legal screws until Charlie’s life risks being torn apart. It’s time for him to fight back.
Well regarded by the Academy.
As for “Kramer vs Kramer”, this is a movie that has been garlanded with multiple Oscar nominations. Both Driver and Johansson are nominated in the lead acting roles and Laura Dern seems to be favourite for the Best Supporting Actress gong (after winning the Golden Globe and the BAFTA). Three more Oscar nominations come for the score (by Randy Newman); the original screenplay (by director Noah Baumbach); and a Best Film nomination.
Both leads deliver really emotional performances, with Johansson in particular being very believable in the role. But who knew she was so short?! She always strikes me as a statuesque beauty, but she’s only 5′ 3” and it’s particularly noticeable in a scene filmed at Warner Brothers Studios.
It’s also fabulous to see both the great Alan Alda (here showing signs of his Parkinson’s) and Ray Liotta on screen again, as both low-rent and top-dollar lawyers respectively.
But WHY exactly are they divorcing?
I found the whole set up of the movie as frustrating. There seemed no clear understanding of why the separation is happening. True there is an affair involved (and Mrs Movie Man and I have always lived our nearly 40 years of marriage with the understanding that a “one strike” rule applies). But notwithstanding that, it seems to be more of a ‘drifting apart’ that’s gone on. I just wanted to give them a good shaking and get them to work it out!
This is all obviously unfair – because (and I also know this from experience) that in many marriages ‘shit happens’: some people do just want to do different things; feel suffocated; etc. And – thinking about it – I’m not sure there was any real reason given for Meryl Streep‘s departure in K vs K: which was part of the reason for Dustin Hoffman‘s character’s frustration.
Who do you sympathise with?
This is a movie where the audience is bound to take a side. But for me, there was only one side to take and that was Charlie’s. The actions of Nicole seem reprehensible and unforgivable, and when there are lines to be crossed she seems to have little hesitation in crossing them.
Many people seem to rave about this movie, but…
…I found the pace to be inconsistent. At one point, the story just stops for a soulful rendition by Charlie of a song in a bar, and I frankly just got bored with it. And while there’s a steady build up of the legal case involved, suddenly we seem to skip to a resolution without any real rationale for it. Or did I fall asleep??
A further irritation for me was Julie Hagerty as Nicole’s mum Sandra. She does the kooky mum turn that she did perfectly well in last year’s funny “Instant Family“, but its a role that really didn’t seem to fit in this movie. There’s an element of slapstick comedy in these scenes that just didn’t suit the general tone of the movie.
Overall, I just don’t share the love for this movie. Given the choice, I’d much rather watch Kramer vs Kramer again.
And what was that punchline?
By the way, Alan Alda is a fantastic comedian, and really knows how to deliver a joke. In this movie he’s regaling Charlie with a long-winded story (on the clock) when Charlie interrupts him. How did it end…. Alda revealed the full joke after a press screening at the New York Film Festival… and it’s a corker!
This woman’s at her hairdresser’s, and she says, “I’m going to Rome on holiday.”
He says, “Oh really, what airline are you taking?”
She says, “Alitalia.”
He says, “Alitalia, are you crazy? That’s terrible, don’t take that.”
He says, “Where are you gonna stay?”
She says, “I’m gonna stay at The Hassler.”
“The Hassler! What, are you kidding? They’re renovating the Hassler. You’ll hear hammering all night long. You won’t sleep! What are you gonna see?”
She says, “I think I’m going to try to go to the Vatican.” “The Vatican? You’ll be standing in line all day long—”
(Charlie interrupts at this point, but the joke goes on)
So she goes to Rome. She comes back, and the hairdresser says, “How was it?”
She says, “It was a great trip, it was wonderful.”
“How was the Vatican?”
“Wonderful! We happened to meet the Pope.”
“You met the Pope?”
“Yeah, and he spoke to me.”
“What did he say to you?”
“He said, ‘Where’d you get that f***ing haircut?’”
LOL!
Andy Meakin (5 KP) rated War for the Planet of the Apes (2017) in Movies
Jan 8, 2018
Apes...together...strong!
