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JT (287 KP) rated Greta (2019) in Movies
Mar 10, 2020
Psychological thrillers come without much surprise these days. After the initial character introductions and back stories have bee laid out, the tension is ramped up until a climactic ending, which often falls flat – unless there is a clever twist.
With Greta, director Neil Jordan (Crying Game) uses an expensive green handbag to connect two lonely individuals together. One recovering from the death of her mother, while the other lives alone, longing for company and for someone to share meaningful conversation with.
While riding the subway after work one night Frances (Chloë Grace Moretz) comes across the green handbag and after being coerced into keeping the contents by her flatmate (Maika Monroe) her conscious tells her to return it. There she meets Greta, a softly spoken woman with a seemingly kind heart.
A revelation at dinner one night Frances confronts Greta and after an unnerving exchange, Frances leaves, in the hope that she will never see her again – but Greta is not about to let go of her that easily. French actress Isabelle Huppert gives a sinister performance – not many can stand still and look menacing without really trying, but she gets it spot on. It certainly put the fear in me.
Despite her quirky and innocent advances Frances is not fooled and does all she can to push back, without success. Even a private investigator intent on uncovering the truth about Greta is no match for the softly spoken malevolent loner.
There is some tense moments and the film is at the higher end of the psychological scale, but more could have been done with the writing to elevate it to one of sheer terror.
With Greta, director Neil Jordan (Crying Game) uses an expensive green handbag to connect two lonely individuals together. One recovering from the death of her mother, while the other lives alone, longing for company and for someone to share meaningful conversation with.
While riding the subway after work one night Frances (Chloë Grace Moretz) comes across the green handbag and after being coerced into keeping the contents by her flatmate (Maika Monroe) her conscious tells her to return it. There she meets Greta, a softly spoken woman with a seemingly kind heart.
A revelation at dinner one night Frances confronts Greta and after an unnerving exchange, Frances leaves, in the hope that she will never see her again – but Greta is not about to let go of her that easily. French actress Isabelle Huppert gives a sinister performance – not many can stand still and look menacing without really trying, but she gets it spot on. It certainly put the fear in me.
Despite her quirky and innocent advances Frances is not fooled and does all she can to push back, without success. Even a private investigator intent on uncovering the truth about Greta is no match for the softly spoken malevolent loner.
There is some tense moments and the film is at the higher end of the psychological scale, but more could have been done with the writing to elevate it to one of sheer terror.
Bringing Down the Krays: Finally the Truth About Ronnie and Reggie by the Man Who Took Them Down
Book
'The Krays were out of control. They had the East End buttoned up too tight and someone had to undo...
LoganCrews (2861 KP) rated The Big Sick (2017) in Movies
Sep 19, 2020
One of those products that feels fresh and generic in about an equal ratio, but this just *soars* off of the chemistry of its cast. Zoe Kazan and Kumail Nanjiani are wonderful, simply wonderful together here; Ray Romano and Holly Hunter are faultless; and Kumail's family + stand-up partners are as well cast as can be even if the latter add nothing more than mostly tired jokes that don't land to the story. I admit this is still pretty scattershot, but for me that's part of what makes it so interesting? If anything is subversive here it's two things: 1. the way this flips the typical romcom on its head by taking on multiple different styles of execution as it goes along (the mostly unfunny but charming as hell opening romance, the anxious but amiable [and more funny] first meetings with the parents, the harrowing confrontation of grief, and the confusing [for the characters] but unfortunately rather rushed through ending resolutions) and 2. Kumail playing himself during a real life tumultuous period in his life. Even though dozens of liberties were taken to make this more palatable for a studio romance, the broad side of things remains rooted in truth even down to supporting scenes - and seeing Kumail as himself act out those real life events and formulate them into a positive story add a whole new level of emotional heft. Plus he's just a rock-solid comedic force in general and he handles the sad scenes nearly just as well. Even if there are still some tropes in this, the base story still feels rather nuanced. Very flawed but so nice, so wholesome.
LeftSideCut (3776 KP) rated Possessor (2020) in Movies
Dec 4, 2020
From the mind of Brandon Cronenberg comes his second feature length, Possessor, and the best way I could sum it up is that it's a subtle assault on the senses. Although it occasionally throws unsettling imagery at the screen now and again, these moments are seldom and fleeting. The main assault comes from the constant sense of dread that is present from it's visually striking and bloody opening, straight through to it's pretty insane climax. I just felt on edge consistently, thanks to the minimal but forboding score, top notch editing on display, and some quite brilliant performances.
