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5 Minute Movie Guy (379 KP) rated Focus (2015) in Movies
Jul 1, 2019
The problem with Focus is that it treats its audience like we're all as dumb as nails. While the film itself is entertaining, its cons are unconvincing, and it's not nearly as smart as it thinks it is.
After watching Focus, I thought back to a great line from Will Smith’s con artist character Nicky Spurgeon, in which he proclaims, “There’s two kinds of people in this world. There’s hammers and nails. You decide which one you want to be.” It’s a powerful and chilling line of dialogue that emphasizes Nicky’s need to exert power and control over others in order to be successful in his indecent business. The problem with the film, however, is that it treats its audience like we’re all as dumb as nails.
Unfortunately, therein lies the film’s biggest problem. While I do think there is some merit in its depiction of the con game, Focus for the most part is unconvincing. Not only did I feel like I was being conned by the characters, but I felt like I was being conned by the legitimacy of the cons themselves. Most of them are quite a stretch, to say the least, but more troublesome is that their successful outcomes don’t ever feel truly earned. Everything just cleans up too neatly, due to some inane level of planning that relies on far too many improbable factors and additionally treats every mistake as if it was part of the plan all along. Therefore, trying to take Focus seriously is something of a brain-numbing exercise. While the film itself is fairly entertaining, it’s not nearly as smart as it thinks it is.
As a viewer, it feels like there’s not much of a pay-off in watching them pull off their successful schemes, and that’s largely because we’re left out of the loop. We the audience are being played the whole time. We’re not given any room for our own participation and guesswork because the movie gives us no clues to help us solve the puzzle. Yet it’s inviting us to look for answers by emphasizing the importance of being focused and aware, while withholding any and all necessary clues to help us make sense of what is happening along the way.
In Focus, Will Smith plays con-man Nicky, who meets a beautiful woman named Jess (Margot Robbie) while dining alone one night. After inviting Nicky to her hotel room, Jess attempts to con him with the help of a friend, but ultimately fails. After all, you can’t hustle a hustler. Being eager to learn more, Jess wants Nicky to take her under his wing and teach her the art of his craft. What ensues is a steamy relationship and a partnership in deception.
Jess proves to be a natural in the con game, quickly earning the respect and admiration of Nicky, who allows her to join his thirty-strong crew. This team of crooks racks up millions through swindling, hustling, and pickpocketing. It’s fun to watch the action unfold, but a little disconcerting that it glorifies these criminals while they’re plainly stealing from innocent strangers. Make no mistake about it, Focus portrays them as the good guys, and offers little to no consequence for their devious actions. Still, it’s hard to root against this cast of con-artists, and you’ll want to see how they manage to get away with it all.
Instead, Focus tries to make you believe there isn’t any con in play at all, only to later pull out the rug to reveal a highly ludicrous scenario. It feels dishonest and cheap, like it’s essentially cheating its way to the desired outcome without doing the work to get there. It’s selling its own capers short and taking the fun out of them. Thus even the climax of the film feels disjointed because we can’t believe what we’re seeing and just have to watch incredulously as we wait for the inevitable far-fetched explanation.
Despite the shortcomings of the cons, I would like to express that the film still does plenty of things right. First and foremost, Will Smith shines in his performance, adding enough perplexity to his character to keep you on your toes. He makes it hard to tell whether or not his character Nicky is bluffing, which helps add to the tension of scenes. Even when Nicky appears to break character and let his guard down, I still found myself guessing about his true intentions. While the movie is overall somewhat of a letdown, I can safely say that Will Smith absolutely nails it.
The only issue I had with Will Smith is his character’s obsession with Margot Robbie’s Jess. I’m sure many guys could attest to a Margot Robbie obsession, but I’m not one of those guys. While the chemistry between Smith and Robbie was fairly good, it did seem more than a tad blown out of proportion. The romance between them felt rushed and more lustful than loving. Still, Robbie gives a respectable performance of deception and allure.
I would like to particularly applaud the work of B.D. Wong, who plays a high-stakes roller that gambles with Nicky during the Super Bowl, in what is my personal favorite scene of the movie. The tension between Wong and Smith is absolutely electrifying, and they play off of each other extraordinarily well. I was on the edge of my seat throughout their whole encounter, only to have the moment spoiled by an absurd and unlikely final outcome.