The recent revival of the Apes franchise has managed to defy all expectations by not only being a worthy entry into the franchise, but also being strong films on their own merit. Working as a kind-of-prequel-reboot of the old franchise, and ignoring the Tim Burton film completely, it is strange to realise this is only the third film since the reboot. Lesser franchises would have churned out one every year or two, and be up to part five by now, but not the Apes films. It genuinely feels like they are taking time to ensure each film is worthy. Which is where another expectation is defied – the films don’t seem to diminish in quality, nor feel repetitive. Each entry so far has had its own feel and worked to move the story along. War for the Planet of the Apes is no exception, and is one of the finest blockbuster films of this year.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
Gareth von Kallenbach (980 KP) rated Land of the Dead (2005) in Movies
Aug 14, 2019
Twenty years after his last installment of the classic “Dead” zombie genre, landmark Horror writer/director George Romero has returned to the delight of fans worldwide.
After years of various horror projects, and remakes of his previous “Dead” films, fans had begun to wonder if they had seen the last of Romero’s Zombie films and had to content themselves with the remakes and rumored offshoots and sequels from such.
Thankfully, with Land of the Dead Romero has returned to his basics and has crafted a Zombie thriller that is not only better than 85’s disappointing “Day of the Dead”, but on par with the ground breaking “Dawn of the Dead and the classic Original “Night of the Living Dead.”
For those who are not familiar with the series, the dead have arisen and now walk the earth looking for humans to feed upon. Gone is any memory of their former selves, only the insatiable desire to feed remains. How this event happened is never explained in the films viewers simply have to accept that it is happening and that those who are bitten by zombies are destined to join the ranks of the undead.
Like the previous films, the story follows a group of humans who are attempting to survive against the zombie hordes and who seek shelter and a way to stave off the zombie masses.
In Land of the Dead, a group of survivors have taken refuge in a fortified city where the common folks live in the streets while the affluent live in pristine high rise complex with many of the luxuries of their past lives.
One such survivor is Riley (Simon Baker), who spends his time venturing beyond the walls of the city with his team as they attempt to locate food, medicines, and other needed items in cities that have been abandoned due to zombie infestation.
As the film opens, Riley is completing his last run as he plans to venture north to find a cold and desolated area that is devoid of zombies and huddled masses.
His second in command Cholo, (John Leguizamo), is anxious to take over, as he sees the expeditions as a chance to obtain valuable items such as cigars and whiskey, which he can in turn sell to those who live in luxury. This desire causes much friction between Riley and Cholo but with the pending departure of Riley, Cholo realizes he may be able to finally purchase a home of his own in the luxury high rise.
Things do not go as planned for Cholo as when he tells his boss, Kaufman (Dennis Hopper), about his plans to move into the new complex, he is shocked to learn that Riley’s prediction of class exclusions in the building apply to him as well.
Furious over being used and cheated of his dreams and money, and an attempt upon his life, Cholo decides to hijack a well-armed armored vehicle that defends the city in an effort to extort his payment from Kaufman.
At the same time, Riley has learned that he has be swindled from his car, and soon finds himself working with Kaufman in an attempt to recover the armored vehicle from Cholo before he unleashes a hail of rockets upon the city. In short order, Riley and his support team are forced to enter the zombie infested streets to save the day.
Of course with “Land” being a Zombie film, the city will soon find itself overrun with all manner of ghouls and there will be plenty of flesh splitting, blood spattering, gore spewing scenes that will delight fans of the genre and elicit more than a few shrieks and cheers from the audience.
It is learned that the zombies have started to evolve and as such, now communicate with each other in a basic way, which makes their attacks even more dangerous as they are organized and starting to use tools and weapons.
What this all ads up to is a thrilling romp that will delight fans of the genre. Sure the story and characters are not the deepest, but as horror films go, there is a complexity to them. Hopper does great work as Kaufman as his malicious and selfish nature provides the perfect focal point to the films numerous commentaries on topics ranging from social class, to politics and well fare as well as the plight of the inner cities.
The genius of Romero is that he can insert so many topics into the film without it every seeming heavy-handed or over the top. The use of social commentary adds strength to the story as while the characters are in a very unrealistic situation, their base desires, motivations and behaviors are easily identifiable and strong.
Some may see Land of the Dead as just another blood and guts film with a basic story that lacks depth. To those who are fans of the genre and series, “Land” will likely be seen as a triumphant return to the genre he made his own by Romero and will enjoy the ride.
