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Kevin Phillipson (9961 KP) created a post
Sep 5, 2020
LeftSideCut (3778 KP) rated Bill & Ted Face the Music (2020) in Movies
May 12, 2021
To be clear, I absolutely love the first two Bill & Ted films, and I've been pretty excited to check this out, but now, a few days after finally getting around to watching it, I realise that I'm not, and never was, too sure what I wanted from it.
On the one hand, I have a huge amount of respect for the filmmakers in respect to how hard they commited to sticking to the original tone and comedy style. Unfortunately, for me anyway, it just didn't work. The zany comedy of the first two are perfect for the late 80s/early 90s era, but these days, the whole thing comes across as try hard and occasionally cringe worthy. Don't get me wrong, there are certainly some funny moments, but the overall experience left me cold.
I'm sad that I feel this way, as it's an unnecessary sequel that I hoped would turn out to be surprisingly great, but a few days down the line, and I've largely forgotten most of what happens.
Bill & Ted Face the Music is a good natured attempt at recapturing the magic, but ultimately falls flat. I know that a lot of people liked it, so if you are a fan of the series in any way, then certainly check it out, and I hope you find something to love, but it just wasn't for me (sad face)
On the one hand, I have a huge amount of respect for the filmmakers in respect to how hard they commited to sticking to the original tone and comedy style. Unfortunately, for me anyway, it just didn't work. The zany comedy of the first two are perfect for the late 80s/early 90s era, but these days, the whole thing comes across as try hard and occasionally cringe worthy. Don't get me wrong, there are certainly some funny moments, but the overall experience left me cold.
I'm sad that I feel this way, as it's an unnecessary sequel that I hoped would turn out to be surprisingly great, but a few days down the line, and I've largely forgotten most of what happens.
Bill & Ted Face the Music is a good natured attempt at recapturing the magic, but ultimately falls flat. I know that a lot of people liked it, so if you are a fan of the series in any way, then certainly check it out, and I hope you find something to love, but it just wasn't for me (sad face)
MaryAnn (14 KP) rated CSB Worldview Study Bible in Books
Nov 4, 2019
The CSB Worldview Study Bible features extensive worldview study notes and articles by notable Christian scholars to help Christians better understand the grand narrative and flow of Scripture within the biblical framework from which we are called to view reality and make sense of life and the world. Guided by general editors David S. Dockery and Trevin K. Wax, this Bible is an invaluable resource and study tool that will help you to discuss, defend, and clearly share with others the truth, hope, and practical compatibility of Christianity in everyday life.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Bob Mann (459 KP) rated The Children Act (2018) in Movies
Sep 28, 2021
“And the Oscar goes to”… (or should go to)… “Dame Emma Thompson”.
Given my last review was for “The Equalizer 2“, where Denzel was judge, jury and executioner, it’s a nice seque that this film follows the life of a senior judge in London’s Law Courts: trying to do the justice job, but in the right way!
Judge Maye (Thompson) is a childless wife to her loving husband Jack (Tucci), but is also a workaholic. This is driving the long-term couple to the point of infidelity: a fact the ever-focused Fiona – whose life, to her, probably feels to be in a perfect if selfish equilibrium – is oblivious to. With Fiona’s intense but comfortable world about to cave in around her, her increasing stress is not helped by the latest case she is working on: one where Adam ( Fionn Whitehead from “Dunkirk“), a Jehovah’s Witness boy and a minor, is refusing on religious grounds the blood transfusion he desperately needs to fight his leukaemia. Fiona’s decisions in the months ahead go much further than a simple judgement on the case.
Two acting giants – one born in London; one born in New York – tower over this Ian McEwan adaptation like leviathons. I bandy around the phrase “national treasure” a lot in these reviews but, if there was a league table of national treasures, Emma Thompson would qualify for the Champion’s League every season. Here she is simply breathtakingly powerful in the lead role of Judge Fiona Maye, exhibiting such extremes of emotion that you would like to think that an Oscar nomination would be assured. (However, before I run out and put a £10 bet on her to win, the film is such a small British film that unfortunately both a nomination and a win seem unlikely! THIS IS A CRIME! So I have added the tag #OscarBuzz to this post…. please share and lobby people, lobby! Perhaps at the very least we can hope for some BAFTA recognition).
Sometimes a masterly lead performance can make a co-star performance seem unbalanced, but no such danger here. Stanley Tucci makes a perfect acting foil for Thompson: if he were a wine he would be described as “exasperation, frustration, compassion with strong notes of respect”. And he carries it off with perfection.