Andrea Riseborough is great, as she was in Mandy, and her presence in modern horror is a welcome one. Her character is the overarching glue that holds all the emotional strains of the plot together with a cold core.
Christopher Abbott is wonderful, as he essentially plays two seperate characters, and sells his descent into madness perfectly.
The supporting cast include the likes of Jennifer Jason Leigh, Tuppence Middleton, and Sean Bean, and it's honestly just a pretty solid cast all around.
The plot is intriguing in a dystopian sci-fi kind of way, and has enough horror elements to really get under the skin. The scene that the already recognisable poster image is taken from is one of the most recoil inducing and uncomfortable scenes I've seen in a while. This premise played out with a decent screenplay, accompanied by sudden bursts of extreme violence, give Possessor an identity of it's own, and make it a modern horror entry that can stand shoulder to shoulder with the big boys.
One of the films of the year for me!
Andrea Riseborough is great, as she was in Mandy, and her presence in modern horror is a welcome one. Her character is the overarching glue that holds all the emotional strains of the plot together with a cold core.
Christopher Abbott is wonderful, as he essentially plays two seperate characters, and sells his descent into madness perfectly.
The supporting cast include the likes of Jennifer Jason Leigh, Tuppence Middleton, and Sean Bean, and it's honestly just a pretty solid cast all around.
The plot is intriguing in a dystopian sci-fi kind of way, and has enough horror elements to really get under the skin. The scene that the already recognisable poster image is taken from is one of the most recoil inducing and uncomfortable scenes I've seen in a while. This premise played out with a decent screenplay, accompanied by sudden bursts of extreme violence, give Possessor an identity of it's own, and make it a modern horror entry that can stand shoulder to shoulder with the big boys.
One of the films of the year for me!
Lay Me Down (Reveler #2)
8.0
Rate It
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Able to navigate sleep’s vast dreamwaters, wild child Maisie Lane makes easy money as a courier...
Urban Fantasy Romance
Sarah (7800 KP) rated The Rhythm Section (2019) in Movies
Nov 29, 2020
An average thriller
The Rhythm Section is a 2020 action thriller based on a book of the same name written by Mark Burnell. Directed by Reed Moreno, it stars Blake Lively as Stephanie Patrick, a young woman bent on revenge against the terrorists who orchestrated a plane crash that killed her entire family.
From the very beginning, you can see the influences and similarities in this to other films and stories.
This has obviously taken inspiration from the likes of John Le Carre and is a rather dark and gritty take on the action thriller genre, with a decent amount of physical (and well choreographed) violence. However in all honesty, the originality here is severely lacking. I’ve seen countless revenge films and this is no different. There is little in this to make it stand out above all those that have come before it and it isn’t helped by a limited number of action scenes either to help ramp up the interest.
It doesn’t start off very well, as we find out about Stephanie’s life and how the death of her family turned her into a drug addict and a prostitute. It’s so clichéd that even Jude Law’s character Boyd mocks her for this later in the film, which whilst fun, doesn’t change the fact that they actually used this idea in the plot. There’s also the sketchy almost nonexistent reason for journalist Proctor (Raza Jeffrey) to reach out to Stephanie to tell her that the plane crash was caused by terrorists rather than an accident. It just doesn’t make any sense as to why he’d get Stephanie involved and the film doesn’t even try to explain this rationally. Same goes when Boyd takes in Stephanie and starts to train her as an assassin. Whilst a reason is eventually revealed, it isn’t entirely plausible and again doesn’t make any sense as to why he does this with a woman who has no background or knowledge in espionage or assassination.
Aside from the sketchy plot, there are some plus points. Blake Lively performs well (despite the often hideous wigs), and you can see that she’s really giving it her all and could really make it as an action star. The scenes featuring her and Jude Law are also entertaining to watch and give the film a more relaxed feeling, especially the earlier training scenes. One of the most likeable things about this thought for me was the score. It’s tense and dramatic and full of excitement, with pieces featuring strings, piano and percussion to the point where you begin to wonder if the title ‘The Rhythm Section’ isn’t more appropriate for the music rather than the explanation given during the film.
Sadly The Rhythm Section is a fairly average thriller that whilst boosted slightly by a good performance and score, is unfortunately not particularly memorable, especially with such a lacklustre ending.
From the very beginning, you can see the influences and similarities in this to other films and stories.
