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LeftSideCut (3776 KP) rated Game Of Thrones - Season 7 in TV
Jul 29, 2019
The start of the mad rush to the finish line
Contains spoilers, click to show
Season 7 of Game of Thrones for me, is where the show went from the most finely and carefully crafted show of all time, to dumb hollywood-esque blockbuster.
The slow burning plot of the earlier seasons have all but gone, after it was announced that season 8 would be the last, causing long gestating plotlines to be rushed towards a conclusion, and causing the show to suffer for it. It's a real shame.
Season 7 is by no means bad though, once I had swallowed my bitterness and accepted that this was how it was going to be, there was still plenty to enjoy.
The intricate character arcs may have taken a huge blow, but when Game of Thrones decides to throw out an epic set piece, it's still the undisputed king.
Danaerys has (finally!) landed in Westeros, and begins her campaign to take the Iron Throne for herself. Characters that have been embroiled in politics for seven seasons are suddenly faced with seeing dragons for the first time, and that's a pretty satisfying moment for anyone who has been watching for years.
Episode 4 in particular serves as a highlight, as Danaerys unleashes the power of her dragons on the Lannister army. It's truly a spectacle.
The same episode however unfortunately confirms that certain characters are covered in plot-armour. Last minute life saving heroics replace the once sudden brutality of beloved characters being offed (obviously referring to Bring saving Jaime here), and for the first time since this show started, everyone just sort of feels safe. It's weird.
Elsewhere, Jon Snow leads a team north of the wall to acquire proof of the White Walkers in an attempt to sway Cersei onto his side of the upcoming war.
This episode was particularly dumb, but again, a huge spectacle. Seeing Viserion plummet to the ground was a pretty epic moment, and the season of course culminates in a moment all of us had been waiting for, as a huge chunk of The Wall falls, and the Night King leads his undead army into Westeros.
It's all very stylish, but unfortunately a lot of the substance gets left by the wayside.
The slow burning plot of the earlier seasons have all but gone, after it was announced that season 8 would be the last, causing long gestating plotlines to be rushed towards a conclusion, and causing the show to suffer for it. It's a real shame.
Season 7 is by no means bad though, once I had swallowed my bitterness and accepted that this was how it was going to be, there was still plenty to enjoy.
The intricate character arcs may have taken a huge blow, but when Game of Thrones decides to throw out an epic set piece, it's still the undisputed king.
Danaerys has (finally!) landed in Westeros, and begins her campaign to take the Iron Throne for herself. Characters that have been embroiled in politics for seven seasons are suddenly faced with seeing dragons for the first time, and that's a pretty satisfying moment for anyone who has been watching for years.
Episode 4 in particular serves as a highlight, as Danaerys unleashes the power of her dragons on the Lannister army. It's truly a spectacle.
The same episode however unfortunately confirms that certain characters are covered in plot-armour. Last minute life saving heroics replace the once sudden brutality of beloved characters being offed (obviously referring to Bring saving Jaime here), and for the first time since this show started, everyone just sort of feels safe. It's weird.
Elsewhere, Jon Snow leads a team north of the wall to acquire proof of the White Walkers in an attempt to sway Cersei onto his side of the upcoming war.
This episode was particularly dumb, but again, a huge spectacle. Seeing Viserion plummet to the ground was a pretty epic moment, and the season of course culminates in a moment all of us had been waiting for, as a huge chunk of The Wall falls, and the Night King leads his undead army into Westeros.
It's all very stylish, but unfortunately a lot of the substance gets left by the wayside.
Gareth von Kallenbach (980 KP) rated Whiskey Tango Foxtrot (2016) in Movies
Aug 6, 2019
Based on “The Taliban Shuffle: Strange Days in Afghanistan,” a memoir by Kim Barker, “Whiskey Tango Foxtrot” follows the journey of a copy writer turned war reporter (Tina Fey).
One day Barker is called into a meeting where, because she is unmarried and without children, she is asked to cover the war in Afghanistan. Seeming hesitant, but pulled by a desire to escape her mundane life, she decides to go for it.