This is an incredibly intelligent film, working on so many different levels and subject to so much interpretation. Fiona’s feelings for the troubled teenager feel more maternal than sexual, but when those feelings become returned and escalate the whole piece develops a queasily oedipal quality. Many films have focused on illicit attractions between teacher and pupil, but here lies a new variation, with Maye fighting against her best professional insticts to ‘do the right thing’. “I’m frightened of myself” she eventually wails to a colleague.
In his opening hospital scenes*, Adam seems completely other-wordly compared to a typical teen and this comes across as utterly false. That is, until you consider the oddness of his family background and Jehovah’s Witness upbringing. As such, the film just about gets away with it. Whitehead does a good job with a difficult role. (*It took my wife to point out – after the film, thank goodness – the similarities between this hospital scene and a famous guitar-playing scene in “Airplane” at which I dissolved into guffaws!).
If you’ve been in a court, you’ll know that there is something regal and magical about a judge in full regalia entering a packed courtroom. So it’s unusual to see the view from the other side of the door… a non-descript office corridor and a non-descript door. Helping the judge on this side of the door is her PA Nigel, played by the brilliant Jason Watkins: a TV regular (e.g. “Line of Duty”, “W1A”) but seen far less at the movies.
As a story of obsessive fixation, it borders on McEwan’s disturbing earlier work “Enduring Love”. And it has the potential to go in lots of interesting directions as a sort of bonkers platonic love triangle (“He wants to live with US?” splutters Tucci). Where the story does end up going was not particularly to my liking, and a melodramatic concert scene was – for me – a little overdone. However it does give rise to a scene (the ‘sopping wet’ scene) that shows Thompson at her most brilliant: if she DID get Oscar or BAFTA nominated then this will be her pre-announcement snippet.
It’s a great film for showcasing acting talent, but beware: it’s not got a “lot of laffs”. As such it’s very much a “Father Ted film” that takes a while to recover from.
Judge Maye (Thompson) is a childless wife to her loving husband Jack (Tucci), but is also a workaholic. This is driving the long-term couple to the point of infidelity: a fact the ever-focused Fiona – whose life, to her, probably feels to be in a perfect if selfish equilibrium – is oblivious to. With Fiona’s intense but comfortable world about to cave in around her, her increasing stress is not helped by the latest case she is working on: one where Adam ( Fionn Whitehead from “Dunkirk“), a Jehovah’s Witness boy and a minor, is refusing on religious grounds the blood transfusion he desperately needs to fight his leukaemia. Fiona’s decisions in the months ahead go much further than a simple judgement on the case.
Two acting giants – one born in London; one born in New York – tower over this Ian McEwan adaptation like leviathons. I bandy around the phrase “national treasure” a lot in these reviews but, if there was a league table of national treasures, Emma Thompson would qualify for the Champion’s League every season. Here she is simply breathtakingly powerful in the lead role of Judge Fiona Maye, exhibiting such extremes of emotion that you would like to think that an Oscar nomination would be assured. (However, before I run out and put a £10 bet on her to win, the film is such a small British film that unfortunately both a nomination and a win seem unlikely! THIS IS A CRIME! So I have added the tag #OscarBuzz to this post…. please share and lobby people, lobby! Perhaps at the very least we can hope for some BAFTA recognition).
Sometimes a masterly lead performance can make a co-star performance seem unbalanced, but no such danger here. Stanley Tucci makes a perfect acting foil for Thompson: if he were a wine he would be described as “exasperation, frustration, compassion with strong notes of respect”. And he carries it off with perfection.
This is an incredibly intelligent film, working on so many different levels and subject to so much interpretation. Fiona’s feelings for the troubled teenager feel more maternal than sexual, but when those feelings become returned and escalate the whole piece develops a queasily oedipal quality. Many films have focused on illicit attractions between teacher and pupil, but here lies a new variation, with Maye fighting against her best professional insticts to ‘do the right thing’. “I’m frightened of myself” she eventually wails to a colleague.
In his opening hospital scenes*, Adam seems completely other-wordly compared to a typical teen and this comes across as utterly false. That is, until you consider the oddness of his family background and Jehovah’s Witness upbringing. As such, the film just about gets away with it. Whitehead does a good job with a difficult role. (*It took my wife to point out – after the film, thank goodness – the similarities between this hospital scene and a famous guitar-playing scene in “Airplane” at which I dissolved into guffaws!).
If you’ve been in a court, you’ll know that there is something regal and magical about a judge in full regalia entering a packed courtroom. So it’s unusual to see the view from the other side of the door… a non-descript office corridor and a non-descript door. Helping the judge on this side of the door is her PA Nigel, played by the brilliant Jason Watkins: a TV regular (e.g. “Line of Duty”, “W1A”) but seen far less at the movies.
