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Bob Mann (459 KP) rated Nomadland (2020) in Movies
May 5, 2021
Frances McDormand - outstanding acting (2 more)
Cinematography
A novel slice of American alternative lifestyle
Don't exit with your sail-boat still in the driveway
"Nomadland" sees a widowed and depressed Fern (Frances McDormand) take what she needs from her lockup garage and head out on the road in her beat-up converted camper-van. Taking work wherever she can get it, she joins and befriends a similar set of 'nomads', all equally battered by life in different ways.
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
Positives:
- Undeniably a superior motion picture, full of memorable imagery and with an incredible central performance from the impeccably dour Frances McDormand. Few actors can 'listen' and react as well as she can.
- A key part of this is the superb cinematography from (Brit-born) Joshua James Richards. This is a movie which I MUST revisit on the big-screen when the cinemas reopen in the UK in 2 week's time. I thought "Mank" was terrific (rather against the grain of many other movie fans) largely because of Erik Messerschmitt's glorious black-and-white cinematography. But I suspect Mr Richards (interestingly, Chloé Zhao's partner) was mightily hacked-off for missing out on the golden prize, as well he might be.
- It's difficult to rate the script on this one, primarily because it's difficult to know sometimes where the scripted bits end and the 'ad lib' parts begin. The majority of the cast are real nomads, recounting - presumably - their genuine life experiences. (The only exceptions, I believe, are Frances McDormand, David Strathairn and his son Tay Strathairn. The two Strathairn's last appeared on screen together in 1988's "Eight Men Out" when Tay was just eight years old!). As such, the film is an interesting blend of fiction and documentary.
- The movie skewers both capitalism and materialism nicely. As someone who has recently got off the corporate rat-race by retiring, the tale of the man who died before he could use the retirement sail-boat parked in his driveway resonated strongly (and made me very pleased with my decision!). We all get so wrapped up with running around the maze trying to find the cheese that it's often difficult to appreciate that 'getting off and cutting back' is a stress-free and acceptable option. (Not that I'm particularly cutting back, a la Fern..... start saving the retirement coppers early kids!!)
- The movie is also an effective study of grief and the different ways in which people come to terms with it. (Although that does make the overall film feel like a bit of a downer).
- Beautiful classical accompanying music by the great Ludovico Einaudi.
Negatives:
- I really loved this movie for its first hour. But then, for me, the story didn't really maintain my full interest. It was all a bit grey and bland. Did Fern really have much of a story-arc here? She started off at point A and ended up at point B where AB is a short distance! True that perhaps she has a little more acceptance and contentment with her position. But I was looking for more. If this had been a 90 minute film rather than a 107 minute movie, it would have (imho) worked better.
Summary Thoughts on "Nomadland": When a movie gets so much awards-hype thrown at it, I often fear watching it in case I absolutely hate it! That's not really possible with Nomadland, since it is just so well made that you can't help but appreciate what Chloé Zhao and her team have done here. It successfully challenges your misconceptions of what a "normal life" can be. The life might not be for you, or me, but it is an option.
That being said, this is not a movie that will be on my "must re-watch repeatedly" list (although I definitely DO want to see it on the big screen). It sits on that 'worthy-but-dull' list, alongside "Lincoln" and "Moonlight": Movies that I can fully appreciate for their artistry but not for their entertainment value.
As a movie that explores an unexplored social strata in America, and does it in a novel semi-documentary manner, I can understand and accept why it was voted as the Best Film by the Academy. But 'entertainment' ranks highly on my list of criteria. So - for my personal Oscar Best Film choice - I would still go with "Promising Young Woman" every time.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/05/nomadland-dont-exit-with-your-sailboat-still-in-your-driveway/ . Thanks.)
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Emma @ The Movies (1786 KP) rated Judy & Punch (2019) in Movies
Oct 31, 2019
This had been low on my list of things to see at the film festival but several people recommended it to me so I decided to take a look.
In the town of Seaside, which is nowhere near the sea, Judy lives in something less than domestic bliss with Punch and their baby. Punch's shows are a hit and he's got dreams of grand things, but Judy is the real brains behind the outfit though he'd never admit it.
