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Rachel King (13 KP) rated Ink Exchange (Wicked Lovely, #2) in Books
Feb 11, 2019
The second book in the Wicked Lovely series is decidely darker than the first book, especially as it focuses on the Dark Court. A major plot point is Leslie's struggles to deal with how her brother and father have fallen off the "deep end" and the rape that her brother allowed to happen to her. She believes a tattoo will allow her to reclaim her body as her own and stop being afraid, but the tattoo she chooses has unimaginable consequences as she becomes entangled into the drama of the faery courts that her best friend Aislinn belongs to.
I like the change in main characters, as we get to see this world through other characters' eyes as well as learn about different aspects that Keenan or Aislinn may not be familiar with. I had a difficult time finding a character to really love, as all three of the main characters, Leslie, Irial, and Niall, all seemed to have major faults that I had a hard time getting around. The theme for this book seemed to be the darker side of humanity and how deeply entrenched people can get into the "gray" area of life, while still believing that they are not doing anything wrong. Irial wants to only use Leslie, just as he has for every other mortal, but then he falls for her. Leslie wants to be her own person and hates her brother for his druggie lifestyle, but then becomes an addict just like Ren. Niall has shunned the Dark Court for all it stands for, even denying his own nature, but then wants Leslie so bad that he unknowingly uses what he is and what the Dark Court is about to try and lure her to him. In a word, they all behave like hypocrites, but Marr is such a good writer, that I find myself feeling sorry for all of them at some point. While in many fantasy genre works, the female lead often has to choose between two guys, Marr takes a completely unpredictable approach, and I think that I like this ending the best of all possibilities. Plus, since this is only the second book in a series, there is potential for Leslie to change her mind in the long run as she becomes more comfortable in her own skin.
The way that Marr approaches the horrific trauma that Leslie endured prior to this book's beginning is handled very delicately, as it should be. It is never really described in detail what exactly happens to her, and it is mostly left up to the reader's imagination, which I think is a smart move in that girls who have been in a situation similar to Leslie's can relate to her and feel like they have a voice in her words and thoughts. This alone is what makes this book both poignant and powerful. The fact that both males vying for her affection try to rescue her from this trauma in his own way is what redeems both of them for me.
Politics run heavy in this series, and while I am not really a fan of politics in real life, fantasy books often make it much more interesting, Marr's writing being no exception. The dynamics between the faery courts are quite intriguing and I think they seem to balance one another out well, even though at first glance it might seem like some should be kept over others. I find myself constantly wondering about the High Court and its Queen, Sorcha, which I can look forward to in the third installment in the series, Fragile Eternity (Wicked Lovely).
I like the change in main characters, as we get to see this world through other characters' eyes as well as learn about different aspects that Keenan or Aislinn may not be familiar with. I had a difficult time finding a character to really love, as all three of the main characters, Leslie, Irial, and Niall, all seemed to have major faults that I had a hard time getting around. The theme for this book seemed to be the darker side of humanity and how deeply entrenched people can get into the "gray" area of life, while still believing that they are not doing anything wrong. Irial wants to only use Leslie, just as he has for every other mortal, but then he falls for her. Leslie wants to be her own person and hates her brother for his druggie lifestyle, but then becomes an addict just like Ren. Niall has shunned the Dark Court for all it stands for, even denying his own nature, but then wants Leslie so bad that he unknowingly uses what he is and what the Dark Court is about to try and lure her to him. In a word, they all behave like hypocrites, but Marr is such a good writer, that I find myself feeling sorry for all of them at some point. While in many fantasy genre works, the female lead often has to choose between two guys, Marr takes a completely unpredictable approach, and I think that I like this ending the best of all possibilities. Plus, since this is only the second book in a series, there is potential for Leslie to change her mind in the long run as she becomes more comfortable in her own skin.
The way that Marr approaches the horrific trauma that Leslie endured prior to this book's beginning is handled very delicately, as it should be. It is never really described in detail what exactly happens to her, and it is mostly left up to the reader's imagination, which I think is a smart move in that girls who have been in a situation similar to Leslie's can relate to her and feel like they have a voice in her words and thoughts. This alone is what makes this book both poignant and powerful. The fact that both males vying for her affection try to rescue her from this trauma in his own way is what redeems both of them for me.