After years of various horror projects, and remakes of his previous “Dead” films, fans had begun to wonder if they had seen the last of Romero’s Zombie films and had to content themselves with the remakes and rumored offshoots and sequels from such.
Thankfully, with Land of the Dead Romero has returned to his basics and has crafted a Zombie thriller that is not only better than 85’s disappointing “Day of the Dead”, but on par with the ground breaking “Dawn of the Dead and the classic Original “Night of the Living Dead.”
For those who are not familiar with the series, the dead have arisen and now walk the earth looking for humans to feed upon. Gone is any memory of their former selves, only the insatiable desire to feed remains. How this event happened is never explained in the films viewers simply have to accept that it is happening and that those who are bitten by zombies are destined to join the ranks of the undead.
Like the previous films, the story follows a group of humans who are attempting to survive against the zombie hordes and who seek shelter and a way to stave off the zombie masses.
In Land of the Dead, a group of survivors have taken refuge in a fortified city where the common folks live in the streets while the affluent live in pristine high rise complex with many of the luxuries of their past lives.
One such survivor is Riley (Simon Baker), who spends his time venturing beyond the walls of the city with his team as they attempt to locate food, medicines, and other needed items in cities that have been abandoned due to zombie infestation.
As the film opens, Riley is completing his last run as he plans to venture north to find a cold and desolated area that is devoid of zombies and huddled masses.
His second in command Cholo, (John Leguizamo), is anxious to take over, as he sees the expeditions as a chance to obtain valuable items such as cigars and whiskey, which he can in turn sell to those who live in luxury. This desire causes much friction between Riley and Cholo but with the pending departure of Riley, Cholo realizes he may be able to finally purchase a home of his own in the luxury high rise.
Things do not go as planned for Cholo as when he tells his boss, Kaufman (Dennis Hopper), about his plans to move into the new complex, he is shocked to learn that Riley’s prediction of class exclusions in the building apply to him as well.
Furious over being used and cheated of his dreams and money, and an attempt upon his life, Cholo decides to hijack a well-armed armored vehicle that defends the city in an effort to extort his payment from Kaufman.
At the same time, Riley has learned that he has be swindled from his car, and soon finds himself working with Kaufman in an attempt to recover the armored vehicle from Cholo before he unleashes a hail of rockets upon the city. In short order, Riley and his support team are forced to enter the zombie infested streets to save the day.
Of course with “Land” being a Zombie film, the city will soon find itself overrun with all manner of ghouls and there will be plenty of flesh splitting, blood spattering, gore spewing scenes that will delight fans of the genre and elicit more than a few shrieks and cheers from the audience.
It is learned that the zombies have started to evolve and as such, now communicate with each other in a basic way, which makes their attacks even more dangerous as they are organized and starting to use tools and weapons.
What this all ads up to is a thrilling romp that will delight fans of the genre. Sure the story and characters are not the deepest, but as horror films go, there is a complexity to them. Hopper does great work as Kaufman as his malicious and selfish nature provides the perfect focal point to the films numerous commentaries on topics ranging from social class, to politics and well fare as well as the plight of the inner cities.
The genius of Romero is that he can insert so many topics into the film without it every seeming heavy-handed or over the top. The use of social commentary adds strength to the story as while the characters are in a very unrealistic situation, their base desires, motivations and behaviors are easily identifiable and strong.
Some may see Land of the Dead as just another blood and guts film with a basic story that lacks depth. To those who are fans of the genre and series, “Land” will likely be seen as a triumphant return to the genre he made his own by Romero and will enjoy the ride.
Hadley (567 KP) rated Stranger Things: Suspicious Minds in Books
Jun 10, 2019
The first novel adapted from the Netflix series hit 'Stranger Things' is an astonishing work of art. Viewers of the show may be familiar with Eleven's mother, Terry Ives, which this book surrounds. Along for the ride are a few important characters that weren't mentioned in the series: Alice, Gloria and Ken - a self proclaimed psychic - all of which meet because they signed up for a human experiment at Hawkins National Laboratory, where each are given doses of LSD every week. This quickly tells readers that the book is not recommended for anyone under the age of 14.