This has obviously taken inspiration from the likes of John Le Carre and is a rather dark and gritty take on the action thriller genre, with a decent amount of physical (and well choreographed) violence. However in all honesty, the originality here is severely lacking. I’ve seen countless revenge films and this is no different. There is little in this to make it stand out above all those that have come before it and it isn’t helped by a limited number of action scenes either to help ramp up the interest.
It doesn’t start off very well, as we find out about Stephanie’s life and how the death of her family turned her into a drug addict and a prostitute. It’s so clichéd that even Jude Law’s character Boyd mocks her for this later in the film, which whilst fun, doesn’t change the fact that they actually used this idea in the plot. There’s also the sketchy almost nonexistent reason for journalist Proctor (Raza Jeffrey) to reach out to Stephanie to tell her that the plane crash was caused by terrorists rather than an accident. It just doesn’t make any sense as to why he’d get Stephanie involved and the film doesn’t even try to explain this rationally. Same goes when Boyd takes in Stephanie and starts to train her as an assassin. Whilst a reason is eventually revealed, it isn’t entirely plausible and again doesn’t make any sense as to why he does this with a woman who has no background or knowledge in espionage or assassination.
Aside from the sketchy plot, there are some plus points. Blake Lively performs well (despite the often hideous wigs), and you can see that she’s really giving it her all and could really make it as an action star. The scenes featuring her and Jude Law are also entertaining to watch and give the film a more relaxed feeling, especially the earlier training scenes. One of the most likeable things about this thought for me was the score. It’s tense and dramatic and full of excitement, with pieces featuring strings, piano and percussion to the point where you begin to wonder if the title ‘The Rhythm Section’ isn’t more appropriate for the music rather than the explanation given during the film.
Sadly The Rhythm Section is a fairly average thriller that whilst boosted slightly by a good performance and score, is unfortunately not particularly memorable, especially with such a lacklustre ending.
Sophia (Bookwyrming Thoughts) (530 KP) rated Going Down in Flames (Going Down in Flames, #1) in Books
Jan 23, 2020
For once, I think my instincts were right (not that I ever listen) about Going Down in Flames. I was expecting a lot more.
The idea and the concept were unique and interesting. Shape-shifting dragons? Check. Oddball at a prestigious boarding school Bryn is being sent to on her sixteenth birthday? Check. Proof that the Directorate isn't always right? Check. TRYING to stay alive? Ooo, interesting. Check! All the ingredients of a great book. I was even so excited about DRAGONS!
<img border="0" src="http://1.bp.blogspot.com/-cuqBh1sDPEY/U6NzNu6g3hI/AAAAAAAADhs/Pb2oaXOydkQ/s1600/how_to_train_your_dragon_2_gif_by_thegrzebol-d6wlb2k.gif"; height="106" width="320">
Plus, the pretty cover and the tag line: If her love life is going down in flames, she might as well spark a revolution.
WHAT REVOLUTION?!?!?! is my biggest question right at this very moment. There's no revolution, not really. At least, not one that Bryn starts. That revolution, which is apparently peaceful and started by Zavien-Not-Zayn, was there well before Bryn comes around. She doesn't even know about that revolution or even the fact that she's a dragon until said dude starts stalking her for awhile.
<img border="0" src="http://4.bp.blogspot.com/-98SDXmeq-i8/U6Nzpun3IGI/AAAAAAAADh0/d0iqv6tv0OU/s1600/giphy.gif"; height="175" width="320">
So I'm really curious as to the definition of revolution here. Because in the long run, it's all sparkly rainbows and unicorns with the abrupt end. The last sentence? Damn Directorate. If anything, damning the Directorate shows there hasn't been a revolution. Sure, Bryn makes her point. She's a crossbreed and she's just like any other dragon. She made a change. To have a love life, that is, but it's not like she gets to choose. I mean, her grandmother and the mom of the dude she hates most attempts at playing matchmaker. Arranged marriage still exists.
*sighs* Not a dramatic change if you ask me. A change for future crossbreeds, sure. Certainly the Directorate wasn't overthrown.
<img border="0" src="http://3.bp.blogspot.com/-1ffyT3n870o/U6N0wvDSjhI/AAAAAAAADiA/3S69yaZT8RM/s1600/giphy+(2).gif"; height="176" width="320">
Perhaps the most interesting part of Going Down in Flames for me were the death threats. The way they're written and set up. They're thrown in at surprising, yet right times. Oh, and there's no warning on those attempts. It kept me at the edge of my seat trying to guess where the next attack would be at.
