Search
Search results
BTPBookclub (18 KP) rated Big Little Lies in Books
May 14, 2019
Throughally enjoyed it
Big Little Lies is a story about three different women who are each at a crossroad in their lives! Madeline (#1) remembers everything and forgives noone, when her ex husband and his new wife move into her community Madeline realizes her daughter will be in the same class as her ex husbands other daughter, and to top it all off Madeline’s daughter seems more interested in her dads and his new wife’s life than her mums. Celeste (#2) is a beautiful women and her twin boys will also be starting school, but Celeste has her eyes set on becoming the queen of the school parent body, but that comes at a price and not easily! Jane (#3) is a young single mother new to the town but is harboring secret doubts about her son. Madeline and Celeste take Jane under their wing, but none of them expected that Jane’s arrival will affect them all individually. If you want to find out what happens I would highly recommend you read this to find out for yourself, if you have not already!
I awarded five stars to this book as Liane Moriarty has done it again! She has written another outstanding story for all us readers to indulge in. This is the perfect book for those who enjoy contemporary, chick-lit, mystery and would make an excellent read to discuss if you are part of a book club. I really did enjoy this story, it is an easy to read, fast paced page turner perfect for everyone. I must admit this story did not stick with me afterwards but I devoured it and loved it nevertheless. Get stuck into this chick-lit, drama filled book and forget your own life for a while. Enjoy.
I awarded five stars to this book as Liane Moriarty has done it again! She has written another outstanding story for all us readers to indulge in. This is the perfect book for those who enjoy contemporary, chick-lit, mystery and would make an excellent read to discuss if you are part of a book club. I really did enjoy this story, it is an easy to read, fast paced page turner perfect for everyone. I must admit this story did not stick with me afterwards but I devoured it and loved it nevertheless. Get stuck into this chick-lit, drama filled book and forget your own life for a while. Enjoy.
Bong Mines Entertainment (15 KP) rated Starting Over by Niykee Heaton in Music
Jun 7, 2019
Niykee Heaton is a Chicago-born and South Florida-based singer-songwriter/producer. Not too long ago, she released a lovely 3-song EP, entitled, “Starting Over”.
NiyKee Heaton – “Mascara”
‘Mascara’ tells the tale of a woman who’s in a new relationship with a guy she’s feeling. She’s been hurt before and takes pride in wearing make-up because it makes her feel good about herself. Also, when they are being romantic, he’s allowed to ruin her lipstick, bed, hair, her body, but not her life and mascara.
‘Mascara’ contains a unique storyline, soft vocals, and a guitar-driven instrumentation perfumed with sentimental elements.
NiyKee Heaton – “Bad Guy”
‘Bad Guy’ tells a bitter tale of a woman who’s being blamed for something she ‘allegedly’ did. Apparently, her relationship with her significant other is on the rocks and he’s blaming her for the ugly breakup and hates her because of that. But she wears the ‘bad guy’ tag well and tells a different story of why their relationship didn’t work.
“Bad Guy” contains a relatable storyline, soft vocals, and a slow-bouncing instrumentation embedded with dark undertones.
NiyKee Heaton – “Starting Over”
‘Starting Over’ tells the tale of a woman who wants to exit her current relationship. Apparently, it’s problematic, and every time she puts some space between her and her ex, he shows up when she’s almost over him. Eventually, he convinces her for them to start all over again, which is something she doesn’t want to do anymore.
‘Starting Over’ contains a relatable storyline, melodic vocals, and a charming instrumentation oozing with sonic passion.
In conclusion, Niykee Heaton’s “Starting Over” EP is a short and sweet relationship-themed project with replay value. Also, listeners can experience different stages of a relationship, plus gain strength to start all over anew if things turn sour.
https://www.bongminesentertainment.com/niykee-heaton-starting-ep/
NiyKee Heaton – “Mascara”
‘Mascara’ tells the tale of a woman who’s in a new relationship with a guy she’s feeling. She’s been hurt before and takes pride in wearing make-up because it makes her feel good about herself. Also, when they are being romantic, he’s allowed to ruin her lipstick, bed, hair, her body, but not her life and mascara.
‘Mascara’ contains a unique storyline, soft vocals, and a guitar-driven instrumentation perfumed with sentimental elements.