Politics run heavy in this series, and while I am not really a fan of politics in real life, fantasy books often make it much more interesting, Marr's writing being no exception. The dynamics between the faery courts are quite intriguing and I think they seem to balance one another out well, even though at first glance it might seem like some should be kept over others. I find myself constantly wondering about the High Court and its Queen, Sorcha, which I can look forward to in the third installment in the series, Fragile Eternity (Wicked Lovely).
Kirk Bage (1775 KP) rated The Irishman (2019) in Movies
Mar 3, 2020
If anyone tells me they didn’t enjoy The Irishman, I would have to say, fair enough. There are reasons not to. As an entertainment it isn’t Goodfellas, as a thriller it isn’t The Departed, and as a classic gangster tale it isn’t anywhere near The Godfather, of course. It sags in the middle, ends morbidly, and, at three and a half hours, even in its brightest moments, you can find yourself waiting for it to finish. But, anyone who tells me The Irishman isn’t a great film is blind to the artistry at work here from a gang of septegenarians with a mighty track record. If it is one thing, it is Epic!
Also in the negative column is the ageing and de-ageing technology, which whilst pretty damn good is noticable and sometimes distracting. Myself, I was willing to forgive these faults, just for the privilege of being swept away once more by Scorsese’s eye for a shot and moments of pure mood, of which there are too many to count.
De Niro hasn’t been this good for years, that seems to be accepted knowledge. Pacino is Pacino, what else would you want him to be? But, it is the return from retirement of Joe Pesci that really impressed me. Almost certainly a career best performance at the age of 77 – always underplayed and menacing, there were times he acted the big two under the table. Of the 10 nominations at the 92nd Oscars, this is the one I hope lands.
If Scorsese also wins for best director, I wouldn’t complain either. Looking at his body of work, I count this as the 20th film I would class as very good or better. And although less “fun” it is certainly a better, classier film than The Departed, his only win to date. Other gongs I would give serious weight to are Thelma Schoonmaker for editing, and production design, which is as rich and detailed as it could possibly be, at times breath-takingly so.
There has been much made of the idea that this is Scorsese atoning for his sins in using violence as entertainment. And it is true that this film seems to meditate more or regret and loneliness as a side effect of a violent life. There is blood, people die violently, but these moments are often brief and unshowey, keeping the focus on the men (and it is always the men) who choose to live this way. In the end, we all age and grow weak; time advances and we are left with nothing but memories, surrounded by people who can’t remember who we are and what we did in our Golden days.
I found the last half hour very moving and somewhat depressing. I think we are meant to. No big climax, just a fading away. It felt like the hours after a party, full of joy and noise, when you are finally left alone with only yourself for company. More than any other emotion, this is what I have taken from this experience; and it’s a good trick, fully intended, that I applaud. And it is what ultimately makes the film feel mature and meaningful.
However, for all the praise it deserves, this isn’t a film I will choose to watch again in a hurry. And I think that will be common. It lacks the tension of a tighter, shorter film, and emotionally it is often difficult to connect to these men and their brutal deeds. If that is the point, then I get it… but there are plenty of films to go to, as already mentioned that have a more satisfying and rounded feel. Recommended highly, but with reservations.
Also in the negative column is the ageing and de-ageing technology, which whilst pretty damn good is noticable and sometimes distracting. Myself, I was willing to forgive these faults, just for the privilege of being swept away once more by Scorsese’s eye for a shot and moments of pure mood, of which there are too many to count.
De Niro hasn’t been this good for years, that seems to be accepted knowledge. Pacino is Pacino, what else would you want him to be? But, it is the return from retirement of Joe Pesci that really impressed me. Almost certainly a career best performance at the age of 77 – always underplayed and menacing, there were times he acted the big two under the table. Of the 10 nominations at the 92nd Oscars, this is the one I hope lands.
If Scorsese also wins for best director, I wouldn’t complain either. Looking at his body of work, I count this as the 20th film I would class as very good or better. And although less “fun” it is certainly a better, classier film than The Departed, his only win to date. Other gongs I would give serious weight to are Thelma Schoonmaker for editing, and production design, which is as rich and detailed as it could possibly be, at times breath-takingly so.
