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BankofMarquis (1832 KP) rated Jurassic World: Dominion (2022) in Movies
Jun 10, 2022
Time For This To Go Extinct
Like it was millions of years ago, the time of the dinosaurs is coming to a close. With JURASSIC WORLD DOMINION, we end the Jurassic World trilogy (after having the Jurassic Park trilogy) and it is high time we do so.
A retro-film (as I’ve been calling these nostalgia-flicks that bring back old actors/characters from previously beloved properties), JURARSSIC WORLD DOMINION is entertaining enough - but the creative brains behind this franchise is just running out of clever ways to put the same group of characters in danger of being eaten by a dinosaur.
Written by Emily Carmichael based on a story by Derek Connolly and Colin Trevorrow and Directed by Trevorrow (returning to helm this franchise after Directing the first Jurassic World flick, but not the 2nd), JURASSIC WORLD DOMINION follows our favorite bickering couple, Clare (Bryce Dallas Howard) and Owen (Chris Pratt) and their pseudo-pet Velociraptor, Blue as they, once again, go into the Jurassic World fighting a money-grubbing Corporate Billionaire who wants the genetic technology for his own, greedy purposes and not what might be for the good of all - the Earth, the Humans and the Dinosaurs. Along the way good ol’ Alan Grant (Sam Neill), Ellie Sattler (Laura Dern) and Dr. Ian Malcolm (the always quirky Jeff Goldblum) are, somehow, shoe-horned into this story.
And that, ultimately, is the issue with Dominion, the script feels like an amalgam of characters that needed to be serviced and set-pieces that needed to be shown, but the overall story-line and character development (not that there is much here) is shoved to the side, so at the end the emotional connection to this film - and it’s characters - is negligible.
What little character interest there is here is based solely on the charisma of the actors and they are…good enough. Pratt, of course, is able to carry the center of this flick as Owen Grady - but he doesn’t seem to be occupying the center square with the twinkle in his eye that he had in the first Jurassic World film. Bryce Dallas Howard is plucky enough as Clare, but this actress has been gaining traction lately as a “go-to” Director (like her father, Ron Howard) and that is probably a better career trajectory for her. Sam Neill and Laura Dern are “game enough” in what they are asked to do, but they both look just a bit tired of running around in front of green screen dinosaurs. Only Jeff Goldblum shines as Ian Malcolm and that’s because Trevorrow, wisely, decides to let Goldblum be Goldblum - odd and quirky.
Of the other actors in this film, DeWanda Wise (FATHERHOOD) really shines as a pilot who helps out the gang. On the other hand, Dichen Lachman (SEVERENCE) is completely wasted as a “top-notch” henchman that is pretty inept. However, it was good to see Omar Sy (who was in the first JURASSIC WORLD movie and then became a star thanks to his work on the French TV show LUPINE - which is terrific, by the way) back in the fold as it was good to see Campbell Scott back up on the big screen as the villain of the piece - a role that he brings an interesting twist to but, ultimately, the role leads to nowhere.
And that’s the issue with this film, the characterizations lead to nowhere, for Trevorrow focuses most of his attention on the battle scenes and the scares - and while not all of them are exciting and unusual, I did find myself jumping in my seat on more than one occasion and there is one scene with Bryce Dallas Howard escaping a dino in a swamp that was pretty intense.
Go see JURASSIC WORLD DOMINION if you’ve seen the other 5 - you’ve already invested this much time, you might as well complete the series. But, this film really brings nothing new and is, ultimately, less than what one hopes for in this type of film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
A retro-film (as I’ve been calling these nostalgia-flicks that bring back old actors/characters from previously beloved properties), JURARSSIC WORLD DOMINION is entertaining enough - but the creative brains behind this franchise is just running out of clever ways to put the same group of characters in danger of being eaten by a dinosaur.
Written by Emily Carmichael based on a story by Derek Connolly and Colin Trevorrow and Directed by Trevorrow (returning to helm this franchise after Directing the first Jurassic World flick, but not the 2nd), JURASSIC WORLD DOMINION follows our favorite bickering couple, Clare (Bryce Dallas Howard) and Owen (Chris Pratt) and their pseudo-pet Velociraptor, Blue as they, once again, go into the Jurassic World fighting a money-grubbing Corporate Billionaire who wants the genetic technology for his own, greedy purposes and not what might be for the good of all - the Earth, the Humans and the Dinosaurs. Along the way good ol’ Alan Grant (Sam Neill), Ellie Sattler (Laura Dern) and Dr. Ian Malcolm (the always quirky Jeff Goldblum) are, somehow, shoe-horned into this story.
And that, ultimately, is the issue with Dominion, the script feels like an amalgam of characters that needed to be serviced and set-pieces that needed to be shown, but the overall story-line and character development (not that there is much here) is shoved to the side, so at the end the emotional connection to this film - and it’s characters - is negligible.
What little character interest there is here is based solely on the charisma of the actors and they are…good enough. Pratt, of course, is able to carry the center of this flick as Owen Grady - but he doesn’t seem to be occupying the center square with the twinkle in his eye that he had in the first Jurassic World film. Bryce Dallas Howard is plucky enough as Clare, but this actress has been gaining traction lately as a “go-to” Director (like her father, Ron Howard) and that is probably a better career trajectory for her. Sam Neill and Laura Dern are “game enough” in what they are asked to do, but they both look just a bit tired of running around in front of green screen dinosaurs. Only Jeff Goldblum shines as Ian Malcolm and that’s because Trevorrow, wisely, decides to let Goldblum be Goldblum - odd and quirky.
Of the other actors in this film, DeWanda Wise (FATHERHOOD) really shines as a pilot who helps out the gang. On the other hand, Dichen Lachman (SEVERENCE) is completely wasted as a “top-notch” henchman that is pretty inept. However, it was good to see Omar Sy (who was in the first JURASSIC WORLD movie and then became a star thanks to his work on the French TV show LUPINE - which is terrific, by the way) back in the fold as it was good to see Campbell Scott back up on the big screen as the villain of the piece - a role that he brings an interesting twist to but, ultimately, the role leads to nowhere.
And that’s the issue with this film, the characterizations lead to nowhere, for Trevorrow focuses most of his attention on the battle scenes and the scares - and while not all of them are exciting and unusual, I did find myself jumping in my seat on more than one occasion and there is one scene with Bryce Dallas Howard escaping a dino in a swamp that was pretty intense.
Go see JURASSIC WORLD DOMINION if you’ve seen the other 5 - you’ve already invested this much time, you might as well complete the series. But, this film really brings nothing new and is, ultimately, less than what one hopes for in this type of film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated Zombieland (2009) in Movies
Jun 22, 2019
Columbus is a loner in every sense of the word. He usually spent his nights indoors playing World of Warcraft, so it's safe to say he probably didn't get out much. He wasn't even all that close to his family. So when the zombie apocalypse finally began to spread across the globe, Columbus already had an advantage over the majority of the population. In addition to that, Columbus had a lot of weird phobias (like clowns and those wet towels they use to wipe down tables at big restaurants). As his experience with the undead grew, so did his list of rules on how to survive in Zombieland. Columbus is on his way to Ohio, where his parents reside, hoping that by some miracle they're still alive. Before he can get very far, he runs into the first human face he's seen since the outbreak, Tallahassee. Tallahassee seems to be fearless, lives life in the moment, and worries about consequences later. His hatred for zombies bleeds through so much that his zombie killing ways are practically down to a fine art. What starts out as a potential ride to get him to his final destination could wind up being everything Columbus has ever wanted and that's a family that he feels comfortable with.