NiyKee Heaton – “Bad Guy”
‘Bad Guy’ tells a bitter tale of a woman who’s being blamed for something she ‘allegedly’ did. Apparently, her relationship with her significant other is on the rocks and he’s blaming her for the ugly breakup and hates her because of that. But she wears the ‘bad guy’ tag well and tells a different story of why their relationship didn’t work.
“Bad Guy” contains a relatable storyline, soft vocals, and a slow-bouncing instrumentation embedded with dark undertones.
NiyKee Heaton – “Starting Over”
‘Starting Over’ tells the tale of a woman who wants to exit her current relationship. Apparently, it’s problematic, and every time she puts some space between her and her ex, he shows up when she’s almost over him. Eventually, he convinces her for them to start all over again, which is something she doesn’t want to do anymore.
‘Starting Over’ contains a relatable storyline, melodic vocals, and a charming instrumentation oozing with sonic passion.
In conclusion, Niykee Heaton’s “Starting Over” EP is a short and sweet relationship-themed project with replay value. Also, listeners can experience different stages of a relationship, plus gain strength to start all over anew if things turn sour.
https://www.bongminesentertainment.com/niykee-heaton-starting-ep/
Hazel (1853 KP) rated Paper Towns in Books
May 30, 2017
John Green is such a good writer
Paper Towns is a brilliantly written novel by John Green. Having only previously read The Fault in our Stars I have little to compare it to and cannot say whether it is his best. I am writing this less that half an hour after finishing Paper Towns therefore it is still fresh in my mind, which may explain my slight preference over TFIOS. However the story lines are so different that it is not really fair to compare them.
Set in Orlando, Florida, Paper Towns is narrated by eighteen-year-old Quentin Jacobson (often referred to as Q). It begins with a flash back to when he and next door neighbour, Margo Roth Spiegelman, were nine and discovered a dead body in the park. It is here that the differences in character are pointed out: “As I took those two steps back, Margo took two equally small and quiet steps forward.” Q is an anxious boy, whereas Margo comes across as very confident.
Despite their childhood relationship, for the main bulk of the story Q and Margo have grown apart. They belong to different social circles: Margo to the popular crowd and Q with the gamers, band members and social outcasts. But things take a turn when one night Margo climbs through Q’s bedroom window and insists he accompany her on a nighttime adventure, going around righting wrongs and wronging rights.
But the next day Margo runs away telling no one where she is going, except it appears that she has left clues to her whereabouts. Clues only intended for Q to discover. With the help of his prom-obsessed friend, Ben; Radar, the guy whose parents own the world’s largest collection of black Santas (seriously, where does Green come up with this stuff?); and Lacey, Margo’s best friend and Ben’s soon to be girlfriend; Q struggles to understand the clues and uncover Margo’s hiding place.
To begin with it is exciting to read about Q and his friends unscrambling the hidden messages but as the story goes on and Margo is yet to be found a sense of dread creeps up on us and Q begins to think the worst.
The final section, however, is fast past and thrilling to read as the characters travel across states, with a rather short time limit, in Q’s mini van in a final attempt to find Margo. What will they find when they arrive? Will Margo still be there?
At first I was not sure that I would like this book. Chapter one is mostly about Quentin, Ben and Radar fooling around as boys do, but once everything kicks off with Margo it is really exciting. Similarly to The Fault in our Stars, Green has filled Paper Towns with clever metaphors with paper, string, balloons and grass being used to represent life. It is a very witty narrative containing lots of humour, yet also manages to convey important ideas about the way we see the world, and the people in it.
Paper Towns can be described as a contemporary, coming-of-age story. As mentioned already, Margo was portrayed as a confident girl whereas Quentin was the opposite. Despite Q stating “I wanted Margo’s disappearance to change me; but it hasn’t, not really” I think Green has shown major character developments, and possibly even role reversals. Q may never completely get rid of his anxieties and does not totally become a different person, but he does gain more confidence as he is forced out of his comfort zone, and his perception of other people also begins to alter. Margo on the other hand may not be all that she seems. The real Margo may in fact be a quiet, rather lost teen in a world she feels trapped in. I think this story and Q’s development has the potential to inspire others of similar ages and make all readers question things about themselves.
Overall, an exceptionally good read.
Set in Orlando, Florida, Paper Towns is narrated by eighteen-year-old Quentin Jacobson (often referred to as Q). It begins with a flash back to when he and next door neighbour, Margo Roth Spiegelman, were nine and discovered a dead body in the park. It is here that the differences in character are pointed out: “As I took those two steps back, Margo took two equally small and quiet steps forward.” Q is an anxious boy, whereas Margo comes across as very confident.