Judy leaves Punch in charge of the baby while she runs errands but despite the responsibility he gets drunk and an unforgivable accident occurs. In his effort to cover his tracks Punch puts his wife on a journey that leads her to a community in the woods where she can plan her revenge on him for his evil ways.
The film has a very heavy sense of fairy tale about it and certainly the setting wouldn't be out of place in almost any tale you could bring to mind. The location and buildings are perfect and yet somehow didn't seem quite right, this is very much an afterthought though, as I watched it I thought the depiction was good.
The parallels shown between the story of the couple's home life and the puppet show are clear throughout, my only worry is that you might not get a good understanding of that if you aren't aware of the traditional Punch and Judy shows. This wouldn't have been something I'd have thought about before but more and more I talk about things with people and the response is "I've never heard of that"... god I feel old.
Damon Herriman has taken off his Manson mask for this one and I found him to be a very good lead as Punch. He manages to capture the devious side of Punch, and honestly, anyone who can pull off the scene with the baby with a straight face deserves recognition... and yes, I do feel kind of bad for laughing.
Mia Wasikowska (who also starred in Blackbird, review coming soon) had two very different versions of Judy to play. Judy-1 gives us an outgoing and resilient woman, Judy-2.0 is angry and vengeful though there's a happiness in her once she gets to know the community who rescue her. This second incarnation wasn't entirely to my liking, I much preferred the earlier more lighthearted take on her. I can see why the change in her demeanour was fitting it didn't quite feel like a true transformation.
I enjoyed Judy & Punch, it was something different to watch which I always find to be an interesting experience but I'm not sure I'd need to see it again. I was entertained while I sat through it but apart from one scene there was nothing I see myself remembering further down the line.
Just a couple of honourable mentions: I enjoyed the music, the jazzed up classical pieces fit in nicely, and the dog wearing its own ruff? Adorable!
What you should do
I don't think you need to rush out and see this one but if you happen to come across it at some point it might be worth watching.
Movie thing you wish you could take home
It has to be an impish little dog wearing a ruff... because what else would a sensible person pick?!
In the town of Seaside, which is nowhere near the sea, Judy lives in something less than domestic bliss with Punch and their baby. Punch's shows are a hit and he's got dreams of grand things, but Judy is the real brains behind the outfit though he'd never admit it.
Judy leaves Punch in charge of the baby while she runs errands but despite the responsibility he gets drunk and an unforgivable accident occurs. In his effort to cover his tracks Punch puts his wife on a journey that leads her to a community in the woods where she can plan her revenge on him for his evil ways.
The film has a very heavy sense of fairy tale about it and certainly the setting wouldn't be out of place in almost any tale you could bring to mind. The location and buildings are perfect and yet somehow didn't seem quite right, this is very much an afterthought though, as I watched it I thought the depiction was good.
The parallels shown between the story of the couple's home life and the puppet show are clear throughout, my only worry is that you might not get a good understanding of that if you aren't aware of the traditional Punch and Judy shows. This wouldn't have been something I'd have thought about before but more and more I talk about things with people and the response is "I've never heard of that"... god I feel old.
Damon Herriman has taken off his Manson mask for this one and I found him to be a very good lead as Punch. He manages to capture the devious side of Punch, and honestly, anyone who can pull off the scene with the baby with a straight face deserves recognition... and yes, I do feel kind of bad for laughing.
Mia Wasikowska (who also starred in Blackbird, review coming soon) had two very different versions of Judy to play. Judy-1 gives us an outgoing and resilient woman, Judy-2.0 is angry and vengeful though there's a happiness in her once she gets to know the community who rescue her. This second incarnation wasn't entirely to my liking, I much preferred the earlier more lighthearted take on her. I can see why the change in her demeanour was fitting it didn't quite feel like a true transformation.
I enjoyed Judy & Punch, it was something different to watch which I always find to be an interesting experience but I'm not sure I'd need to see it again. I was entertained while I sat through it but apart from one scene there was nothing I see myself remembering further down the line.