Zombieland somehow managed to breathe life into an aspect of horror I thought dried up along with George A. Romero's career and that's zombies. What started out as a fairly fresh idea has been milked dry with every situation going in every possibly way you could think of. You know Zombieland is going to be a bit different as soon as the movie begins. Columbus does a rundown of some of the most important rules he's learned while living in Zombieland leading up to the credits playing over slow-motion scenes of people being chased and eaten by zombies with "For Whom the Bell Tolls" by Metallica playing the entire time. The cinematography and the way the characters on screen interact with the letters in the opening credits is incredible. Blood splattering on the screen, glass shattering, and the way everything seems to be jumping out at you. To be honest, it's probably one of my favorite openings to any film ever.
Jesse Eisenberg's character Columbus immediately made me think of Michael Cera when I first saw the trailer. It's a role that's so similar to the roles he's played in the past and I found it kinda funny that a new trailer of Cera's was attached to this film. After that first reaction though, it didn't really bother me. In fact, the entire cast does an incredible job with the roles they play. Woody Harrelson is fantastic and steals a good portion of scenes as Tallahassee. With everything else going on, Tallahassee is on this quest to find a Twinkie and it's pretty hilarious watching him lose it whenever he can't find them. Emma Stone and Abigail Breslin as Wichita and Little Rock add more to the film when they're acting as a sisterly team rather than when they have scenes separately later on. Their cons are pretty spectacular and priceless in execution.
One of the most interesting factors of the film was something that made its way online two weeks before the film was even released. Zombieland originally started as a TV pilot. Before the cast we're familiar with now was set, Patrick Swayze was going to cameo as a zombie and there were several moments paying homage to Ghost that just sounded amazing and comical. They actually had several people in mind to cameo in the film. The actor they wound up going with is wonderful in their own right, gets plenty of screen time, and manages to steal quite a few laughs, but the Patrick Swayze zombie would've been just as good if not a bit better considering the circumstances.
The finale of the film that takes place in an amusement park is one of the best closing sequences to a zombie film ever. It's surprising no other zombie film has gone that route. The way the rides and carnival attractions are incorporated into zombie execution is marvelous in itself.
Zombieland is witty horror entertainment with a great cast and clever cinematography. A roller coaster ride you immediately want to ride again as soon as its over. What's surprising is it might just wind up being the best all around horror film to come out this year. As the tagline says, I strongly urge each and every one of you to "nut up or shut up."
Zombieland somehow managed to breathe life into an aspect of horror I thought dried up along with George A. Romero's career and that's zombies. What started out as a fairly fresh idea has been milked dry with every situation going in every possibly way you could think of. You know Zombieland is going to be a bit different as soon as the movie begins. Columbus does a rundown of some of the most important rules he's learned while living in Zombieland leading up to the credits playing over slow-motion scenes of people being chased and eaten by zombies with "For Whom the Bell Tolls" by Metallica playing the entire time. The cinematography and the way the characters on screen interact with the letters in the opening credits is incredible. Blood splattering on the screen, glass shattering, and the way everything seems to be jumping out at you. To be honest, it's probably one of my favorite openings to any film ever.
Jesse Eisenberg's character Columbus immediately made me think of Michael Cera when I first saw the trailer. It's a role that's so similar to the roles he's played in the past and I found it kinda funny that a new trailer of Cera's was attached to this film. After that first reaction though, it didn't really bother me. In fact, the entire cast does an incredible job with the roles they play. Woody Harrelson is fantastic and steals a good portion of scenes as Tallahassee. With everything else going on, Tallahassee is on this quest to find a Twinkie and it's pretty hilarious watching him lose it whenever he can't find them. Emma Stone and Abigail Breslin as Wichita and Little Rock add more to the film when they're acting as a sisterly team rather than when they have scenes separately later on. Their cons are pretty spectacular and priceless in execution.
One of the most interesting factors of the film was something that made its way online two weeks before the film was even released. Zombieland originally started as a TV pilot. Before the cast we're familiar with now was set, Patrick Swayze was going to cameo as a zombie and there were several moments paying homage to Ghost that just sounded amazing and comical. They actually had several people in mind to cameo in the film. The actor they wound up going with is wonderful in their own right, gets plenty of screen time, and manages to steal quite a few laughs, but the Patrick Swayze zombie would've been just as good if not a bit better considering the circumstances.
The finale of the film that takes place in an amusement park is one of the best closing sequences to a zombie film ever. It's surprising no other zombie film has gone that route. The way the rides and carnival attractions are incorporated into zombie execution is marvelous in itself.
Zombieland is witty horror entertainment with a great cast and clever cinematography. A roller coaster ride you immediately want to ride again as soon as its over. What's surprising is it might just wind up being the best all around horror film to come out this year. As the tagline says, I strongly urge each and every one of you to "nut up or shut up."
LeftSideCut (3776 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Dec 20, 2019 (Updated Jan 22, 2020)
Contains spoilers, click to show
Right then... I definitely need to go and see this again to properly digest it, so my thoughts on it will probably change...
Just like TLJ before it, there are things that I liked about Rise of Skywalker, and plenty that I didn't. There are also parts that I liked overall, but we're executed poorly - this unfortunately seems to be what to expect from Star Wars these days.
The opening act of ROS, so let's say the first 40ish minutes, felt like a complete mess to me. We are thrown from scene to scene without having much time to catch breath. It feels panicky, and not in a good way.
It not really until the-bit-from-the-trailer-where-rey-jumps-over-a-tie-fighter that the narrative seems to just calm down a bit and find it's footing.
What follows is a mixed bag of humour and mild action which is a bit so so, slowly leading up to the films finale.
I have to say, I actually really enjoyed the majority of the third act. The action scene that takes place on Endor is fantastic. It looks amazing, some of the visual shots are great, and the choreography just about resists falling into prequel territory lightsaber battles.
The final battle, again is visually stunning, and though at times corny, I felt it was a suitable end scene for the saga.
In terms of characters - I once again enjoyed Rey, even i was left undecided with how her arc was left off - the same goes for Kylo Ren, and once again, Adam Driver was a massive highlight throughout.
However, I once again found myself struggling to like Finn and Poe, and it seems that after the events of TFA, both of these characters were just a bit of dead weight, still included in the larger narrative because the actors had signed contracts. Finn runs into a group of defective stormtroopers at one point, and the movie sort of half-arses them into the story, but they ultimately serve no real purpose.
The narrative is also guilty of setting up a potentially important plot beat between him and Rey, which is eventually dropped and forgotten without mention.