The other performances are all adequate, though most of the characters are given little screen time, aside from Nicky’s perverted, overweight associate Farhad (Adrian Martinez) who musters up a few laughs. The dialogue can be pretty hit-or-miss, and the plot is rather thin, but the production values are outstanding. This is a film that is unmistakably beautiful to look at, with gorgeous sets and superb camera work. One particularly admirable scene has the camera placed in the passenger seat focused on a man who is gearing himself up before he deliberately crashes his car head-on into another. It’s a moment that feels like a strange detour, and yet it’s so bizarre and memorable that it just works.
Focus has the makings of an excellent film, but it regrettably drops the ball by fumbling the con game. If only the cons themselves weren’t so far-fetched and sloppy, the whole movie would have been a whole lot more effective. Despite the film’s insistence that you look closely, its most pivotal moments don’t hold up to any sort of analysis or scrutiny. In other words, this is a film that would be best enjoyed out of focus.
(This review was originally posted at 5mmg.com on 1.31.16.)
Unfortunately, therein lies the film’s biggest problem. While I do think there is some merit in its depiction of the con game, Focus for the most part is unconvincing. Not only did I feel like I was being conned by the characters, but I felt like I was being conned by the legitimacy of the cons themselves. Most of them are quite a stretch, to say the least, but more troublesome is that their successful outcomes don’t ever feel truly earned. Everything just cleans up too neatly, due to some inane level of planning that relies on far too many improbable factors and additionally treats every mistake as if it was part of the plan all along. Therefore, trying to take Focus seriously is something of a brain-numbing exercise. While the film itself is fairly entertaining, it’s not nearly as smart as it thinks it is.
As a viewer, it feels like there’s not much of a pay-off in watching them pull off their successful schemes, and that’s largely because we’re left out of the loop. We the audience are being played the whole time. We’re not given any room for our own participation and guesswork because the movie gives us no clues to help us solve the puzzle. Yet it’s inviting us to look for answers by emphasizing the importance of being focused and aware, while withholding any and all necessary clues to help us make sense of what is happening along the way.
In Focus, Will Smith plays con-man Nicky, who meets a beautiful woman named Jess (Margot Robbie) while dining alone one night. After inviting Nicky to her hotel room, Jess attempts to con him with the help of a friend, but ultimately fails. After all, you can’t hustle a hustler. Being eager to learn more, Jess wants Nicky to take her under his wing and teach her the art of his craft. What ensues is a steamy relationship and a partnership in deception.
Jess proves to be a natural in the con game, quickly earning the respect and admiration of Nicky, who allows her to join his thirty-strong crew. This team of crooks racks up millions through swindling, hustling, and pickpocketing. It’s fun to watch the action unfold, but a little disconcerting that it glorifies these criminals while they’re plainly stealing from innocent strangers. Make no mistake about it, Focus portrays them as the good guys, and offers little to no consequence for their devious actions. Still, it’s hard to root against this cast of con-artists, and you’ll want to see how they manage to get away with it all.
Instead, Focus tries to make you believe there isn’t any con in play at all, only to later pull out the rug to reveal a highly ludicrous scenario. It feels dishonest and cheap, like it’s essentially cheating its way to the desired outcome without doing the work to get there. It’s selling its own capers short and taking the fun out of them. Thus even the climax of the film feels disjointed because we can’t believe what we’re seeing and just have to watch incredulously as we wait for the inevitable far-fetched explanation.
Despite the shortcomings of the cons, I would like to express that the film still does plenty of things right. First and foremost, Will Smith shines in his performance, adding enough perplexity to his character to keep you on your toes. He makes it hard to tell whether or not his character Nicky is bluffing, which helps add to the tension of scenes. Even when Nicky appears to break character and let his guard down, I still found myself guessing about his true intentions. While the movie is overall somewhat of a letdown, I can safely say that Will Smith absolutely nails it.
The only issue I had with Will Smith is his character’s obsession with Margot Robbie’s Jess. I’m sure many guys could attest to a Margot Robbie obsession, but I’m not one of those guys. While the chemistry between Smith and Robbie was fairly good, it did seem more than a tad blown out of proportion. The romance between them felt rushed and more lustful than loving. Still, Robbie gives a respectable performance of deception and allure.