Just a couple of honourable mentions: I enjoyed the music, the jazzed up classical pieces fit in nicely, and the dog wearing its own ruff? Adorable!
What you should do
I don't think you need to rush out and see this one but if you happen to come across it at some point it might be worth watching.
Movie thing you wish you could take home
It has to be an impish little dog wearing a ruff... because what else would a sensible person pick?!
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Phillip McSween (751 KP) rated Spider-Man: No Way Home (2021) in Movies
Dec 26, 2021
Big Parker Energy
The trilogy of Tom Holland’s Spider-Man, has all been leading to this: An all-out battle resulting from a broken spell that Dr. Strange tried to cast. Let’s get this out of the way now: There will be zero spoilers in this review. Let’s also get this out of the way: You are going to love this movie.
Acting: 10
Stakes are extremely high here which could fall short on screen with weaker performances from the cast. The crew doesn’t disappoint here, both new and old. Tom Holland and Zendaya give you absolute gold, both during the high times and especially the low. I haven’t gotten this emotional over a Spider-Man movie since 2004’s Spider-Man 2.
But Willem Dafoe. Willem Dafoe, Willem Dafoe, Willem Dafoe. It felt like he was playing with an entirely different set of cards, all Aces. His performance was hands-down one of the best I’ve seen in a superhero film and one of the best I’ve seen all year. I absolutely couldn’t get enough of the impact he brought to this movie. Definitely brings the emotion out of you.
Beginning: 8
The movie picks up right where Far From Home leaves off. If you remember what happened at the end of that one, you will recognize that the third allows them to jump right into the conflict. Things start quickly, but not quite perfectly. I know this can be a challenge to do, but I’m wondering if they could have used the first ten minutes to cut to the meat of the story quicker. As it stands, it did take a bit of time for things to pick up.
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
I haven’t been this satisfied with superhero action scenes since Avengers: Endgame. Man oh man, I wish I could say more but just know this: If you came to see some hardcore webslinging action, you will not be disappointed in the slightest. Everything is high stakes when you have a multitude of baddies involved. If the action wasn’t enough, you get taken on an emotional rollercoaster as Peter Parker is faced with a number of tough decisions throughout the movie.
Entertainment Value: 9
Memorability: 10
Pace: 8
Plot: 7
Perhaps the only thing that could have used just a tad bit of a brushup here. Mind you, this is off of one watch, so I could feel a bit differently if I go back and watch again. Then again, my motto is always, “If I can’t understand it the first time…” Yes, there is a lot to take in here and there are some things the film will ask you to take on face value. To me, the characters got on board with the craziness of what was happening a little too easily for my taste. Definitely could have been a bit more development there. For what it’s worth, the story was mostly solid and moved in fluid fashion.
Resolution: 10
Overall: 92
I don’t always enjoy writing reviews, even when it’s a good one. Here I am at the end of my Spider-Man: No Way Home review and there is so much more that I want to say. Some movies are impactful, others iconic. This one is damn near legendary. Phenomenal job by director Jon Watts who is quickly becoming a legend in my eyes.
Acting: 10
Stakes are extremely high here which could fall short on screen with weaker performances from the cast. The crew doesn’t disappoint here, both new and old. Tom Holland and Zendaya give you absolute gold, both during the high times and especially the low. I haven’t gotten this emotional over a Spider-Man movie since 2004’s Spider-Man 2.
But Willem Dafoe. Willem Dafoe, Willem Dafoe, Willem Dafoe. It felt like he was playing with an entirely different set of cards, all Aces. His performance was hands-down one of the best I’ve seen in a superhero film and one of the best I’ve seen all year. I absolutely couldn’t get enough of the impact he brought to this movie. Definitely brings the emotion out of you.
Beginning: 8
The movie picks up right where Far From Home leaves off. If you remember what happened at the end of that one, you will recognize that the third allows them to jump right into the conflict. Things start quickly, but not quite perfectly. I know this can be a challenge to do, but I’m wondering if they could have used the first ten minutes to cut to the meat of the story quicker. As it stands, it did take a bit of time for things to pick up.