There has been much made of the idea that this is Scorsese atoning for his sins in using violence as entertainment. And it is true that this film seems to meditate more or regret and loneliness as a side effect of a violent life. There is blood, people die violently, but these moments are often brief and unshowey, keeping the focus on the men (and it is always the men) who choose to live this way. In the end, we all age and grow weak; time advances and we are left with nothing but memories, surrounded by people who can’t remember who we are and what we did in our Golden days.
I found the last half hour very moving and somewhat depressing. I think we are meant to. No big climax, just a fading away. It felt like the hours after a party, full of joy and noise, when you are finally left alone with only yourself for company. More than any other emotion, this is what I have taken from this experience; and it’s a good trick, fully intended, that I applaud. And it is what ultimately makes the film feel mature and meaningful.
However, for all the praise it deserves, this isn’t a film I will choose to watch again in a hurry. And I think that will be common. It lacks the tension of a tighter, shorter film, and emotionally it is often difficult to connect to these men and their brutal deeds. If that is the point, then I get it… but there are plenty of films to go to, as already mentioned that have a more satisfying and rounded feel. Recommended highly, but with reservations.
Ronyell (38 KP) rated Kolmnurk (1982) in Movies
Aug 4, 2020
Love Triangle Gone Insane!
Wow! This was seriously one weird animated short! I have seen many weird animated shorts, but none of them were quite as weird as this one! The only other animated short that was just as weird as this short was Hen, His Wife, which also had a similar premise of a couple experiencing marital problems. This short was a bit easier to understand than "Hen, His Wife," but it still requires some interpretation on the situation that is going on. So, here's my take on what I think is happening in this short:
My Interpretation:
So, apparently Viktor and Julia were a happy couple when they were first married. But over the years, Viktor started to ignore Julia and Julia is trying desperately to get her husband's attention again. I'm assuming that the food that Julia cooks represents her sexual desires for Viktor, as the food seem to weirdly take on any shape or form of her body. Also, there were moments where realistic photo shop images of real life people would appear on both Julia and Viktor's faces, representing their desires to look beautiful towards each other. Then when the mouse sized man, Eduard comes between Julia and Viktor, Julia feeding Eduard the food that she made represents her having an affair with Eduard, due to wanting to feel wanted by somebody, since Viktor won't give her the attention that she wants. So, when Viktor sees Julia feeding Eduard the food that she originally made for him, this could be viewed as Viktor finally noticing Julia having an affair with Eduard and he decides to leave her because of that. Whether or not Julia and Viktor get back together with each other in the end is something you have to see for yourself!
I just loved the way that Priit Parn created these bizarre characters as it was interesting yet a bit disturbing seeing real life photos of people's faces suddenly appear on either Viktor, Julia or Eduard's faces as those real life photos look so out of place on these hand drawn characters. I also liked the interesting way that Priit Parn tackled the issue of martial problems by using food as a metaphor for the couple's deteriorating marriage.
The only problem that I had with this short was that it was a bit confusing to understand at times. Like, I wasn't really sure how the food plays a role in the couple's relationship with each other and I was wondering about where Eduard exactly came from. I mean, this is really good stuff for a surreal short, but it can be a bit hard to swallow at times.
Overall, "The Triangle" is a truly intriguing animated short about martial problems that anyone who is in a relationship will enjoy watching (just to see how weird this short was). Also, if you are a huge fan of foreign shorts, then this is definitely one short that you should check out!
My Interpretation:
So, apparently Viktor and Julia were a happy couple when they were first married. But over the years, Viktor started to ignore Julia and Julia is trying desperately to get her husband's attention again. I'm assuming that the food that Julia cooks represents her sexual desires for Viktor, as the food seem to weirdly take on any shape or form of her body. Also, there were moments where realistic photo shop images of real life people would appear on both Julia and Viktor's faces, representing their desires to look beautiful towards each other. Then when the mouse sized man, Eduard comes between Julia and Viktor, Julia feeding Eduard the food that she made represents her having an affair with Eduard, due to wanting to feel wanted by somebody, since Viktor won't give her the attention that she wants. So, when Viktor sees Julia feeding Eduard the food that she originally made for him, this could be viewed as Viktor finally noticing Julia having an affair with Eduard and he decides to leave her because of that. Whether or not Julia and Viktor get back together with each other in the end is something you have to see for yourself!
