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BankofMarquis (1832 KP) rated Rear Window (1954) in Movies
May 14, 2020
Perfect Match of Director and Material
1954's REAR WINDOW is my favorite of all of the Alfred Hitchock films. So when it came time to expose my college-aged children to the works of "the Master of Suspense", it was a "no-brainer" as to which film it would be.
And...they loved it.
Starring "everyman" Jimmy Stewart and the always fabulous Grace Kelly, REAR WINDOW tells the tale of photographer L.B. Jefferies (Stewart) who is laid up in his New York apartment with a broken leg. His only means of entertainment is looking out of the "rear window" of his apartment into the courtyard - and the other apartments (and the people) therein.
This is a treatise on voyeurism and the pairing of this material with a master of film like Hitchcock is a marriage made in heaven. He sets up most of the movie so you are viewing the events as though you are Jefferies - confined to his apartment. Each apartment around the courtyard are their own little viewing boxes. He does a neat, subtle trick in this film. When he pans counter-clockwise, he is just browsing the apartments (like channel surfing on TV). When he pans clockwise - or goes straight to an apartment - he is focusing on that place/story. More often than not, the scenes in the apartments that Jefferies is looking at is mirroring what is going on in the relationship between Stewart and Kelly - sometimes with a sinister undertone. As always, Hitchcock ratchets up the suspense in a way only he can - focusing on a mundane item/thing until it becomes malevolent. This could have easily been a boring/static film, but in Hitchcock's capable hands, there is movement aplenty and the film flows beautifully.
As for the performances, Stewart has never been better as the audience stand-in/everyman who goes from charming scamp just snatching peeks of his neighbors to "peeping-tom" voyeur who is intruding in the private lives of his fellow courtyard denizens. Grace Kelly is just radiant in the way Hitchcock photographs her and in the way that all-time great costumer Edith Head dresses her. She is perfectly made-up and costumed to make her "the most beautiful woman in the world". But...what caught me in this viewing was how good of an acting job she does in this film. In previous viewings I was swept up in the look and feel of the actress. This time, I was taken in by the character and she became the one in this film I was rooting for. Well...either Grace Kelly or the great character actress Thelma Ritter as insurance nurse (and willing accomplice) Stella. She almost steals the movie from the two leads...almost.
All of the elements at play in this film work - acting, costuming, scenic design, cinematography and script - all wrapped up by a Master Director at the top of his game.
If you only watch one Alfred Hitchock film, make it REAR WINDOW. You'll be glad you did.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
And...they loved it.
Starring "everyman" Jimmy Stewart and the always fabulous Grace Kelly, REAR WINDOW tells the tale of photographer L.B. Jefferies (Stewart) who is laid up in his New York apartment with a broken leg. His only means of entertainment is looking out of the "rear window" of his apartment into the courtyard - and the other apartments (and the people) therein.
This is a treatise on voyeurism and the pairing of this material with a master of film like Hitchcock is a marriage made in heaven. He sets up most of the movie so you are viewing the events as though you are Jefferies - confined to his apartment. Each apartment around the courtyard are their own little viewing boxes. He does a neat, subtle trick in this film. When he pans counter-clockwise, he is just browsing the apartments (like channel surfing on TV). When he pans clockwise - or goes straight to an apartment - he is focusing on that place/story. More often than not, the scenes in the apartments that Jefferies is looking at is mirroring what is going on in the relationship between Stewart and Kelly - sometimes with a sinister undertone. As always, Hitchcock ratchets up the suspense in a way only he can - focusing on a mundane item/thing until it becomes malevolent. This could have easily been a boring/static film, but in Hitchcock's capable hands, there is movement aplenty and the film flows beautifully.
As for the performances, Stewart has never been better as the audience stand-in/everyman who goes from charming scamp just snatching peeks of his neighbors to "peeping-tom" voyeur who is intruding in the private lives of his fellow courtyard denizens. Grace Kelly is just radiant in the way Hitchcock photographs her and in the way that all-time great costumer Edith Head dresses her. She is perfectly made-up and costumed to make her "the most beautiful woman in the world". But...what caught me in this viewing was how good of an acting job she does in this film. In previous viewings I was swept up in the look and feel of the actress. This time, I was taken in by the character and she became the one in this film I was rooting for. Well...either Grace Kelly or the great character actress Thelma Ritter as insurance nurse (and willing accomplice) Stella. She almost steals the movie from the two leads...almost.