Characters: 10
Cinematography/Visuals: 10
Conflict: 10
I haven’t been this satisfied with superhero action scenes since Avengers: Endgame. Man oh man, I wish I could say more but just know this: If you came to see some hardcore webslinging action, you will not be disappointed in the slightest. Everything is high stakes when you have a multitude of baddies involved. If the action wasn’t enough, you get taken on an emotional rollercoaster as Peter Parker is faced with a number of tough decisions throughout the movie.
Entertainment Value: 9
Memorability: 10
Pace: 8
Plot: 7
Perhaps the only thing that could have used just a tad bit of a brushup here. Mind you, this is off of one watch, so I could feel a bit differently if I go back and watch again. Then again, my motto is always, “If I can’t understand it the first time…” Yes, there is a lot to take in here and there are some things the film will ask you to take on face value. To me, the characters got on board with the craziness of what was happening a little too easily for my taste. Definitely could have been a bit more development there. For what it’s worth, the story was mostly solid and moved in fluid fashion.
Resolution: 10
Overall: 92
I don’t always enjoy writing reviews, even when it’s a good one. Here I am at the end of my Spider-Man: No Way Home review and there is so much more that I want to say. Some movies are impactful, others iconic. This one is damn near legendary. Phenomenal job by director Jon Watts who is quickly becoming a legend in my eyes.
Bong Mines Entertainment (15 KP) rated Beerbongs & Bentleys by Post Malone in Music
Jun 7, 2019
Post Malone is a rapper from Syracuse, New York. Not too long ago, he released his sophomore album, entitled, “beerbongs & bentleys”, featuring Swae Lee, 21 Savage, Ty Dolla Sign, Nicki Minaj, G-Eazy, and YG.
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Andy K (10823 KP) rated Back to the Future (1985) in Movies
Apr 10, 2019
My entire childhood
So funny how seeing a "decked out" DeLorean in a Target parking lot the other day made me want to rewatch Back to the Future again soon. It had been on my rewatch list ever since I purchased the trilogy on Blu Ray on Black Friday, but just hadn't gotten around to it yet.
To say this movie (and the original Star Wars trilogy) defined my childhood is an understatement. The year 1985 meant I was 14 years old and lived within biking distance of the theatre where it was showing. Only Back to the Future and The Empire Strikes Back have the distinction of being movies I saw at least fifteen times during their initial run; at one point every day for a week straight.
The story of how the film got made is an interesting as the perfect screenplay itself. Basically Bob Zemeckis and Bob Gale shopped the movie around after they had made a few films, including Used Cars (good movie), but studios weren't interested. Except Spielberg. Unfortunately, the duo had just worked with Spielberg on 1941 and it was a dud.
Luckily, Zemeckis directed Romancing the Stone in 1984, so they finally went back to Spielberg with that clout and got the deal done. BTTF was actually the first film released under Spielberg's Amblin Entertainment (with the E.T. logo) that Spielberg himself did not direct.
Then, casting. Filmmakers really wanted Michael J. Fox, but he was not available due to his TV schedule filming sitcom Family Ties. They had to move on, so they cast Eric Stoltz and filmed for 5 weeks.
Zemeckis felt like something wasn't right and asked Spielberg to take a look at the dailies. They agreed Stoltz was a good actor, but not right for the part of Marty McFly. They begged the Family Ties people to let Michael do both and they finally agreed. I can't believe how Michael did two full time jobs during production, but he did and managed to create an unforgettable character that will live forever in movie history.
If anyone ever decides it is a good idea to remake, reboot and/or get a sequel going I will personally go to their house and punch them in the face! ?
To say this movie (and the original Star Wars trilogy) defined my childhood is an understatement. The year 1985 meant I was 14 years old and lived within biking distance of the theatre where it was showing. Only Back to the Future and The Empire Strikes Back have the distinction of being movies I saw at least fifteen times during their initial run; at one point every day for a week straight.
The story of how the film got made is an interesting as the perfect screenplay itself. Basically Bob Zemeckis and Bob Gale shopped the movie around after they had made a few films, including Used Cars (good movie), but studios weren't interested. Except Spielberg. Unfortunately, the duo had just worked with Spielberg on 1941 and it was a dud.