Despite their childhood relationship, for the main bulk of the story Q and Margo have grown apart. They belong to different social circles: Margo to the popular crowd and Q with the gamers, band members and social outcasts. But things take a turn when one night Margo climbs through Q’s bedroom window and insists he accompany her on a nighttime adventure, going around righting wrongs and wronging rights.
But the next day Margo runs away telling no one where she is going, except it appears that she has left clues to her whereabouts. Clues only intended for Q to discover. With the help of his prom-obsessed friend, Ben; Radar, the guy whose parents own the world’s largest collection of black Santas (seriously, where does Green come up with this stuff?); and Lacey, Margo’s best friend and Ben’s soon to be girlfriend; Q struggles to understand the clues and uncover Margo’s hiding place.
To begin with it is exciting to read about Q and his friends unscrambling the hidden messages but as the story goes on and Margo is yet to be found a sense of dread creeps up on us and Q begins to think the worst.
The final section, however, is fast past and thrilling to read as the characters travel across states, with a rather short time limit, in Q’s mini van in a final attempt to find Margo. What will they find when they arrive? Will Margo still be there?
At first I was not sure that I would like this book. Chapter one is mostly about Quentin, Ben and Radar fooling around as boys do, but once everything kicks off with Margo it is really exciting. Similarly to The Fault in our Stars, Green has filled Paper Towns with clever metaphors with paper, string, balloons and grass being used to represent life. It is a very witty narrative containing lots of humour, yet also manages to convey important ideas about the way we see the world, and the people in it.
Paper Towns can be described as a contemporary, coming-of-age story. As mentioned already, Margo was portrayed as a confident girl whereas Quentin was the opposite. Despite Q stating “I wanted Margo’s disappearance to change me; but it hasn’t, not really” I think Green has shown major character developments, and possibly even role reversals. Q may never completely get rid of his anxieties and does not totally become a different person, but he does gain more confidence as he is forced out of his comfort zone, and his perception of other people also begins to alter. Margo on the other hand may not be all that she seems. The real Margo may in fact be a quiet, rather lost teen in a world she feels trapped in. I think this story and Q’s development has the potential to inspire others of similar ages and make all readers question things about themselves.
Overall, an exceptionally good read.
Lee (2222 KP) rated Shazam! (2019) in Movies
Apr 8, 2019 (Updated Apr 8, 2019)
Shazam is the latest DC superhero to land himself a standalone movie and continues to highlight the fact that these self contained DC offerings really do seem to be a lot better than their rushed ensemble movie output. It also shows how much better they can be when straying from the traditional dark DC gloom and deciding to inject a bit more humour and fun into it all. Aquaman recently showed just how much of a box office success that formula can be, Wonder Woman before it to a certain extent, and although Shazam does certainly have some dark themes and moments, it’s ultimately a lot more fun than either of those.
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!
Movie Metropolis (309 KP) rated Terminator: Dark Fate (2019) in Movies
Oct 31, 2019
It might sound like we’re damning Terminator: Dark Fate with faint praise by declaring it the best Terminator sequel since T2, however that seems to be the way many Hollywood franchises are going nowadays.
After all, last year’s Halloween sequel was declared the best one yet simply because it retconned the events of its mostly dreadful predecessors and blasted them out of existence. Jurassic World: Fallen Kingdom was declared (by us anyway) the very best sequel the franchise has ever gotten, but The Lost World and Jurassic Park III were hardly critical darlings.
The similarities between the Terminator and Jurassic franchises don’t end there though. You see, in an effort to reboot the flagging sci-fi series, Deadpool director Tim Miller has been brought in with the legend that is James Cameron returning to the franchise in a producing role, similar to how Steven Spielberg still produces the Jurassic movies to this day.
Yes, it appears that ignoring poor sequels allows film-makers to go back to the good old days, rather than trying to shoehorn poor sequel after poor sequel until audiences stop turning up at the cinema. That’s what has happened with the Terminator franchise. Following James Cameron’s incredible first two films, the sequels that followed ranged from dreadful to downright shambolic. But is Dark Fate actually good? Or just better than what came before it?
Sarah Connor (Linda Hamilton returning to the role that defined her career) and a hybrid cyborg human, Grace (Mackenzie Davis) must protect a young girl (Natalia Reyes) from a newly modified liquid Terminator from the future.