Leia's story felt a bit unfleshed, and that surely down to the limited footage they had to work with.
There are two moments that stuck out when it comes to bad execution - the reveal of Rey's lineage is sudden and questionable, but the dialogue used when Kylo Ren delivers the revealing line is laughable, and spoils any weight the moment may have otherwise had. The second is when we are inevitably introduced to Luke's force ghost, a moment that has been coming since the events of TLJ, is delivered with a fan-service line referencing the moment where he threw his lightsaber away at the start of said film, and this bring me to one of my main criticisms of ROS.
I was not the biggest fan of TLJ, but as I mentioned in my review for it, I have a lot of respect for Rian Johnson for trying something new, and ROS reverses a lot of what he did. It feels a bit disrespectful, and a bit spineless.
This also happens a few more times in regards to plot points to do with Chewbacca, and C3-PO - the narrative sets up a fairly ballsy move, and then reverses it and plays it safe. It's a little frustrating.
Palpatines return is something that I can just about get behind - he looked suitably terrifying - but I just wish that the groundwork had been put down a bit more in previous films (films, not the TV shows). Instead, it does have a bit of a desperate ret-con feel about it.
But enough moaning from me, have some more positives - the music score is once again fantastic, the visual effects and CGI are pretty damn good (barring a couple of dodgy shots here and there), and I once again enjoyed the locations that we visited.
Rise of Skywalker will no doubt be devisive, just like The Last Jedi, and it's a film filled to the brim with thrilling Star Wars moments, as well as really really stupid moments, but to be honest, I've come to expect no more and no less at this point. Go and see it for what it is, and try and have a good time, because for the most part, it's pretty entertaining sci-fi fluff.
Side note - Everytime Merry from Lord of the Rings popped up, I found it completely distracting...
Just like TLJ before it, there are things that I liked about Rise of Skywalker, and plenty that I didn't. There are also parts that I liked overall, but we're executed poorly - this unfortunately seems to be what to expect from Star Wars these days.
The opening act of ROS, so let's say the first 40ish minutes, felt like a complete mess to me. We are thrown from scene to scene without having much time to catch breath. It feels panicky, and not in a good way.
It not really until the-bit-from-the-trailer-where-rey-jumps-over-a-tie-fighter that the narrative seems to just calm down a bit and find it's footing.
What follows is a mixed bag of humour and mild action which is a bit so so, slowly leading up to the films finale.
I have to say, I actually really enjoyed the majority of the third act. The action scene that takes place on Endor is fantastic. It looks amazing, some of the visual shots are great, and the choreography just about resists falling into prequel territory lightsaber battles.
The final battle, again is visually stunning, and though at times corny, I felt it was a suitable end scene for the saga.
In terms of characters - I once again enjoyed Rey, even i was left undecided with how her arc was left off - the same goes for Kylo Ren, and once again, Adam Driver was a massive highlight throughout.
However, I once again found myself struggling to like Finn and Poe, and it seems that after the events of TFA, both of these characters were just a bit of dead weight, still included in the larger narrative because the actors had signed contracts. Finn runs into a group of defective stormtroopers at one point, and the movie sort of half-arses them into the story, but they ultimately serve no real purpose.
The narrative is also guilty of setting up a potentially important plot beat between him and Rey, which is eventually dropped and forgotten without mention.
Leia's story felt a bit unfleshed, and that surely down to the limited footage they had to work with.
There are two moments that stuck out when it comes to bad execution - the reveal of Rey's lineage is sudden and questionable, but the dialogue used when Kylo Ren delivers the revealing line is laughable, and spoils any weight the moment may have otherwise had. The second is when we are inevitably introduced to Luke's force ghost, a moment that has been coming since the events of TLJ, is delivered with a fan-service line referencing the moment where he threw his lightsaber away at the start of said film, and this bring me to one of my main criticisms of ROS.
I was not the biggest fan of TLJ, but as I mentioned in my review for it, I have a lot of respect for Rian Johnson for trying something new, and ROS reverses a lot of what he did. It feels a bit disrespectful, and a bit spineless.
This also happens a few more times in regards to plot points to do with Chewbacca, and C3-PO - the narrative sets up a fairly ballsy move, and then reverses it and plays it safe. It's a little frustrating.
Palpatines return is something that I can just about get behind - he looked suitably terrifying - but I just wish that the groundwork had been put down a bit more in previous films (films, not the TV shows). Instead, it does have a bit of a desperate ret-con feel about it.
But enough moaning from me, have some more positives - the music score is once again fantastic, the visual effects and CGI are pretty damn good (barring a couple of dodgy shots here and there), and I once again enjoyed the locations that we visited.
Rise of Skywalker will no doubt be devisive, just like The Last Jedi, and it's a film filled to the brim with thrilling Star Wars moments, as well as really really stupid moments, but to be honest, I've come to expect no more and no less at this point. Go and see it for what it is, and try and have a good time, because for the most part, it's pretty entertaining sci-fi fluff.
Side note - Everytime Merry from Lord of the Rings popped up, I found it completely distracting...
Emma @ The Movies (1786 KP) rated Little Joe (2019) in Movies
Feb 6, 2020
I managed to get a ticket to see this at the London Film Festival, it had made my long shortlist, the premise looked interesting and the graphics were extremely appealing. I was very excited to see what Little Joe had in store.
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Alice is developing a new breed of flower, a beautiful crimson flower that has an incredible therapeutic value to its owner. Look after it properly, speak to it nicely, and it will make you happy.
After Alice sneaks one home to her son she soon notices that rather than a happy demeanour he starts acting strangely, and he's not the only one showing odd behaviour after being around Little Joe.
Little Joe has some very strong style choices. The colour palette is beautiful, and I wish I could find the notes I made about it from the Q&A after the film. The vibrant pastels are homely and comforting while at the same time unsettling around the normal tones of life.
That's what a lot of the film is made to do though, the music is something I noted frequently. The oriental music works directly against what's happening in the story, an intentional choice by the composer. I also wrote down the word "whistling" a lot with regards to sound. While I can understand (sort of) why the composer went that way with the music I didn't feel like it worked. I didn't dislike the music itself, but my comments were mainly exclaiming that it stuck out and felt too different from everything around it that it became distracting.
Another piece of the film that didn't sit well with me was camera work. There are some very well shot scenes, when we first encounter Little Joe in Alice's home and a scene later on inside the greenhouse (that I won't go into because of spoilers), that draw the viewer in with intrigue. But then... you know when you're doing something and you get bored and realise you've drifted off looking at a point in the distance? The camera appears to get bored too and it'll zoom to the gaps between characters. Maybe I'm just programmed to expect this sort of shot to reveal something secret to the audience that the characters haven't noticed... I found it more distracting and annoying than having any artistic benefit.
Alice (Emily Beecham) has a dual mother role, firstly with her son Joe and secondly with her plants. Little Joe appears to be more like a son to her than her own flesh and blood, her scientific mind perhaps finding it easier to interact with an inanimate object that begins to defy what she knows to be possible. The film gets across her struggle quite well with her therapy sessions and the interactions with those around her as we get deeper into the story. Beecham's performance is... relaxed? Even when there's urgency nothing ever seems to be very urgent.