Although the series has more than one book, and no end in sight, Bond was only chosen to do this novel. 'Suspicious Minds' is categorized under Young Adult books, but with the heavy Vietnam content, it's not considered that many young adults today can actually relate with this story or even understand the devastating effects of a looming draft hanging over the heads of young men throughout America in the 1960's. But Bond does a wonderful job in relating the emotional state of this era through our main character, Terry. Another subject that Bond does a fantastic job of explaining in 'Suspicious Minds' is the taboo of being a pregnant, unwed mother in this era, something that seems to be making headlines again in the States nearly 60 years later.
Bond shows us a young Dr. Martin Brenner, with neatly styled brown hair and an almost unlined face, as well as a more lively Terry Ives (which only season 2 has shown a very short flashback sequence of Terry being mobile before her dreaded consequence from being associated with the human experiments). We find out that the reason Terry volunteered for the experiment is due to her father's service in WWII, and wanting to make the world a better place. Bond brings in the other important characters, who also volunteered for the experiments, quickly bonding the four as friends for life.
As far as characters go, these four are written very well. Although Terry is the main character of 'Suspicious Minds,' we get to see from the viewpoints of all people, including Brenner. Bond gives the reader a short background on what LSD is and where it came from when the time comes for the experiments to begin. Brenner doesn't really explain why he gives LSD to the volunteers, but only that it is part of a secret experiment. Even when Terry is placed in a sensory deprivation tank, he doesn't reveal anything to her, and Bond does a great job of keeping the characters enough in the grey area of knowing that it's believable. Even at one point, when Terry begins to suspect something strange from the experiments, she keeps the belief that whatever is going on at Hawkins Laboratory must be important: " 'But you can't see it's important?' Terry leaned in close, and they kept their voices down as other students walked past. 'They just called up the school and told them to give me Thursdays off and I'm getting credit for it? They're tying our grades to doing this. And no one asked any questions. They just agreed. I have to keep going.' " Bond eloquently keeps the mystery going.
This mystery is even interesting to those who know what happens in the end. In 'Stranger Things,' Terry is introduced as a comatose woman in a rocking chair- who happens to be Eleven's mother. We have never met Gloria, Alice or Ken. The three become very close to Terry, and they all somehow escape from Brenner's grasp, but they also end up joining in Terry's pursuit of getting Eleven/Jane back to her mother. Fans of the show might be left asking what happened to these three enjoyable characters? I haven't seen any plans for a part two of this story, so we may be left not knowing what happened or if the three are even still alive today (in the Stranger Things' era). Even more enjoyable is the random use of J.R.R. Tolkien's 'The Lord of the Rings,' where in one scene, Alice and Terry decide to name their small group 'The Fellowship of the Lab.' Any veteran reader will be happy to see a classic brought up in a newer book of today.
And also of interest, fans will recognize a little girl who is frequent throughout the story: Eight a.k.a. Kali. We never get to see through Kali's perspective, but the reader does get to see the multitude of her abilities. For instance, Kali is able to scare personnel in the lab by causing the hallucination of tidal waves inside the building, only to stop when Brenner (or Papa to her) gives her her favorite sweet: Hostess cakes. Other than that, Kali is like any child; she throws tantrums and rebels from her Papa, sometimes to the laughter of the reader.
One point, Terry even meets with Kali in her LSD induced state: " Terry shook her head. 'There can be. He's just a man. He can't know everything.' She paused. 'Does he hurt you? Papa?' Kali frowned, but she didn't answer. 'If he does... I can help you.' Terry had to make her understand. The little girl shook her head. 'I don't think so. I might be able to help you, though.' A field of yellow sunflowers grew up around them. A rainbow arcing over the golden tops." Terry, understandably, begins to scheme about how they can help Kali to escape the lab.
Bond does a great job of transitioning between Terry's point of view to the other characters' viewpoints. We get a young woman named Gloria, who has a secret obsession with comic books (especially X-Men). A hippie-looking man named Ken, who claims he is psychic, but just happens to have a lot of hunches that come true. And last, but not least, another young woman named Alice, who shows up in grease covered overalls and curly black hair, explaining that she works for her uncle's garage and that she loves machines. These three are delightful to read about, and the story would be boring without them.