Luckily, Zemeckis directed Romancing the Stone in 1984, so they finally went back to Spielberg with that clout and got the deal done. BTTF was actually the first film released under Spielberg's Amblin Entertainment (with the E.T. logo) that Spielberg himself did not direct.
Then, casting. Filmmakers really wanted Michael J. Fox, but he was not available due to his TV schedule filming sitcom Family Ties. They had to move on, so they cast Eric Stoltz and filmed for 5 weeks.
Zemeckis felt like something wasn't right and asked Spielberg to take a look at the dailies. They agreed Stoltz was a good actor, but not right for the part of Marty McFly. They begged the Family Ties people to let Michael do both and they finally agreed. I can't believe how Michael did two full time jobs during production, but he did and managed to create an unforgettable character that will live forever in movie history.
If anyone ever decides it is a good idea to remake, reboot and/or get a sequel going I will personally go to their house and punch them in the face! ?
Zuky the BookBum (15 KP) rated Dead Mountain: The Untold True Story of the Dyatlov Pas in Books
Mar 15, 2018
Id been wanting to read this nonfiction for ages but never really felt in the mood for it. Just before Christmas I picked it up, and it did take me a couple of weeks to read, but it was worth it! An emotional and insightful look at the mysterious Dyatlov Pass Incident.
Ive always been interested in mysterious happenings, at the ripe old age of 10 I was receiving books about poltergeists, spontaneous combustion, missing people cases and so on, so when I first heard about the Dyatlov Pass Incident, of course my interest was piqued! Then, when I found out there was actually a novel solving the case, I was even more interested in it.
I havent read any other novels on the case, but I can imagine most of them get straight to the nitty-gritty of what they think happened to the unfortunate hikers, Eichar, however, builds his conclusions very slowly. At times, I felt a little bit annoyed about this I really would just love to know what the hell you think happened! but on the other hand I loved the way he made the hikers more than just an unfortunate accident. He breathes life back into them. Eichar takes diary entries, photographs, and interviews to build an intricate and honest look into each of the hikers days that lead up to their deaths.
As for Eichars theories on what really happened to the Dyatlov hikers, I dont want to give too much away, but its a sad story, rather than a spooky serial-killer-ghost one. While I love mysteries of the unknown, when it comes to something as tragic as this incident, its nice to have an answer to what happened? I think Eichars theories seem legitimate and well researched, so when the book claims to have the true story I can believe it.
I dont want to say too much about this novel because its the sort of book that needs to be read to be appreciated, hence my almost mini review, but I think this was a very good and well written nonfiction novel. At times I found some of the goings-on a little tedious, but overall it was an interesting read.
Ive always been interested in mysterious happenings, at the ripe old age of 10 I was receiving books about poltergeists, spontaneous combustion, missing people cases and so on, so when I first heard about the Dyatlov Pass Incident, of course my interest was piqued! Then, when I found out there was actually a novel solving the case, I was even more interested in it.
I havent read any other novels on the case, but I can imagine most of them get straight to the nitty-gritty of what they think happened to the unfortunate hikers, Eichar, however, builds his conclusions very slowly. At times, I felt a little bit annoyed about this I really would just love to know what the hell you think happened! but on the other hand I loved the way he made the hikers more than just an unfortunate accident. He breathes life back into them. Eichar takes diary entries, photographs, and interviews to build an intricate and honest look into each of the hikers days that lead up to their deaths.
As for Eichars theories on what really happened to the Dyatlov hikers, I dont want to give too much away, but its a sad story, rather than a spooky serial-killer-ghost one. While I love mysteries of the unknown, when it comes to something as tragic as this incident, its nice to have an answer to what happened? I think Eichars theories seem legitimate and well researched, so when the book claims to have the true story I can believe it.
I dont want to say too much about this novel because its the sort of book that needs to be read to be appreciated, hence my almost mini review, but I think this was a very good and well written nonfiction novel. At times I found some of the goings-on a little tedious, but overall it was an interesting read.