That's something that is common throughout, the pace plods. You would expect a somewhat subdued pace in this sort of invasion storyline, but there are no real points of climax and that makes it more of a meander... perhaps those exciting moments happened when the camera zoned out.
There are touches here and there that do make you hopeful for the film, but overall it feels like Little Joe went for subtle and took it slightly too far. Everything felt too calm, the only one that seemed to react as you'd expect was Bella, but the nature of her part of the story meant that this was over the top because it was so far from everything else.
I like the idea behind this and we know from many different films that this sort of thing can work, but the lack of a real punch anywhere made this a struggle to watch. Oddly, I think this would have worked as a limited series without a lot of changes. The slow pace wouldn't have been so evident if it was broken down into episodes, there are small peaks in there that would give just enough intrigue to hold over to the next episode, I even feel like the ending as it is would have worked more in this style. Sadly, as it was I don't feel like there was enough reward for the time invested in watching it as a film, there's a different expectation between and film and a TV series but it's very difficult to explain it here without revealing spoilers.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/little-joe-movie-review.html
Emma @ The Movies (1786 KP) rated Lost At Christmas (2020) in Movies
Nov 23, 2020
'Tis the season for Christmas cliche and Lost At Christmas certainly fits the bill... but stay tuned for a "pleasant" surprise?
When life changes very suddenly for two strangers they need to make their way back to their normal lives, but it's Christmas, and the simple journey home becomes something of an epic adventure across the Scottish Highlands.
I have realised that many years ago I found myself in a very similar situation to the one in this film, though thankfully I wasn't the one travelling anywhere. I have never really considered how difficult it might be to do this sort of journey... I'm fairly certain that I wouldn't do what this duo do... but you never know! So quite how believable this scenario is I can't say, but it does allow for the expected drama.
There's a great Doctor Who contingent in the cast and I loved Sylvester McCoy and Frazer Hines as Ernie and Frank. They're a fantastic little double act and McCoy definitely helped areas of the film that struggled. Jen, played by Natalie Clark, was quite a likeable character and I enjoyed the performance, but it was difficult to get anything more out of it once she was paired with our leading man. Rob, played by Kenny Boyle, was the chalk to Jen's cheese, he's gruff and mean but doesn't really have the redeemable qualities these characters have in reserve that make you root for them at the end of the film, coupled with the bland performance I found myself hoping that another stray singleton was going to appear and sweep Jen off her feet.
In my notes I tried to do some maths... maths in a film review?! I know! It baffled me too. There felt like discrepancies in Rob's timeline with his girlfriend when you compare their initial interaction and his reveal to Jen later on. It may just be me overthinking it, but when it came up my reaction was confusion, these things are easily foiled by vagueness but... *shrug*.
There's some beautiful scenery involved throughout the film but when you mix it with the obligatory Christmas film shenanigans you're not getting to enjoy a lot of it. Even its use in the opening titles wasn't great. The main backdrop of the pub is fun, though there are some issues with the use of space. Some shots make it seem expansive and some claustrophobic, and there's one shot in particular that made me audibly groan. Nearly everyone is in it, adults talking, teens (about four foot away from the rest of the cast) kissing... no... no kissing teens are putting themselves in that position, especially not these two. There would have been plenty of opportunity to have them in the back of this shot had the camera had a different angle.
The thing I think we should acknowledge about this film though is that it has some balls. Whenever I discuss romcoms and Christmas movies there are always a handful of scenarios that make me say "wouldn't it be great if these films did [insert realistic scenario here]?" Lost At Christmas went for it! Yeah... so it turns out... I want the cliche! Real-life sucks and actually, I'd rather bitch about things being unrealistic than see something that is much more likely to happen. Well done for doing it, but to quote my notes... "F*** THIS FILM!"
Lost At Christmas has so much potential in it. Let's take a look at my scale... You have bad Christmas films, very few fall into this category because they usually drop down so far that they get pushed back up the scale to "so bad they're good". Right next to "so bad they're good" is a general level for Hallmark-esque schmaltz (NOTE: this isn't to say that Hallmark movies won't break out into other areas, this is just a general descriptor for films that are pretty consistent in their watchability and themes... AKA: quality Sunday holiday fodder.) Then of course we have the Christmas classic level, that holds things like Home Alone, Klaus, Love Actually and Die Hard. Lost At Christmas is somewhere in the snowdrift between bad and schmaltz. With a bit more glitz and a few changes I could easily see this film being a hop, skip and a jump over the other side of Hallmark schmaltz as something you don't just watch because it started on the TV and you can't change the channel because you're holding down wrapping paper with one hand and have a spiral of sellotape in the other.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/lost-at-christmas-movie-review.html
When life changes very suddenly for two strangers they need to make their way back to their normal lives, but it's Christmas, and the simple journey home becomes something of an epic adventure across the Scottish Highlands.
I have realised that many years ago I found myself in a very similar situation to the one in this film, though thankfully I wasn't the one travelling anywhere. I have never really considered how difficult it might be to do this sort of journey... I'm fairly certain that I wouldn't do what this duo do... but you never know! So quite how believable this scenario is I can't say, but it does allow for the expected drama.
There's a great Doctor Who contingent in the cast and I loved Sylvester McCoy and Frazer Hines as Ernie and Frank. They're a fantastic little double act and McCoy definitely helped areas of the film that struggled. Jen, played by Natalie Clark, was quite a likeable character and I enjoyed the performance, but it was difficult to get anything more out of it once she was paired with our leading man. Rob, played by Kenny Boyle, was the chalk to Jen's cheese, he's gruff and mean but doesn't really have the redeemable qualities these characters have in reserve that make you root for them at the end of the film, coupled with the bland performance I found myself hoping that another stray singleton was going to appear and sweep Jen off her feet.
In my notes I tried to do some maths... maths in a film review?! I know! It baffled me too. There felt like discrepancies in Rob's timeline with his girlfriend when you compare their initial interaction and his reveal to Jen later on. It may just be me overthinking it, but when it came up my reaction was confusion, these things are easily foiled by vagueness but... *shrug*.
There's some beautiful scenery involved throughout the film but when you mix it with the obligatory Christmas film shenanigans you're not getting to enjoy a lot of it. Even its use in the opening titles wasn't great. The main backdrop of the pub is fun, though there are some issues with the use of space. Some shots make it seem expansive and some claustrophobic, and there's one shot in particular that made me audibly groan. Nearly everyone is in it, adults talking, teens (about four foot away from the rest of the cast) kissing... no... no kissing teens are putting themselves in that position, especially not these two. There would have been plenty of opportunity to have them in the back of this shot had the camera had a different angle.
The thing I think we should acknowledge about this film though is that it has some balls. Whenever I discuss romcoms and Christmas movies there are always a handful of scenarios that make me say "wouldn't it be great if these films did [insert realistic scenario here]?" Lost At Christmas went for it! Yeah... so it turns out... I want the cliche! Real-life sucks and actually, I'd rather bitch about things being unrealistic than see something that is much more likely to happen. Well done for doing it, but to quote my notes... "F*** THIS FILM!"