As a story of obsessive fixation, it borders on McEwan’s disturbing earlier work “Enduring Love”. And it has the potential to go in lots of interesting directions as a sort of bonkers platonic love triangle (“He wants to live with US?” splutters Tucci). Where the story does end up going was not particularly to my liking, and a melodramatic concert scene was – for me – a little overdone. However it does give rise to a scene (the ‘sopping wet’ scene) that shows Thompson at her most brilliant: if she DID get Oscar or BAFTA nominated then this will be her pre-announcement snippet.
It’s a great film for showcasing acting talent, but beware: it’s not got a “lot of laffs”. As such it’s very much a “Father Ted film” that takes a while to recover from.
Bob Mann (459 KP) rated Eurovision Song Contest: The Story of Fire Saga (2020) in Movies
Jun 27, 2020
Rachel McAdams and Dan Stevens steal most of the scenes (1 more)
A real feelgood movie that spoofs the unspoofable pretty well
My lovely farce
Will Ferrell's output over the last few years has been decidedly patchy. I have to go back to "Get Hard" to find one of his movies that really got to my funny bone. But this latest Netflix offering hits the spot for me.
We start with the song recently voted the number one Eurovision song of all time by UK viewers: "Waterloo" by Abba. Young Lars Erickssong (LOL) (Alfie Melia) is transfixed watching the 1974 Eurovision winner with his recently bereaved father and local Lothario Erick (Pierce Brosnan). (Mental note to women: never marry Brosnan on screen... he gets through wives faster than you can murder "S.O.S."). Also present are his friends and young Sigrit ("probably not by sister") Ericksdottir (Sophia-Grace Donnelly). Lars vows to one day stand on that stage and make his father and his remote Icelandic fishing village proud.
Now all grown up, Lars (now Will Ferrell) and Sigrit (now Rachel McAdams) are still pursuing their dream of representing Iceland in the upcoming Eurovision Song Contest. They are, of course, dreadful - - so they should fit right in! But their way is blocked by the immensely talented Katiana (Demi Lovato) and all seems hopeless. Will Sigrit's faith in the power of the Elves see them through?
There's an obvious problem here. The Eurovision Song Contest is in itself so bat-s**t bonkers that it is almost impossible to spoof. (If anyone is not on this wavelength, checkout the genuine Russian entry in this year's (cancelled) contest on Youtube). But the team here (writers Will Ferrell and Andrew Steele and director David "The Judge" Dobkin) do a really great job. I'd love to know what a US audience - who I guess will mostly be unfamiliar with Eurovision - make of this. Since Australia are now honorary Europeans in the contest.... wouldn't it be great if there was a Mexican mariachi band attending and a country and western act from the States? (Brits would love the US to be involved.... as spoofed in the film, there's only one country European's hate more than the UK.... be nice to have someone else to join us in the "nul points" club!)
Wherever you may be on the "Ferrell-funny-or-not-ometer", there's one thing I hope we can all agree on here, and that is that Rachel McAdams continues to shine as a comic lead. She was fantastic in "Game Night" - one of my favourite comedies of recent years - and here she is both gorgeous and hilarious. She knocks it out of the park playing the elf-loving Icelandic pixie with the golden voice. (McAdams "sings" but is significantly "helped" in the mix by Swedish pop star Molly Sandén (aka My Marianne)).
Here she even gets to almost reprise her wonderful "YEESSSSS! Oh no, he died!" line from "Game Night".
Almost matching her in the scene-stealing stakes though is Downton's Dan Stevens as Lemtov: a Russian 'Tom Jones'-like contestant singing "Lion of Love" ("Let's get together; I'm a lion lover; And I hunt for love!"). He's DEFINITELY not gay ("There are no gays in Russia") but are his multi-millions enough to turn Sigrit's head?
For those who love their annual Eurovision parties, there are also an impressive array of nice cameos that will delight.
But where the film-makers really score (no pun intended) is making the music so fitting. Some of the tracks make you think "Yeah, if this was the real content, this might have got my vote". Director Dobkin is quoted as saying "It's okay if it's funny, but it has to be really good music. It has to still be great and just kitschy enough to be Eurovision, because that's part of what's fun about Eurovision" (Source: Vulture). Very true. This success is down to the involvement of pop writer/producer Savan Kotecha on the project: the man behind hits by Katy Petty, Ariana Grande and Ellie Goulding.
A comedy needs to make me laugh, and this one really did - numerous times. It's not just the dialogue. Some of the cut-away scenes are priceless and perfectly executed: jumping whales; a collapsing glacier; a small slamming door!