All of the elements at play in this film work - acting, costuming, scenic design, cinematography and script - all wrapped up by a Master Director at the top of his game.
If you only watch one Alfred Hitchock film, make it REAR WINDOW. You'll be glad you did.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
Emma @ The Movies (1786 KP) rated Army of the Dead (2021) in Movies
Aug 22, 2021
I can't say that the name Zack Snyder held any pull to watching Army of the Dead. I'm still mad that I watched 8 hours of Justice League. But, I was sold on zombies and the poster, so I gave it a go.
Zombies have taken Las Vegas and the only option to end the danger is to raise the city to the ground. As the countdown to the cities destruction begins, a group of mercenaries are recruited to enter the quarantined zone for a wealthy businessman. Their retrieval mission will end with them getting out of the city safely, or the zombies getting them... whichever comes first.
A heist film with zombies and plenty of action? Three of my favourite things in one. The heist part is solid, it had time constraints to add tension, and the added peril of flesh eating monsters brought a bit of the unknown to each scene in the quarantine zone.
However... the idea doesn't pan out so well in production.
I enjoy Dave Bautista's acting career. Drax is a legend, and his dramatic yet comedic role in My Spy is great. Army of the Dead is a whole new ball game. Scott has the potential to be a really good lead, there's backstory, moments of action that Bautista is made for... but there's that script. There are so many points that diverge from what's happening that he ends up with something that hovers around average.
The humour between Vanderohe (Omari Hardwick) and Dieter (Matthias Schweighöfer) was fun. It wasn't quite a double act but it did cut through some of the more serious (and clunky) sections. My other call out is Tig Notaro. I loved the attitude she brings to her role, that's the level of sass I aspire to. It wasn't until after my viewing that I realised she had been CGId into the film as a last minute replacement. For the majority of the time I didn't notice, it's just one group shot as they enter Vegas that sticks out like a sore thumb. And with it being so early in proceedings, I was worried that it would be foreshadowing for what was to come.
Thankfully though, the effects were pretty good apart from that (and that tiger). The creatures were impressive and I was pleased to see that they still had the consistency of who the zombie population would be while they were inside the walls. Some of the action sequences may have been a little over the top, but it is a zombie action film so you've got to give it leeway.
I enjoyed Army of the Dead while I was watching it. But it's one of those films that changes when you think about it deeper. The main issue for me is that... this film doesn't need to happen... and a close second is that they attempt to give it a twist that comes to nothing, and because of that, ultimately felt bizarre. I don't think I'd mind watching it again, but I'm not feeling the urge to rush to Netflix.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/08/army-of-dead-movie-review.html
Zombies have taken Las Vegas and the only option to end the danger is to raise the city to the ground. As the countdown to the cities destruction begins, a group of mercenaries are recruited to enter the quarantined zone for a wealthy businessman. Their retrieval mission will end with them getting out of the city safely, or the zombies getting them... whichever comes first.
A heist film with zombies and plenty of action? Three of my favourite things in one. The heist part is solid, it had time constraints to add tension, and the added peril of flesh eating monsters brought a bit of the unknown to each scene in the quarantine zone.
However... the idea doesn't pan out so well in production.
I enjoy Dave Bautista's acting career. Drax is a legend, and his dramatic yet comedic role in My Spy is great. Army of the Dead is a whole new ball game. Scott has the potential to be a really good lead, there's backstory, moments of action that Bautista is made for... but there's that script. There are so many points that diverge from what's happening that he ends up with something that hovers around average.
The humour between Vanderohe (Omari Hardwick) and Dieter (Matthias Schweighöfer) was fun. It wasn't quite a double act but it did cut through some of the more serious (and clunky) sections. My other call out is Tig Notaro. I loved the attitude she brings to her role, that's the level of sass I aspire to. It wasn't until after my viewing that I realised she had been CGId into the film as a last minute replacement. For the majority of the time I didn't notice, it's just one group shot as they enter Vegas that sticks out like a sore thumb. And with it being so early in proceedings, I was worried that it would be foreshadowing for what was to come.
