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BookInspector (124 KP) rated The Gardener's Daughter in Books
Sep 24, 2020
Oh Ava, Ava, Ava… Why are you playing an adult, when you are just a child??? Why?
The main lead in this novel is Ava, a nineteen-year-old girl, who finds out that she is adopted. Filled with anger and wish to find out who her real dad is, she runs away from home, getting herself in a lot more trouble than she could dream. This book offers a very wide variety of different characters, who bring intrigue and personality to the whole book. I really liked this selection of characters in this novel, and I think they all played their roles really well. However, Ava really annoyed me sometimes, with her silly and very childish decisions and actions. My favourite would be Theo, I loved his kind nature and heart, and he represented real father figure to me.
I really liked the plot of this novel, it was very well crafted, bringing a compelling and interesting setting and plenty of intrigues. It was really interesting to read all those bits and pieces of camp’s life and what can be hiding behind closed doors. The twists and turns were smartly placed and left me pleasantly surprised.
I think Hitchins is a very talented author, she has a great eye for detail and very creative writing style. I found the chapters quite long for my liking, but overall, the book didn’t drag for me because I was quite keen to find out, what will happen next. I really enjoyed the ending of this novel, and if there will be a continuation, I will be definitely waiting for it. 🙂 So, to conclude, this is a very amusing book, filled with very well developed and engrossing characters and intriguing plot, and I truly believe that Hitchins is incredibly good at what she does. So please give this book a try and hopefully you will enjoy it as much as I did. 🙂
The main lead in this novel is Ava, a nineteen-year-old girl, who finds out that she is adopted. Filled with anger and wish to find out who her real dad is, she runs away from home, getting herself in a lot more trouble than she could dream. This book offers a very wide variety of different characters, who bring intrigue and personality to the whole book. I really liked this selection of characters in this novel, and I think they all played their roles really well. However, Ava really annoyed me sometimes, with her silly and very childish decisions and actions. My favourite would be Theo, I loved his kind nature and heart, and he represented real father figure to me.
I really liked the plot of this novel, it was very well crafted, bringing a compelling and interesting setting and plenty of intrigues. It was really interesting to read all those bits and pieces of camp’s life and what can be hiding behind closed doors. The twists and turns were smartly placed and left me pleasantly surprised.
I think Hitchins is a very talented author, she has a great eye for detail and very creative writing style. I found the chapters quite long for my liking, but overall, the book didn’t drag for me because I was quite keen to find out, what will happen next. I really enjoyed the ending of this novel, and if there will be a continuation, I will be definitely waiting for it. 🙂 So, to conclude, this is a very amusing book, filled with very well developed and engrossing characters and intriguing plot, and I truly believe that Hitchins is incredibly good at what she does. So please give this book a try and hopefully you will enjoy it as much as I did. 🙂
Clare Parrott (294 KP) created a post
Jul 25, 2017
Country Nights
5.0
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From WSJ bestselling romance author Winter Renshaw comes an angsty small town romance with a twist...
Romance Contemporary
Sophia (Bookwyrming Thoughts) (530 KP) rated MARY: The Summoning (Bloody Mary, #1) in Books
Jan 23, 2020
I don't know the precise reason why I actually requested The Summoning in the first place. I do know that I must have been really intrigued by the idea of a retelling of Bloody Mary and maybe just wanted a break from the influx of YA books that have some type of romance running about. Or, I just wanted to measure Hillary Monahan's debut novel with a scare-a-meter.
The first in the Bloody Mary series follows Shauna O'Brien, who decides to join with her 3 friends, Jess, Anna and Kitty to summon Bloody Mary, a legend that has been around since the 1960s with rumors that the person is someone who died near the end of the Civil War by the name of Mary Worth. As a result of summoning Bloody Mary, the spirit manages to go free from its rightful place within the boundaries of a mirror and begins to haunt the 4 girls, Shauna being her main victim.
Possibly what Mary so scary is the very fact she pops out everywhere almost and locks doors/windows. As the author so puts it in a sentence...