Lost At Christmas has so much potential in it. Let's take a look at my scale... You have bad Christmas films, very few fall into this category because they usually drop down so far that they get pushed back up the scale to "so bad they're good". Right next to "so bad they're good" is a general level for Hallmark-esque schmaltz (NOTE: this isn't to say that Hallmark movies won't break out into other areas, this is just a general descriptor for films that are pretty consistent in their watchability and themes... AKA: quality Sunday holiday fodder.) Then of course we have the Christmas classic level, that holds things like Home Alone, Klaus, Love Actually and Die Hard. Lost At Christmas is somewhere in the snowdrift between bad and schmaltz. With a bit more glitz and a few changes I could easily see this film being a hop, skip and a jump over the other side of Hallmark schmaltz as something you don't just watch because it started on the TV and you can't change the channel because you're holding down wrapping paper with one hand and have a spiral of sellotape in the other.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/lost-at-christmas-movie-review.html
Kirk Bage (1775 KP) rated Death to 2020 in TV
Jan 22, 2021
The annual event of Charlie Brooker’s Yearly Wipe is the one piece of satire I have been sure not to miss over the years. But 2020 has been a bit different, and finding himself in lockdown like everyone else, Brooker re-imagines the format into a full on talking-heads mockumentary that does away with himself as host in favour of a cross Atlantic vibe and a narration from the bass tones of Laurence Fishburne, no less.
There are also some random big names delivering the sarcastic views on the headlines too: Samuel L. Jackson kicks it all off; Hugh Grant adds to his list of heavily made up characters (and is probably the highlight) as a crusty old historian who struggles to put it all into context; Lisa Kudrow represents the Trump mentality in the form of a Republican press officer who plays hard and loose with the facts and the enforcement of facts; and even Tracey Ullman is dragged out of obscurity to play The Queen (which I didn’t entirely see the point of).
Last, but actually far from least, is Joe Keery, who most will recognise as Steve Harrington in Stranger Things – he represents all youth and the social media generation, claiming some of the most pertinent lines of observation about attitudes and the need to be noticed and relevant, using the news as a basis to flaunt your own opinion and gain followers, as well as a soapbox to show the world how much you have suffered as the world suffers.
Diane Morgan, known for her hilarious regilar turns as Philomena Cunk, tries out an alternate role as the world’s most average woman, who has “finished” Netflix, but understands little of what has happened around her own bubble in the world at large. I mean, it is baffling, all of it! And together these voices and others fairly represent a lot of different types of fool to be lampooned. I missed Cunk, but essentially it served the same purpose.
You can expect from the Brooker team there will be no punches pulled, and at its best moments, Death to 2020, is almost worth standing up and applauding for making sense of things we have all been thinking for almost a year. Of course, part of the joke being that to make an historical documentary about a year that wasn’t even over at the time it was released on Netflix is as bizarre and ridiculous as the way any other news item has been the entire time we have experienced it in reality.
There is a British slant on things for a while, but inevitably the target becomes the US election and the Trump administration, which is a gold mine for all things silly, because it barely needs admonishing to become entirely bonkers! I felt like it could have been a little longer than just over an hour, to fit every angle of Covid and Trump and Boris and everything else in, but it also almost outstays its welcome as it is, so in the end I think they made the right call in leaving some issues out. Despite that it does move along at such a pace that often the joke flies past you before you can properly think about it.
The problem with it as a production is that it is neither a movie or a TV show, but some kind of inbetween thing, with as many ideas that don’t work as the ones that do, and not as many laugh out loud moments as there maybe should have been. Nor were there many moments of real weight, where the rug of comedy is pulled from under your feet and the truth and gravity of events is seen in terrifying reality and perspective for a moment – a trick Brooker usually employs on Yearly Wipe. And that was a shame. I missed that part of it, and felt it needed it.
For me, it was a take it or leave it kind of thing. Sure, it killed an hour or so and wasn’t bad in any way, but it wasn’t anything you’re gonna be shouting from the rooftops about. Maybe one or two moments will come up in conversation between two friends that saw it, but no one is saying “wow, that really hit the nail on the head”. Rather, it was a little silly, somewhat distracting and entirely throw-away.
Bring back the old format, Charlie, when you can. It was much more effective, and funny! I think you know that yourself.
There are also some random big names delivering the sarcastic views on the headlines too: Samuel L. Jackson kicks it all off; Hugh Grant adds to his list of heavily made up characters (and is probably the highlight) as a crusty old historian who struggles to put it all into context; Lisa Kudrow represents the Trump mentality in the form of a Republican press officer who plays hard and loose with the facts and the enforcement of facts; and even Tracey Ullman is dragged out of obscurity to play The Queen (which I didn’t entirely see the point of).
Last, but actually far from least, is Joe Keery, who most will recognise as Steve Harrington in Stranger Things – he represents all youth and the social media generation, claiming some of the most pertinent lines of observation about attitudes and the need to be noticed and relevant, using the news as a basis to flaunt your own opinion and gain followers, as well as a soapbox to show the world how much you have suffered as the world suffers.
Diane Morgan, known for her hilarious regilar turns as Philomena Cunk, tries out an alternate role as the world’s most average woman, who has “finished” Netflix, but understands little of what has happened around her own bubble in the world at large. I mean, it is baffling, all of it! And together these voices and others fairly represent a lot of different types of fool to be lampooned. I missed Cunk, but essentially it served the same purpose.
You can expect from the Brooker team there will be no punches pulled, and at its best moments, Death to 2020, is almost worth standing up and applauding for making sense of things we have all been thinking for almost a year. Of course, part of the joke being that to make an historical documentary about a year that wasn’t even over at the time it was released on Netflix is as bizarre and ridiculous as the way any other news item has been the entire time we have experienced it in reality.
There is a British slant on things for a while, but inevitably the target becomes the US election and the Trump administration, which is a gold mine for all things silly, because it barely needs admonishing to become entirely bonkers! I felt like it could have been a little longer than just over an hour, to fit every angle of Covid and Trump and Boris and everything else in, but it also almost outstays its welcome as it is, so in the end I think they made the right call in leaving some issues out. Despite that it does move along at such a pace that often the joke flies past you before you can properly think about it.
The problem with it as a production is that it is neither a movie or a TV show, but some kind of inbetween thing, with as many ideas that don’t work as the ones that do, and not as many laugh out loud moments as there maybe should have been. Nor were there many moments of real weight, where the rug of comedy is pulled from under your feet and the truth and gravity of events is seen in terrifying reality and perspective for a moment – a trick Brooker usually employs on Yearly Wipe. And that was a shame. I missed that part of it, and felt it needed it.
For me, it was a take it or leave it kind of thing. Sure, it killed an hour or so and wasn’t bad in any way, but it wasn’t anything you’re gonna be shouting from the rooftops about. Maybe one or two moments will come up in conversation between two friends that saw it, but no one is saying “wow, that really hit the nail on the head”. Rather, it was a little silly, somewhat distracting and entirely throw-away.