Thankfully though, the effects were pretty good apart from that (and that tiger). The creatures were impressive and I was pleased to see that they still had the consistency of who the zombie population would be while they were inside the walls. Some of the action sequences may have been a little over the top, but it is a zombie action film so you've got to give it leeway.
I enjoyed Army of the Dead while I was watching it. But it's one of those films that changes when you think about it deeper. The main issue for me is that... this film doesn't need to happen... and a close second is that they attempt to give it a twist that comes to nothing, and because of that, ultimately felt bizarre. I don't think I'd mind watching it again, but I'm not feeling the urge to rush to Netflix.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/08/army-of-dead-movie-review.html
Gareth von Kallenbach (980 KP) rated Call of Duty: Ghosts - Devastation in Video Games
Jun 19, 2019
The second of four planned content packs for Call of Duty: Ghosts has arrived and offers more than a way to tide fans over until the release the next pack and highly anticipated release of Call of Duty: Advanced Warfare in November. Following the established formula of previous releases, the new collection offers four new maps, a new weapon, and a new episode for the alien themed Extinction gameplay mode.
The following maps are included in the collection.
Behemoth
This is set in a large excavation tool in Columbia where stairs, narrow corridors, and fast action are the order of business. Think of a cross between an oil rig and excavation machine and you have an idea what’s in store.
The upper levels of the map provide plenty of fast action and the interior locales get plenty of opportunity for close quarter combat. Running on the main deck may make you a favorite of snipers, but there are plenty of opportunities for players to duck out of harms way if they’re willing to jump over a ledge.
I have to say that this is my favorite of the new maps because I just really enjoyed the run and gun style of playing and this one suits me perfectly.
COD Ghosts Devastation_Behemoth Environment
Ruins
Set in Mexico, this map combines a jungle locale with plenty of temples. At first it was very frustrating as due to the excessive amounts of foliage and varying terrain levels, it was a campers paradise. I lost count of how many times I was spawn camped at the beginning of my play sessions but I soon developed instincts as to where opponents preferred to set up and hide. There is plenty of opportunity for fast and intense combat here as long as you’re willing to put up with the numerous snipers and campers that will letter the map.
When a player reaches a certain level of kill streak, they will become The Predator from the film series and this allows them to hunt opposing players using the heat vision of character as well as his wrist blades and plasma cannon. Should a player be lucky enough to take down this creature, he often gets the final laugh courtesy of his self-destruct mechanism which complete with sound effects from the film has devastating results.
COD Ghosts Devastation_Predator vs the Volcano
Unearthed
Set in a classified location this is often the most frustrating of the new maps for me. It is like a combination of Dome and a couple of other maps from previous games which forces combat to flow along and excavation site. There are some impressive things such as automatic doors and underground areas to fight within. However the central hub and elevated catwalk also lead to lots of sniping and camping. I had been spawn camped on this map more than any of the other maps combined but if you’re willing to lob a few grenades into the central hub, you can often be rewarded with some very impressive kill streaks.
COD Ghosts Devastation_Unearthed Environment
Collision
This New York based map is cluttered and dangerous as it is set aboard a crashed freighter that is mingled with the bridge and has all manner of vehicles and cargo containers aboard. Sniping is common here but the multilevel map and numerous interiors allow for a nice mix of gameplay styles. I remember recent session where I completed the final kills for our team by jumping down upon three passing enemies firing as I jumped. I have also racked up some very enjoyable kill streaks on this map that resulted in rocket strikes being called in. The detail level is good from the standing water in the lower sections of the ship to the cargo netting and containers that letter the upper levels. Seeing the wrecked New York City taxis was a nice touch as well as some of the more personal details in the crew quarter areas of the ship.
COD Ghosts Devastation_Collision Environment
The new weapon is called the Ripper and I found it to be a very interesting mix of submachine gun an assault rifle as it escaped will changing between the two on-the-fly. It is very high rates of fire which will rip opponent to shreds in short order hence how the weapon got its name. The high rate of fire though does go through your ammunition quickly so short bursts or plenty of time to reload is always recommend.