When Barker arrives in Afghanistan the journalists that are stationed there basically just party most of the time, which speaks volumes about the ways people may try to avoid the emotional intensity of their surroundings.
Other than that, Barker hangs out with some very calm troops, gets ballsy and captures some crazy footage, and seems to get very wrapped up in the thrill of getting a lead story. It doesn’t seem that Barker ever has any actual interest in the politics of what she is covering. Realizing that it is a comedy, this may be totally fine. But the film is an odd mix. It portrays Barker’s character as somewhat numb to the tragic reality she is immersed in, while at the same time making a joke wherever it can.
I’m not quite sure what genre “Whiskey Tango Foxtrot” fits into. It gets close to drama, and it gets close to comedy but it isn’t that funny and it isn’t that touching. It leaves the impression of a dull and desensitized view of war and the challenges reporters face abroad. Perhaps the film is staying true to the memoir, but it is definitely a different approach to describing such an experience.
That being said, it’s not a bad film or a bad story. It’s interesting. It has funny moments, and it makes you want to know what will happen in the end. A few scenes even get close to developing the characters in a way that might make the audience care about them. But overall, there is really no emotional substance to the film and it leaves no big impression.
Worth a watch on Netflix, I give “Whiskey Tango Foxtrot” 2.5 out of 5 stars.
One day Barker is called into a meeting where, because she is unmarried and without children, she is asked to cover the war in Afghanistan. Seeming hesitant, but pulled by a desire to escape her mundane life, she decides to go for it.
When Barker arrives in Afghanistan the journalists that are stationed there basically just party most of the time, which speaks volumes about the ways people may try to avoid the emotional intensity of their surroundings.
Other than that, Barker hangs out with some very calm troops, gets ballsy and captures some crazy footage, and seems to get very wrapped up in the thrill of getting a lead story. It doesn’t seem that Barker ever has any actual interest in the politics of what she is covering. Realizing that it is a comedy, this may be totally fine. But the film is an odd mix. It portrays Barker’s character as somewhat numb to the tragic reality she is immersed in, while at the same time making a joke wherever it can.
I’m not quite sure what genre “Whiskey Tango Foxtrot” fits into. It gets close to drama, and it gets close to comedy but it isn’t that funny and it isn’t that touching. It leaves the impression of a dull and desensitized view of war and the challenges reporters face abroad. Perhaps the film is staying true to the memoir, but it is definitely a different approach to describing such an experience.
That being said, it’s not a bad film or a bad story. It’s interesting. It has funny moments, and it makes you want to know what will happen in the end. A few scenes even get close to developing the characters in a way that might make the audience care about them. But overall, there is really no emotional substance to the film and it leaves no big impression.
Worth a watch on Netflix, I give “Whiskey Tango Foxtrot” 2.5 out of 5 stars.
Gareth von Kallenbach (980 KP) rated The Overnight (2015) in Movies
Aug 6, 2019
In the mood for a quickie? Patrick Brice’s “The Overnight” is just that – a short in length, long in substance cinematic romp.
The film follows a laid back, somewhat boring Seattle couple, Alex (Adam Scott) and Emily (Taylor Schilling), who have just relocated to LA. As young parents they seem to be doing everything the “normal” way. They work hard, dote on their little boy, and their love life is rushed.
One afternoon while taking their son to the park, they have a chance meeting with, Kurt (Jason Schwartzman) and Charlotte (Judith Godrèche), an eccentric LA couple who have a son about the same age.
The two couples decide to get together again for a play date at Kurt and Charlotte’s house. Once the kids are put to bed by Kurt’s unique method of melodic keyboard playing, the adults decide to have a play date of their own.
At first the film seems to center on the mundane expectation of how life should be. A strategic starting point for the plot, as it develops into a raw and titillating experience.
Increasingly throughout the evening their blood alcohol levels rise and inhibitions wane, until the night turns into somewhat of a kinky party. Far from smooth and seductive, the interplay between the characters is uncomfortable and ridiculously funny.
The comedic style is unabashedly salacious. For example, at one point Kurt shares his unique paintings. They are the type one would expect to find somewhere like LA’s art scene. If you stare long enough into one, you realize they are all portraits of anuses – beautiful, colorful ass portraits.