Lee (2222 KP) rated The Personal History of David Copperfield (2019) in Movies
Jan 26, 2020
Based on the famous and beloved novel by Charles Dickens, Armando Iannucci (Veep, The Thick of It, The Death of Stalin) brings us this fresh new take on David Copperfield. And it’s like no other Dickens adaptation you’ve ever seen before.
Dev Patel stars as Copperfield, the star and narrator of the story which charts his personal rise from rags to riches during Victorian England. We begin though with Copperfield as an adult, recounting his life story to a small theatre audience as he steps into a painted backdrop behind him on stage, transporting him, and us, to the location of his birth. He enters the family home and continues to narrate from within the scene as his mother struggles with labour. It’s just one of a variety of wonderfully inventive storytelling devices that the movie employs throughout.
While the chaos of childbirth plays out, the first in a long line of star-studded supporting characters arrives, David’s eccentric Aunt Betsey (Tilda Swinton), and we immediately get a glimpse of the kind of humour Iannucci has brought to the story as she sets about upsetting Peggotty, the family housekeeper, and declares that the baby will definitely be a girl.
From there, the storyline is fast paced, weaving between locations as David grows up - from an overturned boat house in Yarmouth, to the chaos of London and the difficulties of working in a bottle factory, and on to the Kent countryside. Along the way we meet yet more big names, including Peter Capaldi, Ben Whishaw, Hugh Laurie, Paul Whitehouse and Benedict Wong. Not to mention countless other recognisable faces.
The Personal History of David Copperfield is a real mixing pot of beautiful visuals, quirky humour and larger than life characters. Realism has been ditched in order to deliver a whimsical tale that is accessible to all ages. Unfortunately though, it just didn’t work for me. Aside from the opening scenes, and the occasional moment later on, the humour didn’t land at all. In fact, I got more laughs from the incredible movie Parasite that I saw just the night before seeing this.
Dev Patel, always impressive and enjoyable in everything he does, is charming as David Copperfield and is definitely the standout. Benedict Wong and Hugh Laurie were both enjoyable, but I felt the others all suffered from a script that just wasn’t strong enough. A beautifully shot movie, bold and bright and vibrant, but instantly forgettable.
Dev Patel stars as Copperfield, the star and narrator of the story which charts his personal rise from rags to riches during Victorian England. We begin though with Copperfield as an adult, recounting his life story to a small theatre audience as he steps into a painted backdrop behind him on stage, transporting him, and us, to the location of his birth. He enters the family home and continues to narrate from within the scene as his mother struggles with labour. It’s just one of a variety of wonderfully inventive storytelling devices that the movie employs throughout.
While the chaos of childbirth plays out, the first in a long line of star-studded supporting characters arrives, David’s eccentric Aunt Betsey (Tilda Swinton), and we immediately get a glimpse of the kind of humour Iannucci has brought to the story as she sets about upsetting Peggotty, the family housekeeper, and declares that the baby will definitely be a girl.
From there, the storyline is fast paced, weaving between locations as David grows up - from an overturned boat house in Yarmouth, to the chaos of London and the difficulties of working in a bottle factory, and on to the Kent countryside. Along the way we meet yet more big names, including Peter Capaldi, Ben Whishaw, Hugh Laurie, Paul Whitehouse and Benedict Wong. Not to mention countless other recognisable faces.
The Personal History of David Copperfield is a real mixing pot of beautiful visuals, quirky humour and larger than life characters. Realism has been ditched in order to deliver a whimsical tale that is accessible to all ages. Unfortunately though, it just didn’t work for me. Aside from the opening scenes, and the occasional moment later on, the humour didn’t land at all. In fact, I got more laughs from the incredible movie Parasite that I saw just the night before seeing this.
Dev Patel, always impressive and enjoyable in everything he does, is charming as David Copperfield and is definitely the standout. Benedict Wong and Hugh Laurie were both enjoyable, but I felt the others all suffered from a script that just wasn’t strong enough. A beautifully shot movie, bold and bright and vibrant, but instantly forgettable.