This book was the perfect novel to answer questions fans may have had about Eleven's mother. Bond writes smoothly and easily enough that you may find yourself wanting to read just one more page before setting the book down for the evening. She drags you into the world of the 1960's and helps young readers to feel the emotional time that it was for women like Terry. But with only a few inconsistencies here and there, 'Suspicious Minds' leaves us wanting more. If you are a fan of 'Stranger Things,' I say that this is a must-read! Highly recommend!
Although the series has more than one book, and no end in sight, Bond was only chosen to do this novel. 'Suspicious Minds' is categorized under Young Adult books, but with the heavy Vietnam content, it's not considered that many young adults today can actually relate with this story or even understand the devastating effects of a looming draft hanging over the heads of young men throughout America in the 1960's. But Bond does a wonderful job in relating the emotional state of this era through our main character, Terry. Another subject that Bond does a fantastic job of explaining in 'Suspicious Minds' is the taboo of being a pregnant, unwed mother in this era, something that seems to be making headlines again in the States nearly 60 years later.
Bond shows us a young Dr. Martin Brenner, with neatly styled brown hair and an almost unlined face, as well as a more lively Terry Ives (which only season 2 has shown a very short flashback sequence of Terry being mobile before her dreaded consequence from being associated with the human experiments). We find out that the reason Terry volunteered for the experiment is due to her father's service in WWII, and wanting to make the world a better place. Bond brings in the other important characters, who also volunteered for the experiments, quickly bonding the four as friends for life.
As far as characters go, these four are written very well. Although Terry is the main character of 'Suspicious Minds,' we get to see from the viewpoints of all people, including Brenner. Bond gives the reader a short background on what LSD is and where it came from when the time comes for the experiments to begin. Brenner doesn't really explain why he gives LSD to the volunteers, but only that it is part of a secret experiment. Even when Terry is placed in a sensory deprivation tank, he doesn't reveal anything to her, and Bond does a great job of keeping the characters enough in the grey area of knowing that it's believable. Even at one point, when Terry begins to suspect something strange from the experiments, she keeps the belief that whatever is going on at Hawkins Laboratory must be important: " 'But you can't see it's important?' Terry leaned in close, and they kept their voices down as other students walked past. 'They just called up the school and told them to give me Thursdays off and I'm getting credit for it? They're tying our grades to doing this. And no one asked any questions. They just agreed. I have to keep going.' " Bond eloquently keeps the mystery going.
This mystery is even interesting to those who know what happens in the end. In 'Stranger Things,' Terry is introduced as a comatose woman in a rocking chair- who happens to be Eleven's mother. We have never met Gloria, Alice or Ken. The three become very close to Terry, and they all somehow escape from Brenner's grasp, but they also end up joining in Terry's pursuit of getting Eleven/Jane back to her mother. Fans of the show might be left asking what happened to these three enjoyable characters? I haven't seen any plans for a part two of this story, so we may be left not knowing what happened or if the three are even still alive today (in the Stranger Things' era). Even more enjoyable is the random use of J.R.R. Tolkien's 'The Lord of the Rings,' where in one scene, Alice and Terry decide to name their small group 'The Fellowship of the Lab.' Any veteran reader will be happy to see a classic brought up in a newer book of today.
And also of interest, fans will recognize a little girl who is frequent throughout the story: Eight a.k.a. Kali. We never get to see through Kali's perspective, but the reader does get to see the multitude of her abilities. For instance, Kali is able to scare personnel in the lab by causing the hallucination of tidal waves inside the building, only to stop when Brenner (or Papa to her) gives her her favorite sweet: Hostess cakes. Other than that, Kali is like any child; she throws tantrums and rebels from her Papa, sometimes to the laughter of the reader.
One point, Terry even meets with Kali in her LSD induced state: " Terry shook her head. 'There can be. He's just a man. He can't know everything.' She paused. 'Does he hurt you? Papa?' Kali frowned, but she didn't answer. 'If he does... I can help you.' Terry had to make her understand. The little girl shook her head. 'I don't think so. I might be able to help you, though.' A field of yellow sunflowers grew up around them. A rainbow arcing over the golden tops." Terry, understandably, begins to scheme about how they can help Kali to escape the lab.