Seeing Linda Hamilton return to such an iconic role after almost 30 years is a real highlight over the course of the film and she slots back into Sarah Connor’s shoes particularly well. She gets a few clunky one-liners but manages to stop them from sounding too ridiculous.
Elsewhere, Mackenzie Davis is absolutely cracking as Grace, a human-cyborg sent from the future. She’s full of heart and the script allows her to develop more of a personality than we’re used to from this franchise. Grace is a nicely fleshed out character with enough backstory to allow the audience to care for wellbeing.
Of course, Terminator fans are here to see Arnie and although his screen time is more limited than we’d like, it’s nice to see both him and Hamilton squaring up against each other again. We won’t spoil the plot devices used to bring about his return to the series, but they’re very well integrated and don’t feel as clunky as you might expect.
Set piece after set piece after set piece is thrown at the audience… but each one is so inventive that the probability of you getting bored is very slim indeed
Unfortunately, Natalia Reyes’ Dani is a little more wooden compared to her on-screen co-stars. There’s nothing particularly wrong with her character, but she’s merely there as a plot device and doesn’t really get to do much. It’s no easy feat to go up against Sarah Connor and the T-800 and while she tries her best, she falls a little short.
When it comes to action, Dark Fate pulls no punches. Set piece after set piece after set piece is thrown at the audience in an almost Fast & Furious-like way, but each one is so inventive that the probability of you getting bored is very slim indeed. The film starts with a very nicely choreographed chase on a freeway, culminating in a tense showdown at a power plant.
Dotted in between these rollercoaster moments however are some touching moments and well-timed comedy. While not on a level with Miller’s Deadpool, there are a couple of instances that raised a chuckle from the audience, though most of them involved Arnold Schwarzenegger and his deadpan line delivery.
Terminator: Dark Fate - Official Trailer (2019) - Paramount Pictures - YouTube
The CGI is mostly successful, though the lack of practical effects like those we saw in the film’s predecessors does lend an unnaturally glossy and artificial look to not only the Terminators themselves, but some of the landscapes. This is a bit of a shame as CGI body doubles are all too evident from time-to-time, but never does it pull you out of the film completely.
Overall, Terminator: Dark Fate is indeed the best sequel since T2. This is a film that successfully reboots a franchise that had been flagging for decades and is one of the year’s best action flicks. Not only does it bring back two of cinema’s most iconic characters, it places them in a film which is nicely shot, reasonably well-written and absolutely thrilling from start to finish. Now, if only the same winning formula could be applied to the Alien series, James Cameron may able to sleep soundly at night.
After all, last year’s Halloween sequel was declared the best one yet simply because it retconned the events of its mostly dreadful predecessors and blasted them out of existence. Jurassic World: Fallen Kingdom was declared (by us anyway) the very best sequel the franchise has ever gotten, but The Lost World and Jurassic Park III were hardly critical darlings.
The similarities between the Terminator and Jurassic franchises don’t end there though. You see, in an effort to reboot the flagging sci-fi series, Deadpool director Tim Miller has been brought in with the legend that is James Cameron returning to the franchise in a producing role, similar to how Steven Spielberg still produces the Jurassic movies to this day.
Yes, it appears that ignoring poor sequels allows film-makers to go back to the good old days, rather than trying to shoehorn poor sequel after poor sequel until audiences stop turning up at the cinema. That’s what has happened with the Terminator franchise. Following James Cameron’s incredible first two films, the sequels that followed ranged from dreadful to downright shambolic. But is Dark Fate actually good? Or just better than what came before it?
Sarah Connor (Linda Hamilton returning to the role that defined her career) and a hybrid cyborg human, Grace (Mackenzie Davis) must protect a young girl (Natalia Reyes) from a newly modified liquid Terminator from the future.
Seeing Linda Hamilton return to such an iconic role after almost 30 years is a real highlight over the course of the film and she slots back into Sarah Connor’s shoes particularly well. She gets a few clunky one-liners but manages to stop them from sounding too ridiculous.
Elsewhere, Mackenzie Davis is absolutely cracking as Grace, a human-cyborg sent from the future. She’s full of heart and the script allows her to develop more of a personality than we’re used to from this franchise. Grace is a nicely fleshed out character with enough backstory to allow the audience to care for wellbeing.