<blockquote>Mary was appearing without a summoning, manipulating objects, haunting glass, and skipping from surface to surface.</blockquote>
I did have a problem with Mary's abilities though. While it certainly puts a wow to the scare factor, Mary seems a little... too powerful. Reflective object manipulation? That's almost everything if you ask me. Computer/Tablet screens, washers/dryers, refrigerators, windows, doorknobs, lambs, flash drives, scissors, transportation, sinks, etc. So not only does the haunted have to live in isolation to protect everyone they love, but s/he have to live smelling like poo and crap for the rest of their lives because they can't take a decent shower?
<img src="http://3.bp.blogspot.com/-nfP1y5PZpOs/U49rNV8em4I/AAAAAAAADZo/XHTD2iwNTxs/s1600/giphy.gif"; border="0">
Somehow, I don't think Mary qualifies as a ghost now. More like a demon in my humble opinion. While that may scare readers at first, eventually some will catch on and Mary won't be as scary.
The Summoning is basically the ultimate friendship test for the main characters – Jess, Anna, Kitty and Shauna have been best friends for quite awhile, so when Shauna begins to see Mary everywhere, they have to try to work together to get rid of the ghost. <spoiler>Apparently this test failed, because Anna gets taken. Once you're gone, you're technically gone. It's not like doing anything would have brought Anna back. Although I did like her, so it was actually sad to see her get taken through the mirror by a ghost.</spoiler>
So the ultimate question from the beginning: how well can Hillary Monahan scare me? Quite well, but I managed to sleep very well. While I'll certainly applaud on what a chilling twist on an urban legend The Summoning was, Mary needs to be toned down a bit to make her more believable.
----------------
Advanced Review copy provided by Disney Hyperion for review
Original Rating: 4.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/08/arc-review-mary-the-summoning-by-hillary-monahan.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
The first in the Bloody Mary series follows Shauna O'Brien, who decides to join with her 3 friends, Jess, Anna and Kitty to summon Bloody Mary, a legend that has been around since the 1960s with rumors that the person is someone who died near the end of the Civil War by the name of Mary Worth. As a result of summoning Bloody Mary, the spirit manages to go free from its rightful place within the boundaries of a mirror and begins to haunt the 4 girls, Shauna being her main victim.
Possibly what Mary so scary is the very fact she pops out everywhere almost and locks doors/windows. As the author so puts it in a sentence...
<blockquote>Mary was appearing without a summoning, manipulating objects, haunting glass, and skipping from surface to surface.</blockquote>
I did have a problem with Mary's abilities though. While it certainly puts a wow to the scare factor, Mary seems a little... too powerful. Reflective object manipulation? That's almost everything if you ask me. Computer/Tablet screens, washers/dryers, refrigerators, windows, doorknobs, lambs, flash drives, scissors, transportation, sinks, etc. So not only does the haunted have to live in isolation to protect everyone they love, but s/he have to live smelling like poo and crap for the rest of their lives because they can't take a decent shower?
<img src="http://3.bp.blogspot.com/-nfP1y5PZpOs/U49rNV8em4I/AAAAAAAADZo/XHTD2iwNTxs/s1600/giphy.gif"; border="0">
Somehow, I don't think Mary qualifies as a ghost now. More like a demon in my humble opinion. While that may scare readers at first, eventually some will catch on and Mary won't be as scary.
The Summoning is basically the ultimate friendship test for the main characters – Jess, Anna, Kitty and Shauna have been best friends for quite awhile, so when Shauna begins to see Mary everywhere, they have to try to work together to get rid of the ghost. <spoiler>Apparently this test failed, because Anna gets taken. Once you're gone, you're technically gone. It's not like doing anything would have brought Anna back. Although I did like her, so it was actually sad to see her get taken through the mirror by a ghost.</spoiler>
So the ultimate question from the beginning: how well can Hillary Monahan scare me? Quite well, but I managed to sleep very well. While I'll certainly applaud on what a chilling twist on an urban legend The Summoning was, Mary needs to be toned down a bit to make her more believable.