I just loved the way that Priit Parn created these bizarre characters as it was interesting yet a bit disturbing seeing real life photos of people's faces suddenly appear on either Viktor, Julia or Eduard's faces as those real life photos look so out of place on these hand drawn characters. I also liked the interesting way that Priit Parn tackled the issue of martial problems by using food as a metaphor for the couple's deteriorating marriage.
The only problem that I had with this short was that it was a bit confusing to understand at times. Like, I wasn't really sure how the food plays a role in the couple's relationship with each other and I was wondering about where Eduard exactly came from. I mean, this is really good stuff for a surreal short, but it can be a bit hard to swallow at times.
Overall, "The Triangle" is a truly intriguing animated short about martial problems that anyone who is in a relationship will enjoy watching (just to see how weird this short was). Also, if you are a huge fan of foreign shorts, then this is definitely one short that you should check out!
Lindsay (1760 KP) rated An Amish Miracle in Books
Feb 15, 2018
Always Beautiful I wonderful story about how to deal with someone that overweight and the it does not matter what you look like on the outside of the body but what matter is how you act on the inside. Though she ask god for help. She get her wish or not. Doe she find love just being herself. She does not know what to do or change herself to get all she wants and dreams. Will she like herself or not?
Rosa has a hard time accepting help from her community. Will she survive or will she love everything she owns? She does not want to be a widow or take from it. She sells eggs but will that be enough. Friends and Neighbors want to help but she refuses their help for she seem scared. When really happens to threaten her only way of income will she then ask for help? You will need to read to find out.
Always in my heart is sweet loving story. Hope thinks that she is being punished for giving up her son. She yet to tell her husband and daughter about her secret. They love there daughter. But she longs for a son with husband. She ask god to help. Soon she get surprise visit from someone that she so wanted. Thing get to a point that she wants to adopt him. Her husband and her need to do some things and you should read it to find out how it ends.
Rosa has a hard time accepting help from her community. Will she survive or will she love everything she owns? She does not want to be a widow or take from it. She sells eggs but will that be enough. Friends and Neighbors want to help but she refuses their help for she seem scared. When really happens to threaten her only way of income will she then ask for help? You will need to read to find out.
Always in my heart is sweet loving story. Hope thinks that she is being punished for giving up her son. She yet to tell her husband and daughter about her secret. They love there daughter. But she longs for a son with husband. She ask god to help. Soon she get surprise visit from someone that she so wanted. Thing get to a point that she wants to adopt him. Her husband and her need to do some things and you should read it to find out how it ends.
Debbiereadsbook (1444 KP) rated Without a Trace (Lancaster Falls Trilogy #2) in Books
Mar 23, 2020
Amazing book two!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Bok two in the Lancaster Falls trilogy. I would say you really SHOULD read book one, What Lies Beneath, before this one. There is a underlaying story line that runs through all three and you need the information that comes out in that book.
Drew returns home when his brother's remains are discovered. Logan is a cop in town, and the pair butt heads. But deeper than the need to know what happened to his brother, Drew finds he needs Logan at his side. Both men have their secrets, though. As the town reveals its darker side, Drew and Logan have to decide whether the other is worth the heartache.
So, book 2 and Lancaster Falls is giving up its secrets. Darker, deadly and so much MORE than book one, I LOVED this!
Drew ran, after Casey disappeared and did not return. He said some things, his mum said some things and they fell out, and Drew ran away to the army. Now, with Casey's body being found, Drew returns to face not only his own demons, but Casey's too. Logan is a distraction, one he will willing use to attempt to shut out his problems.
Logan will, in turn, use Drew but to a lesser extent. Their first coming together is angry, its a battle, and its glazed over in a way that I really and honestly LOVED! I mean, the whole scene is a couple of pages, but it packs a powerful punch. It sets the way for these two, in a way I really enjoyed watching develop, and in a way I really didn't quite see coming.
Something set me off about certain people, and turns out, I was right, but now I'm left with some questions about how things will become clear as to what happened, not only to Casey, but the others.