The short length of the film in combination with a quick witted comedic style makes for a great date movie. It is both sensual and awkward, much like first dates can be. It will be an effective ice breaker, because it is sure to be the most awkward thing occurring in that moment.
People tend to lock themselves into boundaries which may not serve their best interest, simply because they believe that is how society works. This film pushes & explores those boundaries in a brilliantly humorous way without turning into a cheesy romantic comedy.
I give “The Overnight” 4.5 out of 5 stars
The film follows a laid back, somewhat boring Seattle couple, Alex (Adam Scott) and Emily (Taylor Schilling), who have just relocated to LA. As young parents they seem to be doing everything the “normal” way. They work hard, dote on their little boy, and their love life is rushed.
One afternoon while taking their son to the park, they have a chance meeting with, Kurt (Jason Schwartzman) and Charlotte (Judith Godrèche), an eccentric LA couple who have a son about the same age.
The two couples decide to get together again for a play date at Kurt and Charlotte’s house. Once the kids are put to bed by Kurt’s unique method of melodic keyboard playing, the adults decide to have a play date of their own.
At first the film seems to center on the mundane expectation of how life should be. A strategic starting point for the plot, as it develops into a raw and titillating experience.
Increasingly throughout the evening their blood alcohol levels rise and inhibitions wane, until the night turns into somewhat of a kinky party. Far from smooth and seductive, the interplay between the characters is uncomfortable and ridiculously funny.
The comedic style is unabashedly salacious. For example, at one point Kurt shares his unique paintings. They are the type one would expect to find somewhere like LA’s art scene. If you stare long enough into one, you realize they are all portraits of anuses – beautiful, colorful ass portraits.
The short length of the film in combination with a quick witted comedic style makes for a great date movie. It is both sensual and awkward, much like first dates can be. It will be an effective ice breaker, because it is sure to be the most awkward thing occurring in that moment.
People tend to lock themselves into boundaries which may not serve their best interest, simply because they believe that is how society works. This film pushes & explores those boundaries in a brilliantly humorous way without turning into a cheesy romantic comedy.
I give “The Overnight” 4.5 out of 5 stars
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LeftSideCut (3776 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Jun 25, 2021
We all know the drill with this series by now - it's loud and stupid and dumb, entertaining as fuck, but manages to keep a heart and sense of family, even if that motif is sometimes a little forced. Hobbs & Shaw carries over the vast majority of all of that into the franchise's first foray into spin-off territory - the action is suitably ridiculous, and it has a lot of fun with The Rock and Jason Statham, building on the humorous relationship we saw briefly in The Fate of the Furious.
However, H&S is the first time throughout all of these movies that I felt like it disappeared up its own arse a bit too much. The rest of these films know how silly they are for the most part, but the comedy always well balanced. There are some funny moments in H&S certainly, but it's a constant barrage of jokes that don't stick a lot of the time. Ryan Reynolds and Kevin Hart both appear in painfully unfunny supporting roles that serve no other purpose than be comic relief, in a movie that's already full of comic relief, and the insults that Hobbs and Shaw consistently hurl at eachother become tiresome after a while. The runtime is definitely over long, clocking in at just under 2 and 1/2 hours, when it could have easily been 40 minutes shorter without losing any substance, and it results in a narrative that is both bloated, and riddled with plot holes, especially in the final third. On top of all of this, despite good chemistry between the two leads, and a welcome addition in Vanessa Kirby, H&S lacks the heart and soul of the series that comes part and parcel with the main crew of characters.
There's plenty of criticism to be thrown at Hobbs & Shaw, but as expected, it's still pretty entertaining. Most of the set pieces are high octane, and it's an acceptable level of switch-your-brain-off fun, but it ultimately suffers from the knowledge of how genuinely good the Fast & Furious movies can be, and joins the huge pile of generic action comedies out there.