The final part of the collection is the Mayday episode of the alien themed Extinction. For players work with one another to infiltrate and clear a locale that is been overrun by the alien menace. Players purchase weapons upgrades based on the amount of enemies they dispatch and will also earn skill points based on their performance. Said skill points will let them do things such is offer ammunition upgrades to teammates and bring in electronics ranging from Sentry guns and other advanced weaponry. My first time through we made excellent progress as we seem to be well synced to take out the aliens and guard our drill that was required for advancement into the game.
This was short-lived as after several successful encounters we came across a group that had our number and dispatch us in quick succession which left no one to revive the fallen members. While it is a bit frustrating batch when this happens you must replay the entire session over the graphics and gameplay are definitely a very nice touch and I’m very happy to see that they have moved this to an episodic format because the narrative and back story bring a whole new level of enjoyment.
While not perfect, the collection is to me more enjoyable than many that maps the game shipped with at launch and therefore one that I can easily recommend. Those looking for the best value will want to purchase a season pass is that will get you all for the map packs at the discounted price which is certainly a is better than paying the going rate to get them à la carte.
http://sknr.net/2014/05/20/call-duty-ghosts-devastation-dlc/
The following maps are included in the collection.
Behemoth
This is set in a large excavation tool in Columbia where stairs, narrow corridors, and fast action are the order of business. Think of a cross between an oil rig and excavation machine and you have an idea what’s in store.
The upper levels of the map provide plenty of fast action and the interior locales get plenty of opportunity for close quarter combat. Running on the main deck may make you a favorite of snipers, but there are plenty of opportunities for players to duck out of harms way if they’re willing to jump over a ledge.
I have to say that this is my favorite of the new maps because I just really enjoyed the run and gun style of playing and this one suits me perfectly.
COD Ghosts Devastation_Behemoth Environment
Ruins
Set in Mexico, this map combines a jungle locale with plenty of temples. At first it was very frustrating as due to the excessive amounts of foliage and varying terrain levels, it was a campers paradise. I lost count of how many times I was spawn camped at the beginning of my play sessions but I soon developed instincts as to where opponents preferred to set up and hide. There is plenty of opportunity for fast and intense combat here as long as you’re willing to put up with the numerous snipers and campers that will letter the map.
When a player reaches a certain level of kill streak, they will become The Predator from the film series and this allows them to hunt opposing players using the heat vision of character as well as his wrist blades and plasma cannon. Should a player be lucky enough to take down this creature, he often gets the final laugh courtesy of his self-destruct mechanism which complete with sound effects from the film has devastating results.
COD Ghosts Devastation_Predator vs the Volcano
Unearthed
Set in a classified location this is often the most frustrating of the new maps for me. It is like a combination of Dome and a couple of other maps from previous games which forces combat to flow along and excavation site. There are some impressive things such as automatic doors and underground areas to fight within. However the central hub and elevated catwalk also lead to lots of sniping and camping. I had been spawn camped on this map more than any of the other maps combined but if you’re willing to lob a few grenades into the central hub, you can often be rewarded with some very impressive kill streaks.
COD Ghosts Devastation_Unearthed Environment
Collision
This New York based map is cluttered and dangerous as it is set aboard a crashed freighter that is mingled with the bridge and has all manner of vehicles and cargo containers aboard. Sniping is common here but the multilevel map and numerous interiors allow for a nice mix of gameplay styles. I remember recent session where I completed the final kills for our team by jumping down upon three passing enemies firing as I jumped. I have also racked up some very enjoyable kill streaks on this map that resulted in rocket strikes being called in. The detail level is good from the standing water in the lower sections of the ship to the cargo netting and containers that letter the upper levels. Seeing the wrecked New York City taxis was a nice touch as well as some of the more personal details in the crew quarter areas of the ship.
COD Ghosts Devastation_Collision Environment
The new weapon is called the Ripper and I found it to be a very interesting mix of submachine gun an assault rifle as it escaped will changing between the two on-the-fly. It is very high rates of fire which will rip opponent to shreds in short order hence how the weapon got its name. The high rate of fire though does go through your ammunition quickly so short bursts or plenty of time to reload is always recommend.