Bring back the old format, Charlie, when you can. It was much more effective, and funny! I think you know that yourself.
Hadley (567 KP) rated Those Bones Are Not My Child in Books
Nov 12, 2019
A different type of True Crime book (1 more)
Things you probably didn't know about the case
Writing transitions are confusing (1 more)
Smash poetry breaks up the flow
Toni Cade Bambara, a writer, documentary filmmaker and screenwriter, gives True Crime readers a unique viewpoint of the real Atlanta Child Murders. Bambara mostly writes from the eyes of Marzala, a mother of three whose oldest son goes missing during one of the worst murder sprees in Atlanta's history. Marzala and her family were not actual people during this time- - - all of them are based off of parents and siblings of the real victims. Not soon after Marzala does everything she can with the police to find her son, she joins a group of African-Americans that are outraged by the lack of progress to catch who is killing Atlanta's black children. This group forms what is called STOP (a citizen-run task force). For the majority of the book, Marzala with most of the black community in the area typed out letters to prominent government officials asking for help to stop the murders, also using Vietnam vets in the area to use their tracking skills to keep an eye on suspects, and investigating buildings that police refused to believe had anything to do with the childrens' disappearances and/or murders, which Bambara did an amazing job putting all the real facts together of the actual community members that were involved with this at the time. This story is upsetting, but enlightening on how politics may have caused so many children to be murdered. This is a story no reader will ever forget.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Bambara writes not in a normal narrative - - - just telling a story from specific viewpoints, but she often breaks off into smash poetry to depict a character's state-of-mind, which, sometimes can be off putting for the reader, breaking the flow of the story. Yet, the use of smash poetry combined with the era and the heart breaking subject at hand, separates Those Bones Are Not My Child from every True Crime book I have ever read. But a note for fans of True Crime, this story is from the view point of the victims' families and the search they went through to try and catch the murderer(s), unlike most TC books, which follow the police through the investigation leading to, usually, the capture of the perpetrator. From living in Atlanta during the time of the murders, Bambara was able to reconstruct the life of a black family in 1980's Georgia, while focusing on the effect these terrible crimes had on the surrounding community. Bambara did an amazing job on what most writers cannot.
The amount of characters, specifically the fictional ones, are very well created. She describes just enough to give readers the ability to tell them apart, showing every now and then from their own viewpoints. Out of all the characters, I came to really like Zala's two other children: Kenti and Kofi. One particular scene shows the strain of Sonny's disappearance on their family: " Zala parked the comb again and sat back. 'Listen, you two.' Kofi dropped down onto his knees. 'The police and the newspapers don't know what the hell is going on, so they feel stupid, because they're supposed to know, they're trained to know, they're paid to know. It's their job. Understand? But it's hard for grown-ups to admit they're stupid, especially if they're professionals like police and reporters. So they blame the children. Or they ignore them and fill up the papers with the hostages in Iran. Understand? And now... Jesus... they've got people calling those kids juvenile delinquents.'
'Don't cry.' Kenti tried to lean into her lap and got pushed away.
'They don't know a damn thing and they act like they don't want to know. So they blame the kids 'cause they can't speak up for themselves. They say the kids had no business being outdoors, getting themselves in trouble.'
'You let us go outdoors.'
'Of course I do, baby. We go lots of places, 'cause a lot of people fought hard for our right to go any damn where we please. But when the children go out like they've a right to and some maniac grabs them, then it's the children's fault or the parents who should've been watching every minute, like we don't have to work like dogs just to put food on the table.'
Kofi walked on his knees towards the bed, but he didn't lean on her like he wanted 'cause she might push him away. So he just put his hand on the mattress next to hers."
During the Atlanta Child Murders, victims were random, except for that they were children from the same neighborhood, and they were African-American. At first, police didn't believe a serial murderer was going around abducting children, but rather that 'poor, broken' families were killing their own. In the Prologue, Bambara shows that the victims' families and private detectives came up with more ideas of the motive than the police did:
" White cops taking license in Black neighborhoods.
The Klan and other Nazi thugs on the rampage.
Diabolical scientists experimenting on Third World people.
Demonic cults engaging in human sacrifices.
A 'Nam vet unable to make the transition.
UFO aliens conducting exploratory surgery.
Whites avenging Dewey Baugus, a white youth beaten to death in spring '79, allegedly by Black youths.
Parents of a raped child running amok with 'justice.'
Porno filmmakers doing snuff flicks for entertainment.
A band of child molesters covering their tracks.
New drug forces killing the young (unwitting?) couriers of the old in a bid for turf.
Unreconstructed peckerwoods trying to topple the Black administration.
Plantation kidnappers of slave labor issuing the pink slip.
White mercenaries using Black targets to train death squadrons for overseas jobs and for domestic wars to come. "
All of these theories are explored with evidence in Those Bones Are Not My Child. One scene in Part III, Zala's cop friend, B.J. shows up to her house to tell her to stop bringing attention to the investigation, " 'That Eubanks woman - - - your husband's friend? - - - she said you were bringing in the TV networks to blow the case open. I thought we had an agreement to keep each other informed. This morning I find out through the grapevine that you parents got a medium stashed in a hotel here in town, some woman who's been making headlines up north with cases that supposedly have the authorities stumped. If you knew how much work has been done on this case - - - no, listen, don't interrupt me. Then I find out - - - and not from you - - - that some of you parents are planning to tour the country cracking on the investigation. That's not too smart. And you should have told me.' " These two may have been fictional characters, but in Bambara's Acknowledgments, she states that all scenarios were true, and that she made B.J. to tell about the actual police officers who were involved with the investigation.
The tension between the police and the public is felt throughout the entire story. Despite all of the work the citizen task force put in, police arrested a man named Wayne Williams for the murder of two adult victims (who, due to their mental age, which was stated to be that of children, were placed on the victims' list of the Atlanta Child Murders): " Wayne Williams, charged with the murder of twenty-seven-year-old Nathaniel Cater and implicated in the murder of the other adults and children on the official list..." Zala, having worked for almost a year at the STOP offices, she, along with most of the community, doubt that Williams was a lone killer or even the killer at all. Williams never stood trial for the childrens' murders, but the police informed the public that he did it, case closed - - - although, after Williams' arrest, children were still being abducted and their bodies were still being found. Even after Williams' trial and the guilty verdict for two adult victims, some people stuck around to continue to investigate and claim Williams a 'scapegoat' of politics: " There were still pockets of interest and people who wouldn't let the case go. James Baldwin had been coming to town off and on; a book was rumored. Sondra O'Neale, the Emory University professor, hadn't abandoned her research, either. From time to time, TV and movie types were in the city poking around for an angle. Camille Bell was moving to Tallahassee to write up the case from the point of view of the STOP committee. The vets had taken over The Call now that Speaker was working full-time with the Central American Committee. The Revolutionary Communist Party kept running pieces on the case in the Revolutionary Worker. Whenever Abby Mann sent down a point man for his proposed TV docudrama, the Atlanta officials and civil rights leaders would go off the deep end. " At the end of it all, the questions still remain: did Williams kill all of those children by himself? Was he part of a pornographic cult that killed the children? Or is Williams completely innocent, and the murderer(s) are still out there? In Those Bones Are Not My Child, I guarantee you will be left questioning if the police were right.