----------------
Advanced Review copy provided by Disney Hyperion for review
Original Rating: 4.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/08/arc-review-mary-the-summoning-by-hillary-monahan.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
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Gareth von Kallenbach (980 KP) rated Suburbicon (2017) in Movies
Jul 11, 2019
Suburbicon is a picturesque community built to free families from all the hustle and bustle of the big city but with all the amenities a community will need. For all intents in purposes Suburbicon is the ideal place to raise a family in the 1950s. That is exactly what the Lodge family is doing. That is until the night Nicky (Noah Jupe) is awoken by his father, Gardner (Matt Damon), and told that there are two men in the house. The two criminals, Sloan and Louis (Glenn Fleshler and Alex Hassell), move the family to the kitchen and tie Nicky, Gardner, Nicky’s mother Rose (Julianne Moore) and Rose’s sister Margaret (also Julianne Moore) to chairs and put them to sleep using chloroform. When Nicky awakens in the hospital his father and aunt are waiting for him but sadly his mother was overdosed with chloroform and died. After the funeral it is decided by Gardner that Aunt Margaret should come stay with them. When officer Hightower (Jack Conley) calls to let them know they have found two possible suspects Gardner rushes to the police station to look at a lineup. Gardner arrives and is surprised to find Margaret and Nicky there. He asks that Nicky be left outside to save him from the trauma. After a line of potential criminals are paraded in front of Gardner and Margaret both agree that the perpetrators are not there. When they turn around they are surprised to see Nicky with a shocked look on his face as he is staring directly at Sloan and Louis. Nicky now knows that something is going on with his mother’s death and he may be trapped in a house with the two people who are responsible. He is not the only one that thinks something is amiss an insurance investigator, Bud Cooper (Oscar Isaac), shows up with questions about the policy. Is the Suburbicon truly the sanctuary that it looks like from the outside or is there something sinister happening behind closed doors?
This dark comedy, thriller, and mystery is directed by George Clooney (The Monuments Men, Leatherheads) and written by Joel and Ethan Coen (Fargo, The Big Lebowski). The film has some fun moments and interesting twists. I enjoyed how they made the film authentic to the 1950s era. The scenery and sets all give you the feel of the time period. The performances were are mostly well done. Julianne Moore’s performance was really good in both roles but especially as the out there Margaret. She was at times very innocent and loving and the next moment really scary in a deranged kind of way. The supporting cast was large and all were fun, especially the dry Hightower (Conley) and the lovable Uncle Mitch (Gary Basaraba). Matt Damon is part scary and funny but sometimes over the top.
Where this film lost me was on parts of the story really that felt disjointed from other parts of the film. For instance another story line that is playing out during the film is that the Mayers’ family moves to Suburbicon on the same day that the break in at the Lodge’s. The Mayers are the first African American family to move into the area and they are instantly judged and discriminated against. As the movie continues and more craziness is happing at the Lodge home, which shares a back yard with the Mayers, there is an escalation in the persecution of the Mayers. I totally understand what point the film was attempting to make about how people were up in arms about a single family that just moving the town and ignoring, or rather too busy to even notice, the evil deeds being committed so close. I just believe that two stories never felt like they were truly tied together and in some points even part of the same film. I really believe an opportunity was missed. Also the comedy was at times really good but also times where it felt forced. When Matt Damon is riding a child bike with a blood soaked shirt down suburban streets you would think that would be funny, and it looked funny in the trailer, but it felt forced when put into the context of the scene.
Overall this is a film was good but really left me feeling like I just didn’t get it. It was definitely original and I would encourage people to watch it and come to their own conclusions.
This dark comedy, thriller, and mystery is directed by George Clooney (The Monuments Men, Leatherheads) and written by Joel and Ethan Coen (Fargo, The Big Lebowski). The film has some fun moments and interesting twists. I enjoyed how they made the film authentic to the 1950s era. The scenery and sets all give you the feel of the time period. The performances were are mostly well done. Julianne Moore’s performance was really good in both roles but especially as the out there Margaret. She was at times very innocent and loving and the next moment really scary in a deranged kind of way. The supporting cast was large and all were fun, especially the dry Hightower (Conley) and the lovable Uncle Mitch (Gary Basaraba). Matt Damon is part scary and funny but sometimes over the top.