There also seems to be something missing from the characters. Particularly with Jaxon and Bryn. They hate each other and then all of a sudden, he starts helping her. Not just to save his reputation, but to protect her. There is something remotely wrong with a character who hates you from the bottom of their hearts to "protecting you." O_o
<blockquote>Jaxon: I also did it to help you.
Bryn: I saved your life. Dont get snippy with me.
Jaxon: *slams coffee cup down* I came to secure protection for your life.</blockquote>
Tell me there isn't something wrong with that. O_o Because it ends shortly after, and now I can't really decide if Bryn gets stuck marrying Jaxon due to arranged marriage or she gets to choose who she wants to marry. If there are any other life threatening stuff going on afterward or the dragons that used to hate her now treat her as an equal. If her mother actually gets a happy reunion with her parents. If Zavien is still stuck with his intended or if he and the Revisionists peacefully achieve more individual rights for dragons.
<img border="0" src="http://4.bp.blogspot.com/-v3e-NYdq7P8/U6N2FJxKKNI/AAAAAAAADiM/7xswneekUqs/s1600/giphy+(3).gif"; height="239" width="320">
There are just so many questions that aren't answered yet, that this feels like an entire end is missing and Going Down in Flames is the very first of a trilogy or series. Yet... this is a stand alone... according to Goodreads. Am I missing something, or did anyone else who read this feel the same way?
--------------------------
Advanced copy provided by the publisher
Original Rating: 2.5
This review and more found over at <a href="http://bookwyrming-thoughts.blogspot.com/2014/06/arc-review-going-down-in-flames-by-chris-cannon.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://4.bp.blogspot.com/-Gi5Rk5yLloA/UtliaUbdL3I/AAAAAAAACbE/J27z92_qrYU/s1600/Official+Banner.png"; /></a>
The idea and the concept were unique and interesting. Shape-shifting dragons? Check. Oddball at a prestigious boarding school Bryn is being sent to on her sixteenth birthday? Check. Proof that the Directorate isn't always right? Check. TRYING to stay alive? Ooo, interesting. Check! All the ingredients of a great book. I was even so excited about DRAGONS!
<img border="0" src="http://1.bp.blogspot.com/-cuqBh1sDPEY/U6NzNu6g3hI/AAAAAAAADhs/Pb2oaXOydkQ/s1600/how_to_train_your_dragon_2_gif_by_thegrzebol-d6wlb2k.gif"; height="106" width="320">
Plus, the pretty cover and the tag line: If her love life is going down in flames, she might as well spark a revolution.
WHAT REVOLUTION?!?!?! is my biggest question right at this very moment. There's no revolution, not really. At least, not one that Bryn starts. That revolution, which is apparently peaceful and started by Zavien-Not-Zayn, was there well before Bryn comes around. She doesn't even know about that revolution or even the fact that she's a dragon until said dude starts stalking her for awhile.
<img border="0" src="http://4.bp.blogspot.com/-98SDXmeq-i8/U6Nzpun3IGI/AAAAAAAADh0/d0iqv6tv0OU/s1600/giphy.gif"; height="175" width="320">
So I'm really curious as to the definition of revolution here. Because in the long run, it's all sparkly rainbows and unicorns with the abrupt end. The last sentence? Damn Directorate. If anything, damning the Directorate shows there hasn't been a revolution. Sure, Bryn makes her point. She's a crossbreed and she's just like any other dragon. She made a change. To have a love life, that is, but it's not like she gets to choose. I mean, her grandmother and the mom of the dude she hates most attempts at playing matchmaker. Arranged marriage still exists.
*sighs* Not a dramatic change if you ask me. A change for future crossbreeds, sure. Certainly the Directorate wasn't overthrown.
<img border="0" src="http://3.bp.blogspot.com/-1ffyT3n870o/U6N0wvDSjhI/AAAAAAAADiA/3S69yaZT8RM/s1600/giphy+(2).gif"; height="176" width="320">
Perhaps the most interesting part of Going Down in Flames for me were the death threats. The way they're written and set up. They're thrown in at surprising, yet right times. Oh, and there's no warning on those attempts. It kept me at the edge of my seat trying to guess where the next attack would be at.
There also seems to be something missing from the characters. Particularly with Jaxon and Bryn. They hate each other and then all of a sudden, he starts helping her. Not just to save his reputation, but to protect her. There is something remotely wrong with a character who hates you from the bottom of their hearts to "protecting you." O_o
<blockquote>Jaxon: I also did it to help you.
Bryn: I saved your life. Dont get snippy with me.