All in all, the writing transitions can become confusing sometimes, especially the interludes of smash poetry, but I highly recommend this book to people who like the True Crime genre, especially of any interest in this specific case.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things weren’t looking good for this adaptation of the popular Marvel comic.
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Kristy H (1252 KP) rated The Sunshine Sisters in Books
Jan 21, 2018
Good beach read
Ronni Sunshine has summoned her daughters home. The aging actress is ill, and she wants her daughters by her side. This, however, will be easier said than done, as her three children--Nell, Meredith, and Lizzy--are estranged, both from each other and their mother: the result of a traumatic childhood. Even Ronni will now readily admit she focused on her acting career and beauty rather than her daughters. Her constant belittlement and pressure on the girls made them turn on each other as well. Nell lives the closest to her mother, on a nearby farm, and her son River is in grad school. Middle child Meredith spent her childhood struggling with her weight, thanks to endless biting comments from Ronni; she fled to England and is now engaged. Youngest Lizzie escaped most of her mother's wrath and appears to be the "golden child": she's a successful chef and celebrity, with a TV show and line of related products, but her marriage and personal life aren't all that they seem. Frustrated by their mother's long history of hypochondria, the girls reluctantly return home, excepting to find her fine. However, it seems this time Ronni may be telling the truth: she's really sick. Can the Sunshine sisters set aside their differences? And can they ever forgive their mother?
In some ways, I'm not sure why I keep giving Jane Green books a chance. I liked Summer Secrets well-enough, but was really let down by Saving Grace and Falling. I was intrigued that in her acknowledgements, Green mentions that this is the first book in while where she's felt like herself. I went in hoping that this was true, but still wary, and truthfully, this wariness may have clouded some of my thoughts and feelings about the book.
Overall, this is a summery read, though it does deal with some serious subject matter. If you're looking for a book that will surprise you, this isn't it. Most of these plot points I saw coming from a few miles away; I predicted the majority of the twists and turns before they happened. And, truly, I think the ending is a foregone conclusion. Green relies a bit to heavily on some tropes, as well. Serious older sister? Check. Insecure middle sister? Check. Flighty younger sister? She's here, too, don't worry.
Still, this was a fun book--despite the dark topic at its core--and I found myself compelled to read through the second half in nearly one sitting. Despite some of the transparency of the characters, I was oddly invested in their lives. The novel starts out with a brief glimpse of Ronni summoning her daughters home, then goes back in the past, allowing us to learn about the Sunshine family via various snippets from the sisters at different points in time. In this way, we sort of catch up with the family fast-forward style--it's like a cheat sheet of sorts. It also allows us to get to know each sister a bit better and explore their relationship with their mother (and other sisters). It's easy to see how much influence Ronni had on their lives and how she shaped them into the women they are today.
The girls can certainly be frustrating at times. Poor, needy Meredith drove me nearly mad, with her insecurities and inability to stand up for herself. There's also a point in the book where Meredith magically cleans up after a party (everything is fixed) and later loses a large amount of weight (everything is fixed, again!). I would have liked to have seen a little more plot realism. It was also hard to see how anyone could be quite as big of a doormat as Meredith, even with her mother's influence. And, truly, Ronni is pretty bad. It's an interesting technique--learning how terrible of a mother she is after we're told in the beginning of the novel that she's sick. But, in this way, we're allowed to see how the sisters were alienated by their poor upbringing and how everyone has reached the point we are at today.
Eventually, we reach the present day, with the girls learning about their mother's illness and coming to grips with reality. And, Ronni, of course, must grapple with the kind of mother she was to her children. She's a surprisingly compelling character considering how awful she was to her children, so that's a testament to Green's characterization. To me, the novel picked up a bit more in the present day time period. There were still some silly, unbelievable moments, but I truly did find myself invested in Meredith, Nell, and Lizzy (and Ronni).
The book does wrap things up too easily, as I stated. It's often quite trite and cliche, so you have to go in prepared. Think Lifetime movie, wrapped up in a bow. Still, it's fun at times and certainly a quick read. Well-suited for the beach or a vacation.
I received a copy of this novel from the publisher and Netgalley (thank you!).
In some ways, I'm not sure why I keep giving Jane Green books a chance. I liked Summer Secrets well-enough, but was really let down by Saving Grace and Falling. I was intrigued that in her acknowledgements, Green mentions that this is the first book in while where she's felt like herself. I went in hoping that this was true, but still wary, and truthfully, this wariness may have clouded some of my thoughts and feelings about the book.
Overall, this is a summery read, though it does deal with some serious subject matter. If you're looking for a book that will surprise you, this isn't it. Most of these plot points I saw coming from a few miles away; I predicted the majority of the twists and turns before they happened. And, truly, I think the ending is a foregone conclusion. Green relies a bit to heavily on some tropes, as well. Serious older sister? Check. Insecure middle sister? Check. Flighty younger sister? She's here, too, don't worry.
Still, this was a fun book--despite the dark topic at its core--and I found myself compelled to read through the second half in nearly one sitting. Despite some of the transparency of the characters, I was oddly invested in their lives. The novel starts out with a brief glimpse of Ronni summoning her daughters home, then goes back in the past, allowing us to learn about the Sunshine family via various snippets from the sisters at different points in time. In this way, we sort of catch up with the family fast-forward style--it's like a cheat sheet of sorts. It also allows us to get to know each sister a bit better and explore their relationship with their mother (and other sisters). It's easy to see how much influence Ronni had on their lives and how she shaped them into the women they are today.
The girls can certainly be frustrating at times. Poor, needy Meredith drove me nearly mad, with her insecurities and inability to stand up for herself. There's also a point in the book where Meredith magically cleans up after a party (everything is fixed) and later loses a large amount of weight (everything is fixed, again!). I would have liked to have seen a little more plot realism. It was also hard to see how anyone could be quite as big of a doormat as Meredith, even with her mother's influence. And, truly, Ronni is pretty bad. It's an interesting technique--learning how terrible of a mother she is after we're told in the beginning of the novel that she's sick. But, in this way, we're allowed to see how the sisters were alienated by their poor upbringing and how everyone has reached the point we are at today.
Eventually, we reach the present day, with the girls learning about their mother's illness and coming to grips with reality. And, Ronni, of course, must grapple with the kind of mother she was to her children. She's a surprisingly compelling character considering how awful she was to her children, so that's a testament to Green's characterization. To me, the novel picked up a bit more in the present day time period. There were still some silly, unbelievable moments, but I truly did find myself invested in Meredith, Nell, and Lizzy (and Ronni).
The book does wrap things up too easily, as I stated. It's often quite trite and cliche, so you have to go in prepared. Think Lifetime movie, wrapped up in a bow. Still, it's fun at times and certainly a quick read. Well-suited for the beach or a vacation.