The final part of the collection is the Mayday episode of the alien themed Extinction. For players work with one another to infiltrate and clear a locale that is been overrun by the alien menace. Players purchase weapons upgrades based on the amount of enemies they dispatch and will also earn skill points based on their performance. Said skill points will let them do things such is offer ammunition upgrades to teammates and bring in electronics ranging from Sentry guns and other advanced weaponry. My first time through we made excellent progress as we seem to be well synced to take out the aliens and guard our drill that was required for advancement into the game.
This was short-lived as after several successful encounters we came across a group that had our number and dispatch us in quick succession which left no one to revive the fallen members. While it is a bit frustrating batch when this happens you must replay the entire session over the graphics and gameplay are definitely a very nice touch and I’m very happy to see that they have moved this to an episodic format because the narrative and back story bring a whole new level of enjoyment.
While not perfect, the collection is to me more enjoyable than many that maps the game shipped with at launch and therefore one that I can easily recommend. Those looking for the best value will want to purchase a season pass is that will get you all for the map packs at the discounted price which is certainly a is better than paying the going rate to get them à la carte.
http://sknr.net/2014/05/20/call-duty-ghosts-devastation-dlc/
Steener (2 KP) rated Covet Fashion in Apps
Apr 14, 2018
Addictive
Covet Fashion is a fun game where you can create looks on dolls based on basic requirements some as simple as "style a look for a picnic date" to more complicated ones because it will require certain items. It's slow going at first but as you get better you'll earn more outfits. Be sure to connect to FB and JOIN FB GROUPS and make friends because you can borrow from their closets. You don't even have to be into fashion to like this g and just being creative and having fun. Joining the FB groups is also important because they will help tell you what dresses are "trending" of course you don't have to always follow the trends I tend to follow them sometime and go my own way others. Your scores are also decided by fellow players voting not just a random system or algorithm
Smashbomb (4687 KP) created a post in Smashbomb AMA
Mar 6, 2019 (Updated Mar 26, 2019)
Tim Fitzmaurice (1 KP) rated The Adventure Zone in Podcasts
May 31, 2018 (Updated May 31, 2018)
Well edited (2 more)
Humorus
Worked with fans for new content
Silly, funny, and sometimes a little bit stupid. Overall grear.
Loved listening to this. My physical therapist got me into this podcast. Thanked her a couple times as it was a blast. At first I wasn't too sure how I was going to like it... found I loved the way the characters interacted with each other and the npc's. Reminded me of how my players play... A bit serious but mostly silly. Want to try and charm an enemy instead of fighting it why not? Want to poke fun at npc's why not? Want to eat a unicorn horn because you can? Go for it! This show will make you laugh and even if your an experienced gamer or game master you will discover more exciting and humorous ways to mess with one another.
I know they make money via advertising revenue from this podcast and all. I only put it in there because I needed to put a negative and couldn't think of another.
I know they make money via advertising revenue from this podcast and all. I only put it in there because I needed to put a negative and couldn't think of another.
Lindsay (1760 KP) rated The Mysterious Music Box (The Decoders #4) in Books
Mar 30, 2020
The mysterious Music box is a well-hidden game of lost and find. Though it not all easy to find the music box. There seems to be a reason for two other people trying to find this music box that belongs to a friend from school.
Though why would someone want to break in and take a music box that has nothing in it. There seem to be quite a bit of people wanting Rosa music box. Could there be something inside the box that can solve a mystery of some treasures that came from world war II Germany?
There seem to be two other people that are trying to find this music box. What could be so special about it? If you enjoy riddles and puzzles, then this book and series are for you. If you are looking for a good series or book for your children of middle-grade schoolers this is it. These books are good for them and they will learn a little bit as they read.
Though why would someone want to break in and take a music box that has nothing in it. There seem to be quite a bit of people wanting Rosa music box. Could there be something inside the box that can solve a mystery of some treasures that came from world war II Germany?
There seem to be two other people that are trying to find this music box. What could be so special about it? If you enjoy riddles and puzzles, then this book and series are for you. If you are looking for a good series or book for your children of middle-grade schoolers this is it. These books are good for them and they will learn a little bit as they read.