Jaxon: *slams coffee cup down* I came to secure protection for your life.</blockquote>
Tell me there isn't something wrong with that. O_o Because it ends shortly after, and now I can't really decide if Bryn gets stuck marrying Jaxon due to arranged marriage or she gets to choose who she wants to marry. If there are any other life threatening stuff going on afterward or the dragons that used to hate her now treat her as an equal. If her mother actually gets a happy reunion with her parents. If Zavien is still stuck with his intended or if he and the Revisionists peacefully achieve more individual rights for dragons.
<img border="0" src="http://4.bp.blogspot.com/-v3e-NYdq7P8/U6N2FJxKKNI/AAAAAAAADiM/7xswneekUqs/s1600/giphy+(3).gif"; height="239" width="320">
There are just so many questions that aren't answered yet, that this feels like an entire end is missing and Going Down in Flames is the very first of a trilogy or series. Yet... this is a stand alone... according to Goodreads. Am I missing something, or did anyone else who read this feel the same way?
--------------------------
Advanced copy provided by the publisher
Original Rating: 2.5
This review and more found over at <a href="http://bookwyrming-thoughts.blogspot.com/2014/06/arc-review-going-down-in-flames-by-chris-cannon.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://4.bp.blogspot.com/-Gi5Rk5yLloA/UtliaUbdL3I/AAAAAAAACbE/J27z92_qrYU/s1600/Official+Banner.png"; /></a>
A Bibliophagist (113 KP) rated Thunderhead (Arc of a Scythe #2) in Books
Feb 5, 2020
Characters (4 more)
Plot
Pacing
Worldbuilding
That ending
A great sequel
I picked up Scythe in a challenge to myself to read something I wasn't interested in, and I chose two books popular on my feeds. One with a cover I hated (Throne of Glass) and one with a cover I liked (Scythe). I really didn't expect to love Scythe as much as I did (check out its review through my profile!) but I did! So I immediately picked up the even prettier Thunderhead. This cover is just beautiful, and as an illustrator, seeing her thank her cover artist on one of the first pages was wonderful. This review may contain minor spoilers for Scythe, so don't read it unless you've read Scythe!
We pick up where Scythe left off, after Citra gives Rowan immunity, sparing him from being gleaned even though she is chosen and takes the name, Scythe Anastasia. He goes on the run instead of being imprisoned by the Scythdom until his immunity runs out. After leaving his self imposed exile with Scythe Faraday, Rowan dons a cloak of his own, becoming a vigilante and killing (and burning) Scythes who abuse their power. The world dubs him Scythe Lucifer and everyone is trying to find him. Scythe Anastasia is learning her place in the Scythedom, a beacon of hope for the old guard, they hope she will inspire the new Scythes to turn away from the new order. Following Rowan's disposal of Scythe Goddard, the new order has made a martyr of him. The Schism amongst the Scythedom continues to grow, and all is not well. Scythe Curie and Scythe Anastasia are targetted by unknowns, attempting to kill them (permanently). Meanwhile, the Thunderhead reflects on its choice to be separate from the Scythes, Fearing what is becoming of the Scythedom, but unable to do anything, it inlists a boy, Greyson, who was essentially raised by it, to act as a liaison, never telling him to do anything in particular, but implying enough that Greyson sacrifices everything to try and help Scythe Curie and Anastasia and fulfill the Thunderhead's goals. This sacrifice doesn't go unnoticed, as a reader it felt palpable, I felt for him. On top of all this, something is stirring, ghosts are coming back to haunt the Scythedom and a shift of power puts Anastasia and Marie in the crosshairs of danger, forcing them to not only stand up for MidMerica but the entire Scythedom, even if that means facing the Grandslayers.
Shusterman does a wonderful job of continuing the story. Sticking to the world that he previously laid out and delving deeper with new perspectives like Greyson, and rather than the Scythe Journal interludes we have Thunderhead interludes which are exceptionally interesting. We learn more about this "perfect world" they now live in, and we see actual character development as both Rowan and Citra come to terms with their new lives. On top of this, the plot just continues to thicken and brew, building upon itself until it finally explodes in the finale. Holy Moley the finale. I let out an audible noise at that cliffhanger, so audible my partner checked to makes sure I was okay. I also IMMEDIATELY bought the next book. That was the cliffhangers of cliffhangers.
One of the things I applaud in these books is the romance between Citra and Rowan, it's so understated (at times, too understated) not lusting after each other, or thinking about how hot each other are. This is just an honest two people coming together who have been through crap together. It's a deep connection, and while I found it eh and slightly too understated in the first book, I grew to appreciate it's the subtlety in the second.