I would like to particularly applaud the work of B.D. Wong, who plays a high-stakes roller that gambles with Nicky during the Super Bowl, in what is my personal favorite scene of the movie. The tension between Wong and Smith is absolutely electrifying, and they play off of each other extraordinarily well. I was on the edge of my seat throughout their whole encounter, only to have the moment spoiled by an absurd and unlikely final outcome.
The other performances are all adequate, though most of the characters are given little screen time, aside from Nicky’s perverted, overweight associate Farhad (Adrian Martinez) who musters up a few laughs. The dialogue can be pretty hit-or-miss, and the plot is rather thin, but the production values are outstanding. This is a film that is unmistakably beautiful to look at, with gorgeous sets and superb camera work. One particularly admirable scene has the camera placed in the passenger seat focused on a man who is gearing himself up before he deliberately crashes his car head-on into another. It’s a moment that feels like a strange detour, and yet it’s so bizarre and memorable that it just works.
Focus has the makings of an excellent film, but it regrettably drops the ball by fumbling the con game. If only the cons themselves weren’t so far-fetched and sloppy, the whole movie would have been a whole lot more effective. Despite the film’s insistence that you look closely, its most pivotal moments don’t hold up to any sort of analysis or scrutiny. In other words, this is a film that would be best enjoyed out of focus.
(This review was originally posted at 5mmg.com on 1.31.16.)
FearlessLover (27 KP) rated Dunkirk (2017) in Movies
Jul 31, 2017
Stunning cinea
It' s 1940, 400,000 allied troops are cornered and cut off on the beaches of Dunkirk; with the enemy closing in, and no cover or defence, they await annihilation or a miracle. We experience the moment as the characters do, without unnecessary exposition or dialogue! This proves quite the departure for Nolan; there is a lot here that owes more to silent cinema than anything else, but his images often say all that needs to be said.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
An opening frame invites us to join a group of soldiers. Next, the loudest onslaught of gunfire kicks the film into another gear. We are given as much pause for thought as the soldiers we follow. We run with Tommy, played here by a Fionn Whitehead, and like him, we are aware of comrades falling dead next to us, but it is all panic and no time; we will lament their loss later. Set to the ticking of a watch, we feel Tommy's heart pounding with ours, and we know the tone for this audacious movie has been set.
We see the event from different perspectives and from within different time frames. Right now, not many directors can build momentum like Nolan. The jumping to and from different characters' point of view, the corkscrewing impression of the editing, events echoed and mirrored by Hans Zimmer's Shepherd's Tones and persistent, all enveloping score, acting at times more like sound design than music; it all results in a constant rise in tension, to the point of almost being exhaustive.
This said, the editing also serves another purpose. The "Miracle of Dunkirk" is a grand story, with every soldier, every pilot, and every civilian having their own point of view. Nolan wants us to build up an overall picture of the event purely through subjective experience, so of course we spend a tiring week with the terrified boys. Of course we spend a desperate day with a fisherman as he and his familial crew sail their way into action. Lastly, given the fuel constraints of the RAF, whose decisions had to be immediate and impulsive, always a choice between defending the beach or getting home, why would we spend any more that an edge-of-your-seat, quickly-cut hour in the cockpit of a Spitfire, as they do their duty and enter into dogfights to keep the German aircraft at bay? Each timeline is contracted or dilated to give everybody equal measure and importance, whilst staying true to and very much in their situation. Yes, this means we're kept on our toes; we have moments of confusion as timelines cross over and we see the same thing happening from another point of view, but as we head into the finale, as well as the aforementioned tension and release (which is just exciting cinema), we also get to see how, despite very different perspectives, everyone was working together, and how sacrifice and struggle for duty were par for the course for all involved, whether other people knew it or not. It is important that we the audience recognise this bigger picture, and as everything clicks together in an emotive final convergence of efforts, we not only see the justification for the techniques adopted, but struggle to imagine the story told another way. That is, at least, without going down a standard route, with objective storytelling employed.
A proper review not being complete without comment on the elephant in the room, it must be said that Harry Styles does not stand out like the proverbial sore thumb at all. Frankly, he carries his scenes with aplomb, and surely, following the Heath Ledger lesson, and now this, it is time we learned that, maybe, Christopher Nolan just knows what he's doing better that we do? As to the other big names, there are moments from that remain with me so long after having seen it: Kenneth Brannagh and Mark Rylance can say so much with so little, their faces and gestures doing the heavy lifting to deliver a lot of the human emotion, and it would appear Tom Hardy has Oscar-worthy eyes! You need see nothing more through the course of his drama to have a complete sense of the type of man his Farrier is. We talk about great acting and achieving realism through imagination, but with the knowledge that Nolan actually took everyone to Dunkirk, sank real ships, sailed real ships, flew real Spitfires overhead, employed real explosions on the beach, and even rejected green screen and CGI in favour of cardboard cut-outs, it seems imagination wasn't too necessary for these already consummate actors.