Where this film lost me was on parts of the story really that felt disjointed from other parts of the film. For instance another story line that is playing out during the film is that the Mayers’ family moves to Suburbicon on the same day that the break in at the Lodge’s. The Mayers are the first African American family to move into the area and they are instantly judged and discriminated against. As the movie continues and more craziness is happing at the Lodge home, which shares a back yard with the Mayers, there is an escalation in the persecution of the Mayers. I totally understand what point the film was attempting to make about how people were up in arms about a single family that just moving the town and ignoring, or rather too busy to even notice, the evil deeds being committed so close. I just believe that two stories never felt like they were truly tied together and in some points even part of the same film. I really believe an opportunity was missed. Also the comedy was at times really good but also times where it felt forced. When Matt Damon is riding a child bike with a blood soaked shirt down suburban streets you would think that would be funny, and it looked funny in the trailer, but it felt forced when put into the context of the scene.
Overall this is a film was good but really left me feeling like I just didn’t get it. It was definitely original and I would encourage people to watch it and come to their own conclusions.
BankofMarquis (1832 KP) rated Ready Player One (2018) in Movies
Apr 17, 2018
Entertaining film - but the book was better
I loved the book.
When that phrase is uttered, it doesn't necessarily mean that the film has a strike going against it. For every film that "the book was better" (MISS PEREGRINE and THE GIRL ON THE TRAIN, for instance), I can also point to films where they "did justice to the book" (like THE MARTIAN and the recent version of IT).
So...it was with some trepidation - and some excitement - that I checked into the virtual world of the Oasis and caught READY PLAYER ONE. Most of my excitement was because I was going see this Steven Spielberg opus on the big screen in 70mm. I was ready for an immersive, stunningly visual film experience.
And...I wasn't disappointed.
Set in a not-too-distant-future, dystopian world (is there any other?), READY PLAYER ONE is part WILLIE WONKA and part THE MATRIX. A brilliant game designer has died and has littered his virtual world - a world where most of the people on planet Earth go to escape the poverty and depravity of the "real world" - with clues and an "Easter Egg" (literally). The first one to find the hidden Easter Egg gains ownership of the Oasis. 5 years later, no one has found anything and it has turned into a battle between the evil Corporate conglomerate IOI that wants to commercialize the Oasis and the "gunters" (Grail hunters) that want to keep the Oasis "pure".
So, into this world, Spielberg brings us - and succeeds for the most part. The most stunning part of this film - and the reason I wanted to see this on the big screen and in 70mm - is that 80% of it takes place in the Oasis, the virtual reality world. The scenery, imagery and detail of this world are a marvel to behold. Since it is a virtual world, you can throw away the laws of physics - and that is a fun aspect of things (especially when you forget that your are in a virtual, and not a real, world).
The real fun of this story (both in the book and in the movie) is that most of the Oasis is filled with homages to 1980's Pop Culture (with some 60's, 70's and 90's thrown in), so you are treated to many fun "cameo" images on the screen (like the DeLorean from BACK TO THE FUTURE) - even if they are in the background. I won't give much away, but in one scene I spotted the "open the pod bay doors, HAL" pod from 2001:A SPACE ODYSSEY, just hanging out in the background without anyone referring to it. If you are any kind of pop culture "nerd" you will be in hog heaven with this aspect of the movie.
And that's a good thing because we spend, as I said, 80% of our time in this film in this virtual world - and it is well worth the trip. The other 20% is spent in the "real world" and the visuals, the imagery and, sadly, the characters are just not as exciting or interesting.
Take, for example, our 5 heroes - the "High Five" gunters. In the Oasis, their avatars are interesting to look at and to spend time with. Outside of the Oasis, the 5 actors who inhabit these characters are - to be honest - somewhat boring and lacking in screen presence and charisma.