At times this book had larger than life moments, but even these Shusterman was able to write so well I didn't mind them, they didn't make me roll my eyes. He made his world believable, even if it sounds ridiculous when I try and explain the plot to others. This book made me cry, it made me gasp and it made me feel a full gamut of emotions. Things I didn't know a YA book could make me feel. Also, did I mention that freakin CLIFF HANGER?
Good job Shusterman, Good Job.
We pick up where Scythe left off, after Citra gives Rowan immunity, sparing him from being gleaned even though she is chosen and takes the name, Scythe Anastasia. He goes on the run instead of being imprisoned by the Scythdom until his immunity runs out. After leaving his self imposed exile with Scythe Faraday, Rowan dons a cloak of his own, becoming a vigilante and killing (and burning) Scythes who abuse their power. The world dubs him Scythe Lucifer and everyone is trying to find him. Scythe Anastasia is learning her place in the Scythedom, a beacon of hope for the old guard, they hope she will inspire the new Scythes to turn away from the new order. Following Rowan's disposal of Scythe Goddard, the new order has made a martyr of him. The Schism amongst the Scythedom continues to grow, and all is not well. Scythe Curie and Scythe Anastasia are targetted by unknowns, attempting to kill them (permanently). Meanwhile, the Thunderhead reflects on its choice to be separate from the Scythes, Fearing what is becoming of the Scythedom, but unable to do anything, it inlists a boy, Greyson, who was essentially raised by it, to act as a liaison, never telling him to do anything in particular, but implying enough that Greyson sacrifices everything to try and help Scythe Curie and Anastasia and fulfill the Thunderhead's goals. This sacrifice doesn't go unnoticed, as a reader it felt palpable, I felt for him. On top of all this, something is stirring, ghosts are coming back to haunt the Scythedom and a shift of power puts Anastasia and Marie in the crosshairs of danger, forcing them to not only stand up for MidMerica but the entire Scythedom, even if that means facing the Grandslayers.
Shusterman does a wonderful job of continuing the story. Sticking to the world that he previously laid out and delving deeper with new perspectives like Greyson, and rather than the Scythe Journal interludes we have Thunderhead interludes which are exceptionally interesting. We learn more about this "perfect world" they now live in, and we see actual character development as both Rowan and Citra come to terms with their new lives. On top of this, the plot just continues to thicken and brew, building upon itself until it finally explodes in the finale. Holy Moley the finale. I let out an audible noise at that cliffhanger, so audible my partner checked to makes sure I was okay. I also IMMEDIATELY bought the next book. That was the cliffhangers of cliffhangers.
One of the things I applaud in these books is the romance between Citra and Rowan, it's so understated (at times, too understated) not lusting after each other, or thinking about how hot each other are. This is just an honest two people coming together who have been through crap together. It's a deep connection, and while I found it eh and slightly too understated in the first book, I grew to appreciate it's the subtlety in the second.
At times this book had larger than life moments, but even these Shusterman was able to write so well I didn't mind them, they didn't make me roll my eyes. He made his world believable, even if it sounds ridiculous when I try and explain the plot to others. This book made me cry, it made me gasp and it made me feel a full gamut of emotions. Things I didn't know a YA book could make me feel. Also, did I mention that freakin CLIFF HANGER?
Good job Shusterman, Good Job.
Lucy Buglass (45 KP) rated The Kindergarten Teacher (2018) in Movies
Jun 20, 2019
It’s always nice to see teachers encouraging and motivating their students, but in Sara Colangelo’s The Kindergarten Teacher, this is taken to a terrifying new level. Based on an Israeli film of the same name, it explores the line between encouragement and obsession. What happens when a bored kindergarten teacher meets a child prodigy? That’s what this film attempts to answer.
When teacher Lisa Spinelli (Maggie Gyllenhaal) meets pre-schooler Jimmy (Parker Sevak), her life is flipped upside down. Lisa attends poetry night classes, but her work is frequently criticised by teacher Simon (Gael García Bernal). Her family life is unsatisfactory, with her two children underachieving in her eyes. Because of her dissatisfaction with her life, she finds herself latching onto Jimmy and attempting to live vicariously through him. The film takes the two of them on a journey, where Lisa does everything she can to nurture Jimmy’s talent.