Again, nothing is laid out for you, and I find myself putting bits together all wrong and now, I want book three! I NEED book three and I have to wait til June. I need to know what happened to everyone, and what that epilogue means, cos let me tell ya, I have no freaking clue how this will play out and I bloody LOVE that I don't!
5 more amazing stars!
**same worded review will appear elsewhere**
Bok two in the Lancaster Falls trilogy. I would say you really SHOULD read book one, What Lies Beneath, before this one. There is a underlaying story line that runs through all three and you need the information that comes out in that book.
Drew returns home when his brother's remains are discovered. Logan is a cop in town, and the pair butt heads. But deeper than the need to know what happened to his brother, Drew finds he needs Logan at his side. Both men have their secrets, though. As the town reveals its darker side, Drew and Logan have to decide whether the other is worth the heartache.
So, book 2 and Lancaster Falls is giving up its secrets. Darker, deadly and so much MORE than book one, I LOVED this!
Drew ran, after Casey disappeared and did not return. He said some things, his mum said some things and they fell out, and Drew ran away to the army. Now, with Casey's body being found, Drew returns to face not only his own demons, but Casey's too. Logan is a distraction, one he will willing use to attempt to shut out his problems.
Logan will, in turn, use Drew but to a lesser extent. Their first coming together is angry, its a battle, and its glazed over in a way that I really and honestly LOVED! I mean, the whole scene is a couple of pages, but it packs a powerful punch. It sets the way for these two, in a way I really enjoyed watching develop, and in a way I really didn't quite see coming.
Something set me off about certain people, and turns out, I was right, but now I'm left with some questions about how things will become clear as to what happened, not only to Casey, but the others.
Again, nothing is laid out for you, and I find myself putting bits together all wrong and now, I want book three! I NEED book three and I have to wait til June. I need to know what happened to everyone, and what that epilogue means, cos let me tell ya, I have no freaking clue how this will play out and I bloody LOVE that I don't!
5 more amazing stars!
**same worded review will appear elsewhere**
Lee (2222 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Saint Maud is a psychological horror about a young nurse (Morfydd Clark) who, following ‘an incident’ while working for the NHS, something horrific that is alluded to in the opening scene, now finds herself working in palliative care.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.
Debbiereadsbook (1444 KP) rated Knox (Monsters of Veridia #1) in Books
Dec 14, 2024
Did not see the cliff hanger coming at me!
Independent reviewer for BookSirens, I was gifted my copy of this book.
I have not read anything by this author before, so while the blurb grabbed, I was unsure how the story would be delivered.
But bloody hell, they NAILED it!
Except for maybe one teeny weeny thing, that I might or might not have missed when I requested this book, so I'll come back to it.
Adrian is human, and Knox is incubus from an online book he's been reading. So why, is the object of his dreams, on his bedroom floor, after crashing through his roof? And who else came through with Knox?
I loved this, I really did! Adrian and Knox have a say, along with Daniel, who is Adrian's friend and Caelen, Knox' arch enemy. I love hearing from every one, I really do.
It's smexy, what with Knox being an incubus, but I did find the emotional connection a bit one sided, with the majority coming from Adrian. He has been betrayed at the highest level, and I did NOT see how coming at me. His perception of his body causes him the biggest issue, but Knox has no problems with it!
Coming back to my niggle. While it's clear this book is first in series, I might have missed that it finishes on a bit of a cliff hanger! Knox and Adrian get their HFN ending, but the book doesn't. And I was NOT prepared for that! I can cope with cliff hangers, *IF* I know they are coming at me.
I see Daniel and Caelen playing a huge part in the next book, hopefully, and I feel there is MUCH to Caelen we do not know, and that he is not all he appears to be. My book brian went *ding ding ding* at a point in this book, and I look forward to seeing whether that comes to pass. And Leon will need a story, cos, clearly, he has things hidden from his friends! Lyrian and Zev need a book too!
I look forward to (hopefully!) getting my hands on future books!
4 very VERY good stars (but only cos of the cliff hanger thing!)
*same worded review will appear elsewhere
I have not read anything by this author before, so while the blurb grabbed, I was unsure how the story would be delivered.
But bloody hell, they NAILED it!
Except for maybe one teeny weeny thing, that I might or might not have missed when I requested this book, so I'll come back to it.