However, H&S is the first time throughout all of these movies that I felt like it disappeared up its own arse a bit too much. The rest of these films know how silly they are for the most part, but the comedy always well balanced. There are some funny moments in H&S certainly, but it's a constant barrage of jokes that don't stick a lot of the time. Ryan Reynolds and Kevin Hart both appear in painfully unfunny supporting roles that serve no other purpose than be comic relief, in a movie that's already full of comic relief, and the insults that Hobbs and Shaw consistently hurl at eachother become tiresome after a while. The runtime is definitely over long, clocking in at just under 2 and 1/2 hours, when it could have easily been 40 minutes shorter without losing any substance, and it results in a narrative that is both bloated, and riddled with plot holes, especially in the final third. On top of all of this, despite good chemistry between the two leads, and a welcome addition in Vanessa Kirby, H&S lacks the heart and soul of the series that comes part and parcel with the main crew of characters.
There's plenty of criticism to be thrown at Hobbs & Shaw, but as expected, it's still pretty entertaining. Most of the set pieces are high octane, and it's an acceptable level of switch-your-brain-off fun, but it ultimately suffers from the knowledge of how genuinely good the Fast & Furious movies can be, and joins the huge pile of generic action comedies out there.
BookInspector (124 KP) rated The House Swap in Books
Sep 24, 2020
I had such high hopes for this book, it had so much praise from famous authors, but I was left quite disappointed.
The whole story was told from multiple perspectives, but Caroline is the main lead. It is mainly her story, and her life events, which are discussed. Even though I would not praise Caroline’s actions in this book, I could not blame her for them either. She had to endure quite a lot in her marriage, and I am really surprised that they decided to make it work because it should be a really hard job to do. I really enjoyed Francis’s story in this book as well, had a good insight into addict’s mind.
The narrative of this novel was interesting and quite original, outlining domestic problems and emotions that these events create, but I would not be able to call this book a thriller, because it did not give me any thrills whatsoever. I did like the twists and turns in this book, they did wake my curiosity of what these events are all about. I missed the suspense and more action. I found the topics, such as cheating on your spouse, drug addiction, really amusing to read about. I enjoyed the insight into these problems and the effect it has on different people.
The book is set in London, and narrative travels between present and past, slowly revealing more with every chapter. So, even though the story built up my curiosity pretty well, the climax left me incredibly disappointed. I was expecting some juicy bits to fulfill my expectations, but all I got was “Meh” :/ I did like the length of the chapters and the way R. Fleet ended every chapter with a cliffhanger. (Very smart, very smart indeed…) The writing style and language used were pleasant and easy to read. I would like to throw in a DISCLAIMER, there is plenty of detailed sex scenes in this book followed by substance addiction. So, to conclude, it is an absorbing family drama, filled with mystery, plenty of emotions, and if you are a mystery fan, who is looking for something lighter and less intense, this would be a good choice, I think. Enjoy 🙂
The whole story was told from multiple perspectives, but Caroline is the main lead. It is mainly her story, and her life events, which are discussed. Even though I would not praise Caroline’s actions in this book, I could not blame her for them either. She had to endure quite a lot in her marriage, and I am really surprised that they decided to make it work because it should be a really hard job to do. I really enjoyed Francis’s story in this book as well, had a good insight into addict’s mind.
The narrative of this novel was interesting and quite original, outlining domestic problems and emotions that these events create, but I would not be able to call this book a thriller, because it did not give me any thrills whatsoever. I did like the twists and turns in this book, they did wake my curiosity of what these events are all about. I missed the suspense and more action. I found the topics, such as cheating on your spouse, drug addiction, really amusing to read about. I enjoyed the insight into these problems and the effect it has on different people.
The book is set in London, and narrative travels between present and past, slowly revealing more with every chapter. So, even though the story built up my curiosity pretty well, the climax left me incredibly disappointed. I was expecting some juicy bits to fulfill my expectations, but all I got was “Meh” :/ I did like the length of the chapters and the way R. Fleet ended every chapter with a cliffhanger. (Very smart, very smart indeed…) The writing style and language used were pleasant and easy to read. I would like to throw in a DISCLAIMER, there is plenty of detailed sex scenes in this book followed by substance addiction. So, to conclude, it is an absorbing family drama, filled with mystery, plenty of emotions, and if you are a mystery fan, who is looking for something lighter and less intense, this would be a good choice, I think. Enjoy 🙂
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