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BankofMarquis (1832 KP) rated Widows (2018) in Movies
Nov 17, 2018
Well crafted, well acted, well directed heist flick
If you are looking for a smart, intelligent, well-made, well-crafted, well-acted action-heist flick to see with the family over the Thanksgiving weekend, then look no further than WIDOWS.
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Yes, it's that good.
Based on a 1983 British TV mini-series, Directed by Steve McQueen (12 YEARS A SLAVE) and with a Screenplay by McQueen and Gillian Flynn (GONE GIRL), WIDOWS tells the story of 4...yes...Widows who's husbands were mobsters that were killed while stealing money from other mobsters. When the rival mob comes to the Widows to get their money back, these women must band together to complete a job to get the money to save their lives.
Leading this disparate group of women is Oscar winner (for FENCES) Viola Davis. She brings a strength and vulnerability to her role and makes a surprisingly complex and charismatic center to this film. Joining her is the always tough and gritty Michelle Rodriguez and the eminently watchable Carrie Coon. The surprise performance of this group of widows is Elizabeth Debicki (the golden Ayesha in GUARDIANS OF THE GALAXY 2). Her widow, Alice, is more than just the "good-looking" trophy wife and has a depth and gravitas that upon first glance is not something that seems to be there. These 4 are joined by Cynthia Erivo and their group could probably kick the crap out of the Ocean's 8 crew.
McQueen has assembled a diverse and interesting cast to support these 5 - each "smaller" role filled with someone who brings something to the table that makes their character interesting. Liam Neeson, Robert Duvall, Collin Farrell, the always watchable Garrett Dillahunt and Jackie Weaver fill the film with "screen presence", power and strong characterizations that service the story. Special notice should be made for Daniel Kaluuya (Oscar nominated for GET OUT). His menacing "bad guy" ranks right up there on the list of "dudes you don't want to mess with". He was fascinating to watch - especially when he was doing "nothing" - you could see the animal swimming within him in the most still of moments.
All of these actors are directed with the Orchestral efficiency of McQueen - a director who knows what he's doing. He keeps the focus of his cameras where he needs to, sometimes eschewing the most obvious action to focus our attention elsewhere. The downside to McQueen is that he sometimes gets enamored with his beautiful pictures and atmosphere, so the film gets bogged down at times - especially in the first half - but all of this is in service to the larger story - a story that demands our attention.
The screenplay by McQueen and Flynn is full of plot twists and turns, of course, keeping you guessing throughout and concludes in a most satisfactory manner.
All in all a very fine time at the Cineplex. In this week of a myriad of items competing for your movie-going dollars, I would strongly recommend that you pick WIDOWS out of the pile and settle in for a good time..
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Punchbowl – Online Invitations
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Create, personalize and send beautiful invitations on the go for FREE with Punchbowl®, the new gold...
Carma (21 KP) rated Moonlight Over Manhattan in Books
Jun 17, 2019
Do one thing every day that scares you. I think that is the best advice we could give ourselves on a daily basis. How many times have we just went status quo and always wondered what if. Harriet Knight is status quo. She is an average girl, with an average life, with average problems. But the month between Thanksgiving and Christmas she decides to challenge herself daily. No more status quo, start living outside the box. The plan is going worse than expected though and then she finds herself on the internet dating site date from hell. The best way she can think of to end said date is to jump out of the bathroom window. That is how we meet Harriet.
Harriet is a dog walker/pet sitter along with her twin sister Fliss. The started their own company and it has really taken off. Her sister has recently moved out of their apartment to live in the Hamptons with Seth (read Holiday in the Hamptons, you won’t regret it). Harriet finds herself alone for the first time in a very long time. After jumping out the bathroom window she heads to the ER to get her ankle checked and in walks Dr. Ethan Black.
Ethan Black is all ER all the time. He puts his very heart and soul in to his daily life and enjoys going to work everyday. Maybe the reason his marriage failed is because he puts 100% into his job. 100% means 0% left over for anything else. He is quite happy in his every day routine until his sister calls with an emergency. He'll do anything for his sister, well maybe anything.
Harriet agrees to change locations for one of her customers because an emergency takes them out of town. Her regular client "Madi" is staying with her “uncle”, a busy doctor, and needs to get her daily walk there instead of home. Harriet and Ethan meet again and realize they need each other to navigate this new normal. Can Ethan still put his heart and soul into work, but make a relationship work. Can Harriet realize she is great the way she is and "challenge Harriet" is a perfect way to get the happy ever after she craves.
I loved Harriet, more than any single main female character I can think of for a while. She is an every woman, self-conscience, has a stutter, awkward, shy. Being a dog walker/pet sitter myself I feel like Harriet (minus the stutter but just as awkward). I also loved revisiting the O’Neil family in Vermont. The way the author paints the scenery each and every time, makes me want to jump in the car and head to Vermont immediately. One of the other things I enjoy about Sarah Morgan novels is the English phrases that inevitably make their way into the writing. There are usually 3 or 4 common English phrases that don’t quite translate to US actions. I enjoy finding them though, and if not immediately known how they translate, finding the answer. None are every so strange though that it affects the flow of the story.
Even though I received this book in exchange for an honest review, it is another great novel from Sarah Morgan, as if I expected anything less. I am adding this to my From Manhattan with Love shelf immediately, hope you do the same right now.
Harriet is a dog walker/pet sitter along with her twin sister Fliss. The started their own company and it has really taken off. Her sister has recently moved out of their apartment to live in the Hamptons with Seth (read Holiday in the Hamptons, you won’t regret it). Harriet finds herself alone for the first time in a very long time. After jumping out the bathroom window she heads to the ER to get her ankle checked and in walks Dr. Ethan Black.
Ethan Black is all ER all the time. He puts his very heart and soul in to his daily life and enjoys going to work everyday. Maybe the reason his marriage failed is because he puts 100% into his job. 100% means 0% left over for anything else. He is quite happy in his every day routine until his sister calls with an emergency. He'll do anything for his sister, well maybe anything.
Harriet agrees to change locations for one of her customers because an emergency takes them out of town. Her regular client "Madi" is staying with her “uncle”, a busy doctor, and needs to get her daily walk there instead of home. Harriet and Ethan meet again and realize they need each other to navigate this new normal. Can Ethan still put his heart and soul into work, but make a relationship work. Can Harriet realize she is great the way she is and "challenge Harriet" is a perfect way to get the happy ever after she craves.
I loved Harriet, more than any single main female character I can think of for a while. She is an every woman, self-conscience, has a stutter, awkward, shy. Being a dog walker/pet sitter myself I feel like Harriet (minus the stutter but just as awkward). I also loved revisiting the O’Neil family in Vermont. The way the author paints the scenery each and every time, makes me want to jump in the car and head to Vermont immediately. One of the other things I enjoy about Sarah Morgan novels is the English phrases that inevitably make their way into the writing. There are usually 3 or 4 common English phrases that don’t quite translate to US actions. I enjoy finding them though, and if not immediately known how they translate, finding the answer. None are every so strange though that it affects the flow of the story.
Even though I received this book in exchange for an honest review, it is another great novel from Sarah Morgan, as if I expected anything less. I am adding this to my From Manhattan with Love shelf immediately, hope you do the same right now.
Gareth von Kallenbach (962 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
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