Bond does a great job of transitioning between Terry's point of view to the other characters' viewpoints. We get a young woman named Gloria, who has a secret obsession with comic books (especially X-Men). A hippie-looking man named Ken, who claims he is psychic, but just happens to have a lot of hunches that come true. And last, but not least, another young woman named Alice, who shows up in grease covered overalls and curly black hair, explaining that she works for her uncle's garage and that she loves machines. These three are delightful to read about, and the story would be boring without them.
This book was the perfect novel to answer questions fans may have had about Eleven's mother. Bond writes smoothly and easily enough that you may find yourself wanting to read just one more page before setting the book down for the evening. She drags you into the world of the 1960's and helps young readers to feel the emotional time that it was for women like Terry. But with only a few inconsistencies here and there, 'Suspicious Minds' leaves us wanting more. If you are a fan of 'Stranger Things,' I say that this is a must-read! Highly recommend!
Acanthea Grimscythe (300 KP) rated The Haunting of Hill House in Books
May 16, 2018
Several years ago, I watched The Haunting (1999). It was not an intentional watching of the movie and I actually forgot that I had watched it shortly after. Now and then, I would recall a scene and try to remember where it was from without much luck. At that time, I was not aware that it was an adaptation of Shirley Jackson's novel, The Haunting of Hill House. In fact, it wasn't until more recently that I returned to my long forgotten passion for the written word. In a way, I'm a bit glad that I read the book - or in this case, listened to it.
One of the largest determining factors for me when I'm listening to an audio book is the quality of the narration, and in this case I highly suggest the version narrated by David Warner over Bernadette Dunne. Warner's voice is far gentler on the ears and his heavy English lends an utterly unique feeling to the story. I only listened to a sample of Dunne's version and found it very painful on my ears. Warner's reading is published by Phoenix, whereas Dunne's is from Blackstone Audio. Considering that I use audiobooks in order to help me relax along the hour long commute to and from work, the quality of the recording is vital to whether or not I am capable of stomaching the book (and for this reason, I nearly dropped House).
The Haunting of Hill House was published in 1959 by Viking, six years before Shirley Jackson's death. <a href="https://en.wikipedia.org/wiki/Shirley_Jackson"; target="new">The book itself is lauded as a classic example of haunted house fiction, earning praise from my all time favorite author, Stephen King.</a> It is a story in which four individuals take up summer residence in the famed Hill House, where they embark upon an unexpectedly brief journey to learn more about the supernatural - and perhaps even about their own selves. Each character is riddled with their own flaws and, to my great surprise, are not filled with the incessantly needy yearning for romance that is so common in other books.
I can also admit that none of the characters are particularly likable. The character that I find most tolerable is Eleanor Vance, our star for this read who clearly suffers from mental illness. Given the time in which the book takes place, it is almost heartbreaking how little others are able to pick up regarding her mental state and, when they finally do, the disdain they treat her with is extremely painful to watch. My least favorite of the cast is Mrs. Montague and her planchette. Mrs. Montague seems rather incapable of caring about anyone other than herself and goes to great lengths to undermine her husband. Her short fuse makes her utterly unbearable and, were I to cross paths with her, I can't promise that I wouldn't want to throttle her.
As far as the haunting of the manse itself goes, there's very little to it. While Jackson's prose is meticulous and gorgeous to behold, at no point did I feel any sense of unease. Much of what is meant to be unsettling is not supernatural in origin, but derived from the interactions of the characters. In a way, the reader is simply a passenger along for the ride in Eleanor's descent into madness, and it is from this that unease can be felt than by anything ethereal.
I enjoyed The Haunting of Hill House and I find it to be a pleasant read (or in this case, listen), but it is not among my favorites when it comes to horror. I felt no real need to keep going and none of the edge-of-your-seat anxiety that horror fans like myself thrive on. It is certainly a beautiful book and Hill House has a hauntingly sad past, but other than that I did not find the story to be overly impressive. While some of this could be attributed to the fact that I had seen the movie in the past, I don't really feel that is the case - especially since I seem to be in agreement with several other readers.