Nolan's principle fan base will be well prepared for what they get; but with his insistence on holding back from the audience any perspective not afforded his characters, ala 'Memento', some knowledge of the "Miracle Of Dunkirk" might put the more casual viewer in better stead. Regardless of which camp you fall into, or indeed of whether or not the movie does it for you, certain things are for sure: With no melodrama or cheese, and no superfluous fluff or emotional subterfuge, 'Dunkirk' is a purely experiential movie, a technical marvel of a war film unlike any other I can name. It also stands as a beacon in Nolan's career, characterised by his desire to cultivate an audience willing to keep up with him. And perhaps most importantly, this is a key moment in world history that is often overlooked; a disaster averted which, had it not been, would have seen the history books written very differently. That this event has been marshalled by a confident and sincere director, who has surely by now cemented his name alongside those of his own heroes, is reason enough to see 'Dunkirk'.
Kristy H (1252 KP) rated A Cold Day in Hell in Books
Jan 29, 2018
Engaging characters (2 more)
Great courtroom scene
Strong female lead
Engaging debut mystery
Lauren Riley is a thirty-eight-year-old twice-divorced mother of two college age daughters, working cold case homicides. She has a great, younger cold case partner, Reese, and carries a torch for her ex-husband, Mark. Meanwhile, her ex, Joe Wheeler, is a Garden Valley homicide detective and a total (excuse my language) a-hole, who brazenly punches Lauren in the mouth after learning she's working against him on a case. Lauren's working two jobs -- her daytime gig on cold cases and also as a certified Private Investigator (PI). Lauren is hired by her nemesis, attorney Frank Violanti, to work the high-profile case of David, who is accused of murdering Katherine Vine, the beautiful, younger wife of Anthony Vine, who runs a successful chain of gyms. Lauren knows taking the case could stir up some issues in her department, with the DA, and with Reese. But in her gut, she feels that David is innocent. Can she and Frank make peace and prove it?
I read a lot of mysteries and while there are thankfully more strong female detectives coming on the scene (see Kristen Lepionka's Roxanne Weary and Emily Littlejohn's Gemma Monroe, for instance), they are still few and far between. While Lauren Riley may still be finding herself (there's a lot of side coverage of emotional entanglements and relationships here), I still love finding and championing a complicated, real, strong female detective.
Lauren's PI case is really the star of the show, and it's interesting and engaging throughout the entire novel. It keeps you guessing throughout, questioning whether David did it or not, and who else played a key role in Katherine and Anthony Vine lives. Nothing is cut or dried.
Also fascinating is Lauren's main cold case. While you could argue some of it ties up neatly, it doesn't go as expected, per se, if that makes sense, and the characters involved are intriguing and different. All the cases kept me interested as I read. A lot certainly happens in this novel, between Lauren's work and personal life. Nothing is boring, and there's never really a dull moment, especially once you get into the swing of things and realize that the book covers both her personal life and her work life in-depth. It also tells the story from more than Lauren's POV, even if she's the main focus, which works surprisingly well.
I don't think it's a spoiler to say that the book culminates in a trial related to Lauren's PI case, and it's a great, suspenseful, incredibly well-written piece of work. The courtroom scenes were so well-done and really had me on the edge of my seat. One of the things I loved about this novel was how I could so easily picture each of these characters-- each is well-described and fleshed out. Redmond writes darn good trial scenes (and a darn good book), and I was frantically flipping the pages to see how things would turn out.
It wasn't until I finished the book that I learned the author is a retired homicide detective, but it definitely shows as you read. The novel is written expertly in terms of police and courtroom procedure, but still enjoyable in terms of the characters. There is a lot of personal "stuff" in terms of Lauren; this will be a little different if you are used to the Bosch type of detective (the love of my life and my hero). Still, it's completely refreshing to see a complicated female lead detective, and, as mentioned, so nice to be reading more of these stories. I grew to really love Lauren.