I blame most of the lack of charisma on Spielberg, who - obviously - spent most of his attention (rightfully so) on the special effects and creating the world of the Oasis. He left the actors to "do their thing" and these 5 kids (or maybe I should say "young adults") just don't have the chops to pull it off. Someone who does - Ben Mendehlson as the Corporation's head and the main villain of this piece - eats scenery like it is snack chips. The only thing he didn't do in this film is twirl his mustache and tie the female lead to the train tracks. Add to that performance the usually obnoxious TJ Miller, as the main henchman who is up to his usual, obnoxious self here. I could have used a lot less of both of these characters.
What I could have used a lot more of is the brilliant Mark Rylance - superbly underplaying his role as the game's chief designer, who pops up in virtual flashbacks and commands the screen whenever he is on. His partner is played by the usually reliable Simon Pegg, who was "fine", but - if I'm being honest - I think is miscast in this film.
Is it a good film? I'd have to say yes - I enjoyed myself very much - and you will too. I did, though, walk out thinking about what a missed opportunity it was. The film could have been better.
The book, certainly, was better.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
When that phrase is uttered, it doesn't necessarily mean that the film has a strike going against it. For every film that "the book was better" (MISS PEREGRINE and THE GIRL ON THE TRAIN, for instance), I can also point to films where they "did justice to the book" (like THE MARTIAN and the recent version of IT).
So...it was with some trepidation - and some excitement - that I checked into the virtual world of the Oasis and caught READY PLAYER ONE. Most of my excitement was because I was going see this Steven Spielberg opus on the big screen in 70mm. I was ready for an immersive, stunningly visual film experience.
And...I wasn't disappointed.
Set in a not-too-distant-future, dystopian world (is there any other?), READY PLAYER ONE is part WILLIE WONKA and part THE MATRIX. A brilliant game designer has died and has littered his virtual world - a world where most of the people on planet Earth go to escape the poverty and depravity of the "real world" - with clues and an "Easter Egg" (literally). The first one to find the hidden Easter Egg gains ownership of the Oasis. 5 years later, no one has found anything and it has turned into a battle between the evil Corporate conglomerate IOI that wants to commercialize the Oasis and the "gunters" (Grail hunters) that want to keep the Oasis "pure".
So, into this world, Spielberg brings us - and succeeds for the most part. The most stunning part of this film - and the reason I wanted to see this on the big screen and in 70mm - is that 80% of it takes place in the Oasis, the virtual reality world. The scenery, imagery and detail of this world are a marvel to behold. Since it is a virtual world, you can throw away the laws of physics - and that is a fun aspect of things (especially when you forget that your are in a virtual, and not a real, world).
The real fun of this story (both in the book and in the movie) is that most of the Oasis is filled with homages to 1980's Pop Culture (with some 60's, 70's and 90's thrown in), so you are treated to many fun "cameo" images on the screen (like the DeLorean from BACK TO THE FUTURE) - even if they are in the background. I won't give much away, but in one scene I spotted the "open the pod bay doors, HAL" pod from 2001:A SPACE ODYSSEY, just hanging out in the background without anyone referring to it. If you are any kind of pop culture "nerd" you will be in hog heaven with this aspect of the movie.
And that's a good thing because we spend, as I said, 80% of our time in this film in this virtual world - and it is well worth the trip. The other 20% is spent in the "real world" and the visuals, the imagery and, sadly, the characters are just not as exciting or interesting.
Take, for example, our 5 heroes - the "High Five" gunters. In the Oasis, their avatars are interesting to look at and to spend time with. Outside of the Oasis, the 5 actors who inhabit these characters are - to be honest - somewhat boring and lacking in screen presence and charisma.
I blame most of the lack of charisma on Spielberg, who - obviously - spent most of his attention (rightfully so) on the special effects and creating the world of the Oasis. He left the actors to "do their thing" and these 5 kids (or maybe I should say "young adults") just don't have the chops to pull it off. Someone who does - Ben Mendehlson as the Corporation's head and the main villain of this piece - eats scenery like it is snack chips. The only thing he didn't do in this film is twirl his mustache and tie the female lead to the train tracks. Add to that performance the usually obnoxious TJ Miller, as the main henchman who is up to his usual, obnoxious self here. I could have used a lot less of both of these characters.