One of the largest determining factors for me when I'm listening to an audio book is the quality of the narration, and in this case I highly suggest the version narrated by David Warner over Bernadette Dunne. Warner's voice is far gentler on the ears and his heavy English lends an utterly unique feeling to the story. I only listened to a sample of Dunne's version and found it very painful on my ears. Warner's reading is published by Phoenix, whereas Dunne's is from Blackstone Audio. Considering that I use audiobooks in order to help me relax along the hour long commute to and from work, the quality of the recording is vital to whether or not I am capable of stomaching the book (and for this reason, I nearly dropped House).
The Haunting of Hill House was published in 1959 by Viking, six years before Shirley Jackson's death. <a href="https://en.wikipedia.org/wiki/Shirley_Jackson"; target="new">The book itself is lauded as a classic example of haunted house fiction, earning praise from my all time favorite author, Stephen King.</a> It is a story in which four individuals take up summer residence in the famed Hill House, where they embark upon an unexpectedly brief journey to learn more about the supernatural - and perhaps even about their own selves. Each character is riddled with their own flaws and, to my great surprise, are not filled with the incessantly needy yearning for romance that is so common in other books.
I can also admit that none of the characters are particularly likable. The character that I find most tolerable is Eleanor Vance, our star for this read who clearly suffers from mental illness. Given the time in which the book takes place, it is almost heartbreaking how little others are able to pick up regarding her mental state and, when they finally do, the disdain they treat her with is extremely painful to watch. My least favorite of the cast is Mrs. Montague and her planchette. Mrs. Montague seems rather incapable of caring about anyone other than herself and goes to great lengths to undermine her husband. Her short fuse makes her utterly unbearable and, were I to cross paths with her, I can't promise that I wouldn't want to throttle her.
As far as the haunting of the manse itself goes, there's very little to it. While Jackson's prose is meticulous and gorgeous to behold, at no point did I feel any sense of unease. Much of what is meant to be unsettling is not supernatural in origin, but derived from the interactions of the characters. In a way, the reader is simply a passenger along for the ride in Eleanor's descent into madness, and it is from this that unease can be felt than by anything ethereal.
I enjoyed The Haunting of Hill House and I find it to be a pleasant read (or in this case, listen), but it is not among my favorites when it comes to horror. I felt no real need to keep going and none of the edge-of-your-seat anxiety that horror fans like myself thrive on. It is certainly a beautiful book and Hill House has a hauntingly sad past, but other than that I did not find the story to be overly impressive. While some of this could be attributed to the fact that I had seen the movie in the past, I don't really feel that is the case - especially since I seem to be in agreement with several other readers.
Ivana A. | Diary of Difference (1171 KP) rated Cryptid in Books
Aug 21, 2018
View my review on my blog: www.diaryofdifference.com/2018/06/08/cryptid-michael-kott-book-review/
Cryptid by Michael Kott is the second book of these series. It is a sequel to the Piasa, and you can find my review on that here. I have to admit and say that I didn’t enjoy Cryptid as much as I would like to, and you’ll find out why soon.
<b><i>About the book:</i></b>
Cryptid continues to tell the story of Sara, a girl that survives a car accident, when all her family dies. While in the first book she meets Mike, who gets her a job as his assistant in his adventures, in this book we will see Sara still maintaining that position, but a little bit from the background. When a few cats that look like leopards will appear at the museum, people start to get scared, and the police wants to shoot the animals. Then Mike and the team come to the rescue, to try and identify what the cats are, and save them from dying.
<img src="http://www.michaelkott.com/wp-content/uploads/2015/01/cryptid.wip_.jpg"/>;
<b><i>Review:</i></b>
In Cryptid, we will be introduced to a couple new characters, some of which I happened to be very fond of (Hi Xenia!). The good thing for me was, that I could get a bit of a break from all the Sara moments. The thing I didn’t like was the fact that their background was too short and untold, and they kept making decisions based on the past that we didn’t know (I will mention Shannon’s decision here).
My favourite moments of the book, were, of course, those where Sara wasn’t there. Followed by my previous review of the Piasa, I sometimes like the character of Sara. But I also couldn’t agree with her. I couldn’t understand her character, behaviour and decisions. Maybe it is because of my own childhood. I mean, luckily, I haven’t lost any of my family, but I have lived without both parents in those crucial years, raised by grandparents, while having a little sister to look after, and having an aunt similar to Pamela to guide me through my worst. But I was never this arrogant, self-centered and desperate for ME-ME-ME attention like Sara. Whoa, that lady really can push my limits sometimes.