The courtroom scenes are great, and a lot will keep you guessing. Sure, some of the cold cases wrap up what seem a little easily, but even Lauren addresses that as she works. I read some reviews that Joe Wheeler is a cliche character, and I guess I could see where people get that, but for me, society as of late seems to be showing us everyday that these sort of angry, abusive men truly exist. Everywhere. To me, Joe was a sadly realistic portrayal of a horrible man, and his slow, boiling anger only added to the tension of the entire novel.
Overall, I really enjoyed this one. It looks like it's going to be a series, and it ends with some unfinished issues that make me even more eager for book two.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review.
I read a lot of mysteries and while there are thankfully more strong female detectives coming on the scene (see Kristen Lepionka's Roxanne Weary and Emily Littlejohn's Gemma Monroe, for instance), they are still few and far between. While Lauren Riley may still be finding herself (there's a lot of side coverage of emotional entanglements and relationships here), I still love finding and championing a complicated, real, strong female detective.
Lauren's PI case is really the star of the show, and it's interesting and engaging throughout the entire novel. It keeps you guessing throughout, questioning whether David did it or not, and who else played a key role in Katherine and Anthony Vine lives. Nothing is cut or dried.
Also fascinating is Lauren's main cold case. While you could argue some of it ties up neatly, it doesn't go as expected, per se, if that makes sense, and the characters involved are intriguing and different. All the cases kept me interested as I read. A lot certainly happens in this novel, between Lauren's work and personal life. Nothing is boring, and there's never really a dull moment, especially once you get into the swing of things and realize that the book covers both her personal life and her work life in-depth. It also tells the story from more than Lauren's POV, even if she's the main focus, which works surprisingly well.
I don't think it's a spoiler to say that the book culminates in a trial related to Lauren's PI case, and it's a great, suspenseful, incredibly well-written piece of work. The courtroom scenes were so well-done and really had me on the edge of my seat. One of the things I loved about this novel was how I could so easily picture each of these characters-- each is well-described and fleshed out. Redmond writes darn good trial scenes (and a darn good book), and I was frantically flipping the pages to see how things would turn out.
It wasn't until I finished the book that I learned the author is a retired homicide detective, but it definitely shows as you read. The novel is written expertly in terms of police and courtroom procedure, but still enjoyable in terms of the characters. There is a lot of personal "stuff" in terms of Lauren; this will be a little different if you are used to the Bosch type of detective (the love of my life and my hero). Still, it's completely refreshing to see a complicated female lead detective, and, as mentioned, so nice to be reading more of these stories. I grew to really love Lauren.
The courtroom scenes are great, and a lot will keep you guessing. Sure, some of the cold cases wrap up what seem a little easily, but even Lauren addresses that as she works. I read some reviews that Joe Wheeler is a cliche character, and I guess I could see where people get that, but for me, society as of late seems to be showing us everyday that these sort of angry, abusive men truly exist. Everywhere. To me, Joe was a sadly realistic portrayal of a horrible man, and his slow, boiling anger only added to the tension of the entire novel.
Overall, I really enjoyed this one. It looks like it's going to be a series, and it ends with some unfinished issues that make me even more eager for book two.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review.
Joe Wright’s 2011 film version of Hanna starring Saoirse Ronan, Cate Blanchett and Eric Bana is an odd movie. It isn’t bad. It just doesn’t work. The idea at its heart is great, as are some of the action sequences, there is just something over styled about it that is jarring. I’ve been back to it a few times to see if age helps, but it really doesn’t – Hanna the movie is an admirable failure.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.
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KittyMiku (138 KP) rated Brokenhearted: The Power of Darkness in Books
May 23, 2019
In this 396 page love story, its clear to see why the Touched Saga has become so popular. Unlike the previous books before it, this one takes place around Gemma. The first half has you feeling sorry for Gemma and even teary eyes. Whereas the last half leaves you breathless and anxious. I found that the whole book kept me on edge. With new information and new ways to think about things, I can't help but be left in a state of amazement and stupor. Don't get me wrong, each book thus far has left me with a lot of new ways of thinking of things, but this book has left my mind boggled and my heart gripped in a vice.