What I could have used a lot more of is the brilliant Mark Rylance - superbly underplaying his role as the game's chief designer, who pops up in virtual flashbacks and commands the screen whenever he is on. His partner is played by the usually reliable Simon Pegg, who was "fine", but - if I'm being honest - I think is miscast in this film.
Is it a good film? I'd have to say yes - I enjoyed myself very much - and you will too. I did, though, walk out thinking about what a missed opportunity it was. The film could have been better.
The book, certainly, was better.
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated 2001: A Space Odyssey (1968) in Movies
Mar 4, 2018
Groundbreaking Special Effects (1 more)
Music
Truly...a masterpiece
Over the years, many, many words have been written and said about the 1968 Stanley Kubrick opus, 2001: A SPACE ODYSSEY, but after re-watching it, there is only 1 word I would write about it...
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated 2001: A Space Odyssey (1968) in Movies
Jul 4, 2018
A Masterpiece
Over the years, many, many words have been written and said about the 1968 Stanley Kubrick opus, 2001: A SPACE ODYSSEY, but after re-watching it, there is only 1 word I would write about it...
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
MASTERPIECE
I have a long history with this film. My father took me to it as a 7 year old. I was intrigued by the Sci-Fi special effects, but mostly liked the monkeys at the beginning. I then saw it again as a college student in the early 1980's and was "really into" (for obvious reasons) the psychedelic special effects at the end. Later...in the early 1990's, during my Arthur C. Clark phase, I read the book and then re-watched the film and my understanding of what was happening on the screen gelled and, consequently, my fascination and respect for the themes and scope of 2001 opened up new doors of understanding. I think I have seen it another 4 or 5 times since then and have appreciated it in different ways each time.
For this viewing, I walked away with a sense of awe of the sheer craftsmanship and audacity that Kubrick put up on the screen. The scope of the project in 1968 was (I'm sure) daunting with a subject matter that was just outside of normal vision, so for Kubrick to get a studio to o'k this film is mind-boggling to me.
But...how does it stack up as a film? Very well, indeed.
Told in 4 parts, 2001: A SPACE ODYSSEY tells the tale of mankind's evolution from ape-man to space explorers and the mysterious, monolithic aliens who help mankind advance along this line.
In the hands of the great Stanley Kubrick, 2001 dazzles with pure visionary visuals, exploding heretofore unseen images on the screen. Showing us what could be possible in outer space visuals (not just paper plates hung on a wire against a star background). The film is full of Kubrick hallmarks - meticulously staged and choreographed scenes, stark colors - mostly one color with a dab of another color across the screen, and long scenes where not much dialogue takes place, but what is said (or not said) in the pauses speaks volume. Some would call this type of film making boring (and I have accused other filmmakers who have attempted this as boring and pretentious), but in the hands of Kubrick, this film is mesmerizing and continuously fascinating.
The first 20 minutes of the film - the DAWN OF MAN portion - and the last 20 minutes - the JUPITER AND BEYOND THE INFINITE portion - are both dialogue-free. Kubrick let's the action and visuals speak for themselves. In between are THE MOON portion, which really serves as the audience introduction into the style and substance of the film, the wonderfully, Oscar winning special effects set upon a backdrop of classical music (who can hear Also sprach Zarathustra and not think of 2001)?
It is during the 3rd - and most famous - portion of this film that a viewer will either engage or disengage with this film. This is the famous HAL 9000 portion of the film where 2 astronauts end up battling with a increasingly unstable artificial intelligence on a journey to Jupiter. It is here where Kubrick, I feel, is at his best. The long, uncomfortable silences and the glances between the two astronauts (played wonderfully by the oft-praised Keir Dullea and the underrated Gary Lockwood) leads to a sense of dread that is very reminiscent of Alfred Hitchcock at his finest.
I will admit that this film is not for everyone - and more than 1 of you reading this will attempt to watch 2001:A SPACE ODYSSEY and fall asleep during the middle of it - but for those of you that can plug into what Kubrick was achieving here will be rewarded with a very rich, very fascinating and very GOOD film that will garner conversation and criticism for many, many years to come.
Truly...a masterpiece.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank(ofMarquis)