The pair’s first encounter happens when Jimmy reads out a poem, which Lisa believes to be way beyond his age group. Throughout the film, she encourages him to write more and more, and the scenes where Jimmy reads his work aloud are captivating. This is Parker Sevak’s acting debut, and he is a seriously impressive child actor. Because the level of poetry in the film is so advanced, he speaks incredibly clearly which stuns both Lisa and the audience. He was the stand-out performance for me, and at the age of 5, manages to steal the show. I am keen to see more films starring him in the future.
That doesn’t mean Gyllenhaal’s performance was bad. In fact, this is probably my favourite of hers in such a long time. Her tenacity and passion are admirable at first and then turns into obsession very quickly. The dark turn her character takes genuinely shocked me, even though it’s inevitable she’s going to do whatever it takes to get her own way. Despite this, I felt sorry for her throughout, which is a testament to the strength of Gyllenhaal’s acting. Lisa does questionable things, she lashes out, yet I was still hoping for a better outcome. I was hoping she’d see sense one way or another. She’s a problematic character for sure, but she doesn’t have to be this way. I felt like she had the power to stop what she was doing.
The film’s pacing worked very well for me, slowly building until the final act. I loved the way it ended, as it left me with a sinking feeling. The last line by Jimmy broke my heart, and if you’ve seen it for yourself, I’m sure you’ll understand why. The screenplay is brilliantly written and tells an incredibly controversial story of what is essentially child exploitation. Jimmy’s young and impressionable mind is taken advantage of based on his talents, resulting in a series of increasingly concerning events. Just when you think Lisa can’t cross any more lines, she does, and it’s enough to shock anyone.
I was completely glued to the screen for the entire third act. If you’re looking for a fresh, thought-provoking drama then I would certainly recommend this. Maggie Gyllenhaal is at the top of her game in The Kindergarten Teacher, delivering a performance that leaves audiences feeling conflicted. This is certainly a heavy film, but I’d also consider it a must-watch and a cautionary tale for the modern age.
https://jumpcutonline.co.uk/review-the-kindergarten-teacher-2019/
When teacher Lisa Spinelli (Maggie Gyllenhaal) meets pre-schooler Jimmy (Parker Sevak), her life is flipped upside down. Lisa attends poetry night classes, but her work is frequently criticised by teacher Simon (Gael García Bernal). Her family life is unsatisfactory, with her two children underachieving in her eyes. Because of her dissatisfaction with her life, she finds herself latching onto Jimmy and attempting to live vicariously through him. The film takes the two of them on a journey, where Lisa does everything she can to nurture Jimmy’s talent.
The pair’s first encounter happens when Jimmy reads out a poem, which Lisa believes to be way beyond his age group. Throughout the film, she encourages him to write more and more, and the scenes where Jimmy reads his work aloud are captivating. This is Parker Sevak’s acting debut, and he is a seriously impressive child actor. Because the level of poetry in the film is so advanced, he speaks incredibly clearly which stuns both Lisa and the audience. He was the stand-out performance for me, and at the age of 5, manages to steal the show. I am keen to see more films starring him in the future.
That doesn’t mean Gyllenhaal’s performance was bad. In fact, this is probably my favourite of hers in such a long time. Her tenacity and passion are admirable at first and then turns into obsession very quickly. The dark turn her character takes genuinely shocked me, even though it’s inevitable she’s going to do whatever it takes to get her own way. Despite this, I felt sorry for her throughout, which is a testament to the strength of Gyllenhaal’s acting. Lisa does questionable things, she lashes out, yet I was still hoping for a better outcome. I was hoping she’d see sense one way or another. She’s a problematic character for sure, but she doesn’t have to be this way. I felt like she had the power to stop what she was doing.
The film’s pacing worked very well for me, slowly building until the final act. I loved the way it ended, as it left me with a sinking feeling. The last line by Jimmy broke my heart, and if you’ve seen it for yourself, I’m sure you’ll understand why. The screenplay is brilliantly written and tells an incredibly controversial story of what is essentially child exploitation. Jimmy’s young and impressionable mind is taken advantage of based on his talents, resulting in a series of increasingly concerning events. Just when you think Lisa can’t cross any more lines, she does, and it’s enough to shock anyone.