I received a copy of this novel from the publisher and Netgalley (thank you!).
The Bandersnatch (199 KP) rated A Little Princess in Books
Nov 7, 2019
A little Princess was published in full by Charles Scribner's sons in September of 1905 after being a serialisation in St. Nicholas Magazine in 1887 and being a novella in 1888. The book was named one of the Teachers top books for children in 2007 and in 2012 was ranked 56th in the School Library Journal survey. The story follows Sara Crewe a wealthy heiress being sent off to boarding school in England. Despite being wealthy Sara isn't snobbish and rude but polite, clever and generous befriending several other students and the scullery maid Becky. Sara goes from privilege to a pauper after her fathers scheme with is friend over a diamond mine supposedly fails. After spending a few years working hard at the school she once attended Sara is found by her fathers friend and returned to privilege after finding out the diamond mines actually worked.
There are six film adaptions having been released in 1917, 1939, two in 1995 (One version being Filipino) with the most recent being a Russian film released in 1997. the most well known being the 1995 version being directed by Alfonso Cuaron. There have been seven TV shows based on A Little Princess with the 1973 and 1986 (Maureen Lipton was Miss Minchin) versions being particularly faithful to the books, the 1985, 2006 and 2009 versions were various Japanese anime and another Filipino remake happened in 2007. an episode of Veggietales in 2012 was another version of A little Princess. From 2002 to 2014 there have been several musical adaptions of a little princess as well.
Francis Eliza Hodgson Burnett was born in England on the 24th November 1849 in Cheetham, Manchester, England. When her father died in 1852 her family fell on hard times and Francis was looked after by her grandmother who fuelled her love of reading whilst her mother dealt with the family finances. The family eventually emigrated to the states in 1865 but remained somewhat poor thanks to the end of the American Civil war. Francis started writing in fever trying to help her family get out of the financial hole they were in and did so with her first story being published in the Godey's Lady's book in 1868 eventually being published regularly in its pages alongside Scribner's Monthly, Peterson's Magazine and Harper's Bazaar.
In 1872 Francis agreed to and married family friend Swan Burnett. She continued to write which supported them as they moved to Paris to allow Swan to train as an eye and ear doctor. Francis economised by making clothes for both their sons and for herself. The family returned to the US a few years later where swan managed to set up a doctoring business despite being in debt. For several years afterwards Francis wrote several short stories which were continuously published, Francis eventually turned to children's novels after a meeting with Mary Mapes Dodge the editor of children's magazine St Nicholas. In 1884 Francis set to work on Little Lord Fauntleroy which was serialised in 1885 and published in book form in 1886.
In 1887 Francis returned to England for Queen Victoria's golden jubilee which triggered yearly transatlantic trips between the US and England with her sons. She had fallen ill during this time and had spent time confined to bed, she did however managed to write both The Fortunes of Phillipa Fairfax (only published in the UK) and Sara Crewe or what happened at Miss Minchin's which was rewritten as A Little Princess. In December 1890 Francis and Swans eldest son Lionel died of consumption which spurred his mother into a depression and turn away form the Protestant faith and embrace spiritualism.
In 1898 After their youngest son Vivian finished school, Francis and Swan had divorced (though they had begun to drift apart and were living separate lives several years earlier) and two years later Francis had moved back to England and lived at Great Maytham Hall and married Stephan Townsend, which proved to be a terrible marriage and it ended in 1902. In 1907 Francis returned to the states and spent the next seventeen years in Plandome manor writing several more stories and editing for the Children's Magazine upon the insistence of her Son Vivian. Francis died on October 29th 1924 at the age of 72, she's buried in Roslyn Cemetery and her son Vivian is burred nearby having died in 1937.
I knew of the book as a child but didn't read it until I was a teenager, by then I did know of and had seen the 1995 movie directed by Alfonso Cuaron. The books theme of rising above and succeeding in the face of terrible times is a good thing to reed about. I definitely recommend the book to children and teenagers alike and I give it 9/10.
There are six film adaptions having been released in 1917, 1939, two in 1995 (One version being Filipino) with the most recent being a Russian film released in 1997. the most well known being the 1995 version being directed by Alfonso Cuaron. There have been seven TV shows based on A Little Princess with the 1973 and 1986 (Maureen Lipton was Miss Minchin) versions being particularly faithful to the books, the 1985, 2006 and 2009 versions were various Japanese anime and another Filipino remake happened in 2007. an episode of Veggietales in 2012 was another version of A little Princess. From 2002 to 2014 there have been several musical adaptions of a little princess as well.
Francis Eliza Hodgson Burnett was born in England on the 24th November 1849 in Cheetham, Manchester, England. When her father died in 1852 her family fell on hard times and Francis was looked after by her grandmother who fuelled her love of reading whilst her mother dealt with the family finances. The family eventually emigrated to the states in 1865 but remained somewhat poor thanks to the end of the American Civil war. Francis started writing in fever trying to help her family get out of the financial hole they were in and did so with her first story being published in the Godey's Lady's book in 1868 eventually being published regularly in its pages alongside Scribner's Monthly, Peterson's Magazine and Harper's Bazaar.
In 1872 Francis agreed to and married family friend Swan Burnett. She continued to write which supported them as they moved to Paris to allow Swan to train as an eye and ear doctor. Francis economised by making clothes for both their sons and for herself. The family returned to the US a few years later where swan managed to set up a doctoring business despite being in debt. For several years afterwards Francis wrote several short stories which were continuously published, Francis eventually turned to children's novels after a meeting with Mary Mapes Dodge the editor of children's magazine St Nicholas. In 1884 Francis set to work on Little Lord Fauntleroy which was serialised in 1885 and published in book form in 1886.
In 1887 Francis returned to England for Queen Victoria's golden jubilee which triggered yearly transatlantic trips between the US and England with her sons. She had fallen ill during this time and had spent time confined to bed, she did however managed to write both The Fortunes of Phillipa Fairfax (only published in the UK) and Sara Crewe or what happened at Miss Minchin's which was rewritten as A Little Princess. In December 1890 Francis and Swans eldest son Lionel died of consumption which spurred his mother into a depression and turn away form the Protestant faith and embrace spiritualism.
In 1898 After their youngest son Vivian finished school, Francis and Swan had divorced (though they had begun to drift apart and were living separate lives several years earlier) and two years later Francis had moved back to England and lived at Great Maytham Hall and married Stephan Townsend, which proved to be a terrible marriage and it ended in 1902. In 1907 Francis returned to the states and spent the next seventeen years in Plandome manor writing several more stories and editing for the Children's Magazine upon the insistence of her Son Vivian. Francis died on October 29th 1924 at the age of 72, she's buried in Roslyn Cemetery and her son Vivian is burred nearby having died in 1937.
I knew of the book as a child but didn't read it until I was a teenager, by then I did know of and had seen the 1995 movie directed by Alfonso Cuaron. The books theme of rising above and succeeding in the face of terrible times is a good thing to reed about. I definitely recommend the book to children and teenagers alike and I give it 9/10.