I had first though this was taking on another Twilight Sage feel, with Gemma being all dressed and even making it seem the love interests will change in a way. This might have been slightly annoying at first. Even though I love Evan and all his character stands for and often wanted to cry a bit myself, I couldn't help but have that feeling it might have been inspired by the Twilight Saga. I was glad I held my breath though. I understand that the depression and what not had to be endured as it was crucial to learning more about Gemma and her role in everything. And though it seemed slow moving at first, it wasn't long before things began to piece together.
Learning that Gemma wasn't as mortal as she appeared to be, even with her ability to see things she shouldn't, was quite unrealistic and not exactly what I expected. I had thought maybe she was an angel as well, but to find out she was a witch left me breathless. I was intrigued to learn more about witches and how Hell works was quite a breath taking experience. I hadn't ever thought to Hell being a beautiful but twisted place to reside. I found that I quite enjoyed learning about the Souls residing in Hell as well as how it worked. The details on the different souls, the wildlife, and different things that can be found in Hell were truly awe inspiring. I was floored by how the images Amore had given me through her details of Hell and the Souls that resided there. I especially loved how the level of humanity also determined how the Souls lived and how some of them can be grouped up and live in villages together. To see how the way one mortal lives to be the determinating factor in how their soul is affected in Hell. I was just truly amazed to how it all worked and how the Witches would take claim to the Angels they managed to capture and how that Witch blood could lead to ecstasy to the Souls in their realm was a concept that was new to me, and I loved it.
We all know that we have that one person we would do anything to keep by our side and to watch Gemma be willing to become a full fledged witch in order to save Evan was truly liberating. I couldn't help but be moved by this sacrifice she was willing to make. To see how her love could allow her to see the deceptions and give her courage to stand against Sohpia, or Lucifer, was truly encouraging and proving her character has grown stronger and even more brave than she had when the series started. I was just excited by her actions and her willingness to do whatever it took to keep her Evan close to her, no matter what.
Overall, Brokenhearted was a truly amazing book. I would rate it five stars out of five stars. I firmly believe that out of the series thus far, this has to be my favorite book. It not only allowed the reader to see how much Gemma would do for her love, but brought up Hell and all the interesting concepts Amore had thought of where Witches and Souls acted in Hell.
I had first though this was taking on another Twilight Sage feel, with Gemma being all dressed and even making it seem the love interests will change in a way. This might have been slightly annoying at first. Even though I love Evan and all his character stands for and often wanted to cry a bit myself, I couldn't help but have that feeling it might have been inspired by the Twilight Saga. I was glad I held my breath though. I understand that the depression and what not had to be endured as it was crucial to learning more about Gemma and her role in everything. And though it seemed slow moving at first, it wasn't long before things began to piece together.
Learning that Gemma wasn't as mortal as she appeared to be, even with her ability to see things she shouldn't, was quite unrealistic and not exactly what I expected. I had thought maybe she was an angel as well, but to find out she was a witch left me breathless. I was intrigued to learn more about witches and how Hell works was quite a breath taking experience. I hadn't ever thought to Hell being a beautiful but twisted place to reside. I found that I quite enjoyed learning about the Souls residing in Hell as well as how it worked. The details on the different souls, the wildlife, and different things that can be found in Hell were truly awe inspiring. I was floored by how the images Amore had given me through her details of Hell and the Souls that resided there. I especially loved how the level of humanity also determined how the Souls lived and how some of them can be grouped up and live in villages together. To see how the way one mortal lives to be the determinating factor in how their soul is affected in Hell. I was just truly amazed to how it all worked and how the Witches would take claim to the Angels they managed to capture and how that Witch blood could lead to ecstasy to the Souls in their realm was a concept that was new to me, and I loved it.
We all know that we have that one person we would do anything to keep by our side and to watch Gemma be willing to become a full fledged witch in order to save Evan was truly liberating. I couldn't help but be moved by this sacrifice she was willing to make. To see how her love could allow her to see the deceptions and give her courage to stand against Sohpia, or Lucifer, was truly encouraging and proving her character has grown stronger and even more brave than she had when the series started. I was just excited by her actions and her willingness to do whatever it took to keep her Evan close to her, no matter what.
Overall, Brokenhearted was a truly amazing book. I would rate it five stars out of five stars. I firmly believe that out of the series thus far, this has to be my favorite book. It not only allowed the reader to see how much Gemma would do for her love, but brought up Hell and all the interesting concepts Amore had thought of where Witches and Souls acted in Hell.