Sure, it borrows from a number of other sources in its plot: most notably THAT episode of "Father Ted" and the rap-battle scenes from "Pitch Perfect". And sure, some of the outRAGEOUS Icelandic accents sometimes swerve into an alarming mix of Indian, Welsh and Caribbean dialects! But above all, this is movie with real heart. The plot is pretty well signposted, but the finale still packs a (surprisingly) hefty emotional punch, and it leaves you with a really nice afterglow.
As we struggle out of Covid lockdown, it may not be a vaccine, but it is a pretty good medicine for the side-effects. Did I love this? Jaja Ding Dong!
(For the full graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/27/one-manns-movies-film-review-eurovision-song-contest-the-story-of-fire-saga-2020/ ).
We start with the song recently voted the number one Eurovision song of all time by UK viewers: "Waterloo" by Abba. Young Lars Erickssong (LOL) (Alfie Melia) is transfixed watching the 1974 Eurovision winner with his recently bereaved father and local Lothario Erick (Pierce Brosnan). (Mental note to women: never marry Brosnan on screen... he gets through wives faster than you can murder "S.O.S."). Also present are his friends and young Sigrit ("probably not by sister") Ericksdottir (Sophia-Grace Donnelly). Lars vows to one day stand on that stage and make his father and his remote Icelandic fishing village proud.
Now all grown up, Lars (now Will Ferrell) and Sigrit (now Rachel McAdams) are still pursuing their dream of representing Iceland in the upcoming Eurovision Song Contest. They are, of course, dreadful - - so they should fit right in! But their way is blocked by the immensely talented Katiana (Demi Lovato) and all seems hopeless. Will Sigrit's faith in the power of the Elves see them through?
There's an obvious problem here. The Eurovision Song Contest is in itself so bat-s**t bonkers that it is almost impossible to spoof. (If anyone is not on this wavelength, checkout the genuine Russian entry in this year's (cancelled) contest on Youtube). But the team here (writers Will Ferrell and Andrew Steele and director David "The Judge" Dobkin) do a really great job. I'd love to know what a US audience - who I guess will mostly be unfamiliar with Eurovision - make of this. Since Australia are now honorary Europeans in the contest.... wouldn't it be great if there was a Mexican mariachi band attending and a country and western act from the States? (Brits would love the US to be involved.... as spoofed in the film, there's only one country European's hate more than the UK.... be nice to have someone else to join us in the "nul points" club!)
Wherever you may be on the "Ferrell-funny-or-not-ometer", there's one thing I hope we can all agree on here, and that is that Rachel McAdams continues to shine as a comic lead. She was fantastic in "Game Night" - one of my favourite comedies of recent years - and here she is both gorgeous and hilarious. She knocks it out of the park playing the elf-loving Icelandic pixie with the golden voice. (McAdams "sings" but is significantly "helped" in the mix by Swedish pop star Molly Sandén (aka My Marianne)).
Here she even gets to almost reprise her wonderful "YEESSSSS! Oh no, he died!" line from "Game Night".
Almost matching her in the scene-stealing stakes though is Downton's Dan Stevens as Lemtov: a Russian 'Tom Jones'-like contestant singing "Lion of Love" ("Let's get together; I'm a lion lover; And I hunt for love!"). He's DEFINITELY not gay ("There are no gays in Russia") but are his multi-millions enough to turn Sigrit's head?
For those who love their annual Eurovision parties, there are also an impressive array of nice cameos that will delight.
But where the film-makers really score (no pun intended) is making the music so fitting. Some of the tracks make you think "Yeah, if this was the real content, this might have got my vote". Director Dobkin is quoted as saying "It's okay if it's funny, but it has to be really good music. It has to still be great and just kitschy enough to be Eurovision, because that's part of what's fun about Eurovision" (Source: Vulture). Very true. This success is down to the involvement of pop writer/producer Savan Kotecha on the project: the man behind hits by Katy Petty, Ariana Grande and Ellie Goulding.
A comedy needs to make me laugh, and this one really did - numerous times. It's not just the dialogue. Some of the cut-away scenes are priceless and perfectly executed: jumping whales; a collapsing glacier; a small slamming door!
Sure, it borrows from a number of other sources in its plot: most notably THAT episode of "Father Ted" and the rap-battle scenes from "Pitch Perfect". And sure, some of the outRAGEOUS Icelandic accents sometimes swerve into an alarming mix of Indian, Welsh and Caribbean dialects! But above all, this is movie with real heart. The plot is pretty well signposted, but the finale still packs a (surprisingly) hefty emotional punch, and it leaves you with a really nice afterglow.
As we struggle out of Covid lockdown, it may not be a vaccine, but it is a pretty good medicine for the side-effects. Did I love this? Jaja Ding Dong!
(For the full graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/27/one-manns-movies-film-review-eurovision-song-contest-the-story-of-fire-saga-2020/ ).