Adrian is human, and Knox is incubus from an online book he's been reading. So why, is the object of his dreams, on his bedroom floor, after crashing through his roof? And who else came through with Knox?
I loved this, I really did! Adrian and Knox have a say, along with Daniel, who is Adrian's friend and Caelen, Knox' arch enemy. I love hearing from every one, I really do.
It's smexy, what with Knox being an incubus, but I did find the emotional connection a bit one sided, with the majority coming from Adrian. He has been betrayed at the highest level, and I did NOT see how coming at me. His perception of his body causes him the biggest issue, but Knox has no problems with it!
Coming back to my niggle. While it's clear this book is first in series, I might have missed that it finishes on a bit of a cliff hanger! Knox and Adrian get their HFN ending, but the book doesn't. And I was NOT prepared for that! I can cope with cliff hangers, *IF* I know they are coming at me.
I see Daniel and Caelen playing a huge part in the next book, hopefully, and I feel there is MUCH to Caelen we do not know, and that he is not all he appears to be. My book brian went *ding ding ding* at a point in this book, and I look forward to seeing whether that comes to pass. And Leon will need a story, cos, clearly, he has things hidden from his friends! Lyrian and Zev need a book too!
I look forward to (hopefully!) getting my hands on future books!
4 very VERY good stars (but only cos of the cliff hanger thing!)
*same worded review will appear elsewhere
Merissa (12911 KP) created a post
Feb 24, 2021
Benedick Lewis (3001 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Aug 16, 2019
Brilliant acting (2 more)
Multiple examples of excellent camera techniques, homaging a lot from that era
Superb direction
Rushed third act (1 more)
Could be too long for some people
A film for people who like to go to the cinema
Once upon a time in Hollywood is not QT’s best film but certainly not the worst. That award goes to Death Proof. It was a difficult film to market because when I got wind of his new film, it was advertised as revolving around the Sharon Tate murders/Charles “Charlie” Bronson but this film is so much more than that. The whole story meanders around like the roads around Cielo Drive, almost to the point of not really going anywhere and really just to enjoy the characters in this fictionalised retelling of that period.
It is quite astonishing that there are still people out there who would think this is a faithful interpretation of what happened and more so that QT has to publicly say ‘this is a story of fiction’ but I am no expert on the case, even though over the years I have dabbled into it through various books and news reports.
The main thing to get across is to go in with no expectations other than QT inevitably will put his spin on things and that, really, is what will draw audiences to this film. There’s always a bit to latch onto with QT films whether it be a character or the world he has created for those characters to live in or a reference to another film or, indeed, something else. It is what makes QT so appealing. He tells stories the way he wants to tell them. That said, the third act (which actually deals with the murders), although fun and frenetic, feels a little rushed and could possibly shows signs of studio meddling with what QT wanted to focus on. That’s the main criticism of this film but the rest of it will have film academics in years to come pick apart individual sequences and dissecting them into pointless philosophical notions and semantical (is that a word?) studies that are completely off point for a long time. Do I want to bore you with how clever QT is by being able to subtly put across to the viewer through camera techniques and direction his influences of 1950s and 60s television and cinema? No, if you’re a cinema fan you’ll get those references and more on repeat viewings. If you’re not a cinema fan, then it establishes enough world for you to warrant the hyperbole ‘fantastic escapism’. The point is you’re going to enjoy this film if you enjoy going to the cinema. Well, most of you. Some may spite that statement and say Legally Blonde is where it is at. Well, if that’s your stance, go rewatch Legally Blonde as the people who came to the cinema to actually enjoy this film have no time for that viewpoint.
See this if you love QT films. He throws in a lot of references to his body of work to make you nod to fellow audience members and silently say ‘I got that reference’. If you’re not a QT fan but a lover of cinema, especially American cinema, you’ll get more than just a kick out of it. There’s even something for the casual viewer if you’re willing to invest your time in it.
BankofMarquis (1832 KP) rated Joker (2019) in Movies
Oct 10, 2019
Joaquin's Performance Elevates This Film
Give Joaquin Phoenix the Oscar right now. His bravura performance as the titular character in JOKER is one for the ages. He is on the screen in every scene of this film and captivates and repulses you at the same time. This performance raises this film to another level.
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)