I was completely glued to the screen for the entire third act. If you’re looking for a fresh, thought-provoking drama then I would certainly recommend this. Maggie Gyllenhaal is at the top of her game in The Kindergarten Teacher, delivering a performance that leaves audiences feeling conflicted. This is certainly a heavy film, but I’d also consider it a must-watch and a cautionary tale for the modern age.
https://jumpcutonline.co.uk/review-the-kindergarten-teacher-2019/
Emma @ The Movies (1786 KP) rated Stan & Ollie (2018) in Movies
Sep 25, 2019
I think that almost everyone has some knowledge of Laurel and Hardy. Certainly growing up with a love of black and white comedies meant that I saw a fair few myself. There's certainly a familiarity in what we see from Coogan and Reilly that brings a smile to your face. The main problem is that it's such a hard act to follow. I can't say that I'm left raving about what was presented. It's a charming film... I'm just not sure if that's a compliment or not.
Seeing the BBC Films logo come up at the beginning gave me some hope. Having never really enjoy either of the main actor's work this actually gave me some hope that this would be an amazing sort of production that I've come to love from the BBC. Sadly, again, I wasn't wowed by what I saw.
Coogan and Reilly do both manage to capture their part of the double act well, and seeing those trademark moves briefly gives you that spark of joy. Nostalgia is a very powerful thing and you get a great buzz but I'm not sure it's enough to make up for the overall feeling of the film.
Both Shirley Henderson and Nina Arianda make for a fiery support cast in the roles of Lucille Hardy and Ida Laurel, but I have to say that Ida was the character for me. Self promoting and yet fiercely loyal. Loving and yet tinged with a streak of harsh reality. It was pleasing to see how she evolved to show such heart and unite the pair at the end.
Capturing snippets of a lifetime is always difficult. There are so many things going on that you have to choose whether to feature or not and that inevitably leads to gaps and slight inconsistencies. Hardy's gambling made several appearances but at no point is it really shown as a severe problem , most of it was done in a very lighthearted manner which sort of defeated the point of it being mentioned at all.
The first half of the film is incredibly slow and dare I say dull. So much so that I did wonder whether it was anything like the film that the trailer had promised. While I did silently chuckle to myself it was by no means laugh out loud funny with it's comedy... although the woman across the aisle from me would probably disagree on that point.
Despite my rather bland feelings about the film it did have some excellent moments. The opening sequence of them walking through the studio lot is really well set up, but shots after that were all very traditional. My other stand out moment was right at the end where they're doing their last performance. In that moment I had a stream of tears running down my face. The fact that they managed to convey the end of Laurel and Hardy's career in such a relatively short sequence was amazing.
Ultimately I think some of the greats from history should probably be left in that iconic position. I'm really not sure that this added anything to their story.
What you should do
If you#re one for nostalgia then you should head on out to see this in January.
Movie thing you wish you could take home
I'd have to have just a little piece of Stan Laurel's creativity and dedication.
Seeing the BBC Films logo come up at the beginning gave me some hope. Having never really enjoy either of the main actor's work this actually gave me some hope that this would be an amazing sort of production that I've come to love from the BBC. Sadly, again, I wasn't wowed by what I saw.
Coogan and Reilly do both manage to capture their part of the double act well, and seeing those trademark moves briefly gives you that spark of joy. Nostalgia is a very powerful thing and you get a great buzz but I'm not sure it's enough to make up for the overall feeling of the film.
Both Shirley Henderson and Nina Arianda make for a fiery support cast in the roles of Lucille Hardy and Ida Laurel, but I have to say that Ida was the character for me. Self promoting and yet fiercely loyal. Loving and yet tinged with a streak of harsh reality. It was pleasing to see how she evolved to show such heart and unite the pair at the end.
Capturing snippets of a lifetime is always difficult. There are so many things going on that you have to choose whether to feature or not and that inevitably leads to gaps and slight inconsistencies. Hardy's gambling made several appearances but at no point is it really shown as a severe problem , most of it was done in a very lighthearted manner which sort of defeated the point of it being mentioned at all.
The first half of the film is incredibly slow and dare I say dull. So much so that I did wonder whether it was anything like the film that the trailer had promised. While I did silently chuckle to myself it was by no means laugh out loud funny with it's comedy... although the woman across the aisle from me would probably disagree on that point.
Despite my rather bland feelings about the film it did have some excellent moments. The opening sequence of them walking through the studio lot is really well set up, but shots after that were all very traditional. My other stand out moment was right at the end where they're doing their last performance. In that moment I had a stream of tears running down my face. The fact that they managed to convey the end of Laurel and Hardy's career in such a relatively short sequence was amazing.
Ultimately I think some of the greats from history should probably be left in that iconic position. I'm really not sure that this added anything to their story.
What you should do
If you#re one for nostalgia then you should head on out to see this in January.
Movie thing you wish you could take home
I'd have to have just a little piece of Stan Laurel's creativity and dedication.