Of course, Terminator fans are here to see Arnie and although his screen time is more limited than we’d like, it’s nice to see both him and Hamilton squaring up against each other again. We won’t spoil the plot devices used to bring about his return to the series, but they’re very well integrated and don’t feel as clunky as you might expect.
Set piece after set piece after set piece is thrown at the audience… but each one is so inventive that the probability of you getting bored is very slim indeed
Unfortunately, Natalia Reyes’ Dani is a little more wooden compared to her on-screen co-stars. There’s nothing particularly wrong with her character, but she’s merely there as a plot device and doesn’t really get to do much. It’s no easy feat to go up against Sarah Connor and the T-800 and while she tries her best, she falls a little short.
When it comes to action, Dark Fate pulls no punches. Set piece after set piece after set piece is thrown at the audience in an almost Fast & Furious-like way, but each one is so inventive that the probability of you getting bored is very slim indeed. The film starts with a very nicely choreographed chase on a freeway, culminating in a tense showdown at a power plant.
Dotted in between these rollercoaster moments however are some touching moments and well-timed comedy. While not on a level with Miller’s Deadpool, there are a couple of instances that raised a chuckle from the audience, though most of them involved Arnold Schwarzenegger and his deadpan line delivery.
Terminator: Dark Fate - Official Trailer (2019) - Paramount Pictures - YouTube
The CGI is mostly successful, though the lack of practical effects like those we saw in the film’s predecessors does lend an unnaturally glossy and artificial look to not only the Terminators themselves, but some of the landscapes. This is a bit of a shame as CGI body doubles are all too evident from time-to-time, but never does it pull you out of the film completely.
Overall, Terminator: Dark Fate is indeed the best sequel since T2. This is a film that successfully reboots a franchise that had been flagging for decades and is one of the year’s best action flicks. Not only does it bring back two of cinema’s most iconic characters, it places them in a film which is nicely shot, reasonably well-written and absolutely thrilling from start to finish. Now, if only the same winning formula could be applied to the Alien series, James Cameron may able to sleep soundly at night.
Bob Mann (459 KP) rated The Greatest Showman (2017) in Movies
Sep 29, 2021
This IS the Greatest Show!
I sometimes wonder how “proper” UK film critics view films early for review. Is there a ‘special screening’ which all the film critics attend in London? The point I’m getting at is whether the collective critical opinion of a movie can be swayed by a critic leaping to their feet and wildly applauding a film like “Star Wars: The Last Jedi” or, alternatively, snorting in derision at a film like “The Greatest Showman”. For sometimes the critics seem to get it massively wrong across the board, panning a film that the general public will adore. Unfortunately, this has the effect of putting the general public off seeing it, especially in the lethargic post-Christmas period. I think here is a case in point. It’s not the best little film in the world, but as a musical crowd-pleaser it delivers in spades.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).
A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?).
There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).
It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Gareth von Kallenbach (980 KP) rated Joker (2019) in Movies
Oct 7, 2019 (Updated Oct 13, 2019)
Arthur Fleck (Joaquin Phoenix) is a broken and troubled man. Arthur toils in as demeaning and berated Clown for Hire, and lives with his troubled mother in a dilapidated apartment.
Arthur meets with a Social Worker in an attempt as the seven medications he takes simply are not cutting it and he struggles to cope in a world that has ignored and discarded him.
Arthur dreams of being a comedian but sadly lacks the confidence and ability to pull off his material which is iffy at best. Undaunted he keeps toiling away even when life continues to beat him down mentally and physically.
This all changes when Arthur stops being the victim during and assault and fights back.
Arthur stops taking his medication and becomes more determined and is no longer afraid to confront those who antagonize him.
This leads Arthur to some renewed opportunities such as an appearance on a talk show which he has long idolized.
All of this happens against a smoldering Gotham City where tensions are high and rising even higher due to a Garbage strike and a perception that the elite of the city have abandoned those in need such as eliminating Arthur’s Social Worker due to budget cuts.
With nowhere to go but up; Arthur transforms from a disturbed individual to a violent and deeply disturbed and dangerous individual who is angry and ready for revenge.
Phoenix is fantastic and he is not afraid to let unglamorous scenes of his very thin body or lingering close ups at unflattering angels undermine him. He uses them to illustrate just how disposable Arthur is too many in the film and to also show how little he cares about such matters. The role is deeply dark and disturbing and will no doubt spark much controversy and debate ranging from making a dangerous person a sympathetic figure as well as commentary about class structure and the danger of unstable people inspiring others via a Cult of Personality.