The same goes with everyone around Sara that constantly tries to please her, and make sure she’s not upset.
And what is the reason that all of the characters are losing their shoes somewhere?
Unlike Piasa, in this book the focus is only on one big event, at two main places – the park and the museum. Apart from a few places in the introduction, the whole story keeps us around these places, which I particularly didn’t mind, but some people may or may not find it boring.
I was a bit sad because I really like Mike, and he wasn’t as present with his story as his was in the other book. I expected to see and learn a bit more of him.
Not to be all negative though, there were a few moments that I really enjoyed! I loved to read about the sisterhood of Pamela and Xenia, and the beginning of the book was fantastic. Xenia is also such an incredible character, and I really admired her. I also loved the explanations on the different kinds of cats and their latin names and meanings.
All in all, I am a bit sad to say that this will be a 3 out of 5 stars. Especially because the author, Michael Kott, is a dear friend of mine, and I greatly enjoyed the Piasa. I may have expected a bit too much of this book, that left me disappointed. But I do believe that some of you might greatly enjoy it! If you like Young-Adult fiction, and stories about mystery animals and cryptids, you will definitely enjoy this book!
Thank you Mike, for sending me a copy of the Cryptid, in exchange for an honest review.
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Cryptid by Michael Kott is the second book of these series. It is a sequel to the Piasa, and you can find my review on that here. I have to admit and say that I didn’t enjoy Cryptid as much as I would like to, and you’ll find out why soon.
<b><i>About the book:</i></b>
Cryptid continues to tell the story of Sara, a girl that survives a car accident, when all her family dies. While in the first book she meets Mike, who gets her a job as his assistant in his adventures, in this book we will see Sara still maintaining that position, but a little bit from the background. When a few cats that look like leopards will appear at the museum, people start to get scared, and the police wants to shoot the animals. Then Mike and the team come to the rescue, to try and identify what the cats are, and save them from dying.
<img src="http://www.michaelkott.com/wp-content/uploads/2015/01/cryptid.wip_.jpg"/>;
<b><i>Review:</i></b>
In Cryptid, we will be introduced to a couple new characters, some of which I happened to be very fond of (Hi Xenia!). The good thing for me was, that I could get a bit of a break from all the Sara moments. The thing I didn’t like was the fact that their background was too short and untold, and they kept making decisions based on the past that we didn’t know (I will mention Shannon’s decision here).
My favourite moments of the book, were, of course, those where Sara wasn’t there. Followed by my previous review of the Piasa, I sometimes like the character of Sara. But I also couldn’t agree with her. I couldn’t understand her character, behaviour and decisions. Maybe it is because of my own childhood. I mean, luckily, I haven’t lost any of my family, but I have lived without both parents in those crucial years, raised by grandparents, while having a little sister to look after, and having an aunt similar to Pamela to guide me through my worst. But I was never this arrogant, self-centered and desperate for ME-ME-ME attention like Sara. Whoa, that lady really can push my limits sometimes.
The same goes with everyone around Sara that constantly tries to please her, and make sure she’s not upset.
And what is the reason that all of the characters are losing their shoes somewhere?
Unlike Piasa, in this book the focus is only on one big event, at two main places – the park and the museum. Apart from a few places in the introduction, the whole story keeps us around these places, which I particularly didn’t mind, but some people may or may not find it boring.
I was a bit sad because I really like Mike, and he wasn’t as present with his story as his was in the other book. I expected to see and learn a bit more of him.
Not to be all negative though, there were a few moments that I really enjoyed! I loved to read about the sisterhood of Pamela and Xenia, and the beginning of the book was fantastic. Xenia is also such an incredible character, and I really admired her. I also loved the explanations on the different kinds of cats and their latin names and meanings.
All in all, I am a bit sad to say that this will be a 3 out of 5 stars. Especially because the author, Michael Kott, is a dear friend of mine, and I greatly enjoyed the Piasa. I may have expected a bit too much of this book, that left me disappointed. But I do believe that some of you might greatly enjoy it! If you like Young-Adult fiction, and stories about mystery animals and cryptids, you will definitely enjoy this book!
Thank you Mike, for sending me a copy of the Cryptid, in exchange for an honest review.
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