There is a connection to the larger Batman universe even though the film is light on action and FX. This is a character study of a decent into madness and it is deeply disturbing as it is compelling.
4.5 stars out of 5
http://sknr.net/2019/10/02/joker/
Arthur meets with a Social Worker in an attempt as the seven medications he takes simply are not cutting it and he struggles to cope in a world that has ignored and discarded him.
Arthur dreams of being a comedian but sadly lacks the confidence and ability to pull off his material which is iffy at best. Undaunted he keeps toiling away even when life continues to beat him down mentally and physically.
This all changes when Arthur stops being the victim during and assault and fights back.
Arthur stops taking his medication and becomes more determined and is no longer afraid to confront those who antagonize him.
This leads Arthur to some renewed opportunities such as an appearance on a talk show which he has long idolized.
All of this happens against a smoldering Gotham City where tensions are high and rising even higher due to a Garbage strike and a perception that the elite of the city have abandoned those in need such as eliminating Arthur’s Social Worker due to budget cuts.
With nowhere to go but up; Arthur transforms from a disturbed individual to a violent and deeply disturbed and dangerous individual who is angry and ready for revenge.
Phoenix is fantastic and he is not afraid to let unglamorous scenes of his very thin body or lingering close ups at unflattering angels undermine him. He uses them to illustrate just how disposable Arthur is too many in the film and to also show how little he cares about such matters. The role is deeply dark and disturbing and will no doubt spark much controversy and debate ranging from making a dangerous person a sympathetic figure as well as commentary about class structure and the danger of unstable people inspiring others via a Cult of Personality.
There is a connection to the larger Batman universe even though the film is light on action and FX. This is a character study of a decent into madness and it is deeply disturbing as it is compelling.
4.5 stars out of 5
http://sknr.net/2019/10/02/joker/
Kristy H (1252 KP) rated Summer of Salt in Books
Mar 6, 2019
Beautifully well-written with excellent characters and a powerful message
In Georgina Fernweh's family, it's just accepted: the Fernweh women have magic. Every female in Georgina's family has received their magic by age of eighteen. Georgina is almost eighteen, though, and she's shown no sign of getting her magic. Her twin sister, Mary, has floated since birth. Mary and Georgina live on an island, By-the-Sea, which isn't a regular place to grow up. Strange things happen here: it could snow one minute and be sunny and 70 the next. Their mother concocts sleeping potions when the girls can't sleep. And every summer people flock to the island to watch a three-hundred-year old bird who may or may not be a Fernweh ancestor. But when something terrible happens on the island, the Fernweh family (and their magic) comes under a suspicious light. And Georgina starts to wonder about her past--and future.
I picked up this book thanks to my Goodreads friend Melanie, whose review convinced me that this was worth reading. I so rarely read a book that wasn't planned, so thanks! This was totally worth it. This is a beautiful book--it's well-written, lyrical, and a magical read, both in content and writing.
The storyline on this one is amazing--I have a soft spot for tales about twins. I really liked the dynamic between Georgina and Mary: it was very realistic. The characters are well-developed, and I fell for Georgina immediately. There's also a wonderful lesbian storyline, which is always a plus. The book weaves a mystical, magical tale--if you can't suspend disbelief easily, it might not be for you. But it's so easy to get caught up in the plot, and at its core, it's a story about families and love.
"'Well, you won't have me at college, so you'll have to make some new friends.' 'Ugh. That sounds exhausting. They should assign you friends like they assign you a roommate.'"
There's also some serious parts to this book and some just freaking amazing quotes related to sexual assault and rape that I wanted to blow up and put on the walls of every high school everywhere. I won't quote most of them here, due to spoilers, but wow--this is a powerful, powerful novel that had me pumping my fist and cheering for the characters. There's some real strength here and a message everyone should read, especially in our current times.
"Because there was nothing in a girl's history that might negate her right to choose what happens to her body."
Overall, this was a great book. It's beautifully well-written with excellent characters and a powerful message. This is one where I would love a second book to follow these characters.
I picked up this book thanks to my Goodreads friend Melanie, whose review convinced me that this was worth reading. I so rarely read a book that wasn't planned, so thanks! This was totally worth it. This is a beautiful book--it's well-written, lyrical, and a magical read, both in content and writing.
The storyline on this one is amazing--I have a soft spot for tales about twins. I really liked the dynamic between Georgina and Mary: it was very realistic. The characters are well-developed, and I fell for Georgina immediately. There's also a wonderful lesbian storyline, which is always a plus. The book weaves a mystical, magical tale--if you can't suspend disbelief easily, it might not be for you. But it's so easy to get caught up in the plot, and at its core, it's a story about families and love.
"'Well, you won't have me at college, so you'll have to make some new friends.' 'Ugh. That sounds exhausting. They should assign you friends like they assign you a roommate.'"
There's also some serious parts to this book and some just freaking amazing quotes related to sexual assault and rape that I wanted to blow up and put on the walls of every high school everywhere. I won't quote most of them here, due to spoilers, but wow--this is a powerful, powerful novel that had me pumping my fist and cheering for the characters. There's some real strength here and a message everyone should read, especially in our current times.
"Because there was nothing in a girl's history that might negate her right to choose what happens to her body."
Overall, this was a great book. It's beautifully well-written with excellent characters and a powerful message. This is one where I would love a second book to follow these characters.
Carma (21 KP) rated A Nice Day for a Cowboy Wedding (A Mile High Romance #4) in Books
Jun 17, 2019
It is always a nice day for a cowboy wedding
..Cora Preston is trying to make the best wedding happen for her clients even though every fiber in her body is telling her she will fail. She has worked hard to let go of the negative feelings she has for herself and her abilities but after so many years, it is easy to fall back into her old trappings. She has to do better, for her sister and the company, for her son and for herself. But can she trust herself to let success come without automatically expecting the worst?
Shane Tyler is a fixer, he fixes his ranch, his siblings, his mother. The one thing he couldnt fix has haunted him is a secret from when he was 12 years old. When the pretty new wedding planner shows up at their ranch to help his Mom with her marriage he figures out a way to get this wedding stopped once and for all.
Cora and Shane are both coming into this with the same sort of back issues in their lives but from completely different places. Cora has nothing but fixers in her life while Shane has nothing but people needing saved in his. Or so they both think. On the wedding front, Shane wants to get his mother to see the man she wants to marry is wrong for her and Cora does everything in her power to make Shane see he is wrong. Can they work together to prove their respective points, while navigating this slippery slope, despite being wildly attracted to each other?
I have been a fan of Nicole Helms writing for a while now and this one certainly doesnt disappoint earning 4 1/2 stars. Im usually pretty good at figuring out a storyline and I was greatly relieved to see that one point I was sure would happen, did not. Cora and Shane though both appearing confident in themselves were very much the opposite and I liked the way they both realized they needed to make that change in themselves. Moms definitely do know best always, even flawed ones like Cora and Deb Tyler doesnt miss a trick. Throw in the awesome Grandma Maisey, her sword collection and a possible love connection with Skeet in the future (please please) and this book is wonderfully all family.
I received an advance copy from Netgalley without any expectation for review. Any and all opinions expressed are my own. Another great read from Ms Helm and I cant wait to read the next chapter(s) to come in Gracely, Colorado.
Shane Tyler is a fixer, he fixes his ranch, his siblings, his mother. The one thing he couldnt fix has haunted him is a secret from when he was 12 years old. When the pretty new wedding planner shows up at their ranch to help his Mom with her marriage he figures out a way to get this wedding stopped once and for all.
Cora and Shane are both coming into this with the same sort of back issues in their lives but from completely different places. Cora has nothing but fixers in her life while Shane has nothing but people needing saved in his. Or so they both think. On the wedding front, Shane wants to get his mother to see the man she wants to marry is wrong for her and Cora does everything in her power to make Shane see he is wrong. Can they work together to prove their respective points, while navigating this slippery slope, despite being wildly attracted to each other?
I have been a fan of Nicole Helms writing for a while now and this one certainly doesnt disappoint earning 4 1/2 stars. Im usually pretty good at figuring out a storyline and I was greatly relieved to see that one point I was sure would happen, did not. Cora and Shane though both appearing confident in themselves were very much the opposite and I liked the way they both realized they needed to make that change in themselves. Moms definitely do know best always, even flawed ones like Cora and Deb Tyler doesnt miss a trick. Throw in the awesome Grandma Maisey, her sword collection and a possible love connection with Skeet in the future (please please) and this book is wonderfully all family.
I received an advance copy from Netgalley without any expectation for review. Any and all opinions expressed are my own. Another great read from Ms Helm and I cant wait to read the next chapter(s) to come in Gracely, Colorado.