Movie Metropolis (309 KP) rated The Lady In The Van (2015) in Movies
Jun 11, 2019 (Updated Jun 11, 2019)
Like a particularly lethargic sloth
Cinema has a long lasting love of people having their homes invaded by unwanted intruders, and not just because that’s how most directors view anyone who tries to tell them their opinion on filmmaking. It’s because there’s a lot of different directions one can take with the drama and excitement of home invasion. The horror of Wait Until Dark, the brutality of Straw Dogs, the silliness of Home Alone, the potential is quite large. And now throwing in its own interpretation of this theme is The Lady in the Van, based on the somewhat true story of Alan Bennett’s relationship with a transient woman who parked her van on his driveway. So, how does he and the audience respond?
With a dull, mild curiosity.
Despite being from the viewpoint of two Alan Bennetts, described as one being the writer and the other living the life, the main character is Miss Sheppard, the lady in the van. The film insists that we should be interested in her mysterious life, her past as a pianist and a nun, and why she chooses to live in the van, but throughout most of the film I was only thinking “Oh, let’s just go back and hear Alan Bennett be cynical some more.” The words are witty and sharp, but it’s mostly said about things we don’t care about. Miss Sheppard is a flat, mostly dull character, and the audience is unwillingly handcuffed to her.
The highlight of the film is its acting, with the cast being a veritable who’s who of Britain’s finest talent, and James Corden. What dimension Miss Sheppard has is provided almost entirely by the volatile yet vulnerable performance by Maggie Smith, and Alex Jennings is as real an Alan Bennett as the actual Alan Bennett. Even in the small roles, everyone from Roger Allam to Gwen Taylor manage to force themselves to shine. The only bad performance is from, of all people, Jim Broadbent, who pops up to antagonise Miss Sheppard but appears less like a real human being and more like a cartoon supervillain. For a second, I thought the character’s name was Baron von Drakkhen.
But great players cannot save a bad game, and the story of the film is flat, predictable and boring. If you don’t immediately care about Miss Sheppard, then the film becomes more tedious and lifeless by the second. I guessed long before the end the mystery behind Miss Sheppard, but even if I hadn’t I would still have been bored due to the lack of any interest. The film believes that the existence of a mystery to be motivation enough to solve it, which just isn’t the case; I don’t know what John McCririck had for breakfast, but I’m not going to stare at his stools to find out.
Not helping matters is a very by the numbers direction by Nicholas Hytner. While not incompetent, there’s very little in the way of style or flair without being casual. The only parts that show any sort of imagination are the fourth wall breaks, but the best only happen towards the end. It’s a shame that the potential of having two Alan Bennetts and seeing the film from the perspective of the writer only starts to be explored as the film is drawing to a close. Otherwise, a robot could’ve directed this film.
Alan Bennett is a highly praised writer, and rightfully so, but The Lady in the Van just isn’t his best. The above-average but by no means stellar script is tied to a plot as lifeless and sluggish as a particularly lethargic sloth. If you’re really hurting to see Bennett at his best, it’d be a lot cheaper and a lot more entertaining to rent The Madness of King George or The History Boys or even one of The Secret Policeman’s Ball’s, plus you can order some pizza from your sofa. Otherwise, The Lady in the Van, unlike the real Miss Sheppard, can very safely be ignored.
https://moviemetropolis.net/2015/11/19/like-a-particularly-lethargic-sloth-the-lady-in-the-van-review/
With a dull, mild curiosity.
Despite being from the viewpoint of two Alan Bennetts, described as one being the writer and the other living the life, the main character is Miss Sheppard, the lady in the van. The film insists that we should be interested in her mysterious life, her past as a pianist and a nun, and why she chooses to live in the van, but throughout most of the film I was only thinking “Oh, let’s just go back and hear Alan Bennett be cynical some more.” The words are witty and sharp, but it’s mostly said about things we don’t care about. Miss Sheppard is a flat, mostly dull character, and the audience is unwillingly handcuffed to her.
The highlight of the film is its acting, with the cast being a veritable who’s who of Britain’s finest talent, and James Corden. What dimension Miss Sheppard has is provided almost entirely by the volatile yet vulnerable performance by Maggie Smith, and Alex Jennings is as real an Alan Bennett as the actual Alan Bennett. Even in the small roles, everyone from Roger Allam to Gwen Taylor manage to force themselves to shine. The only bad performance is from, of all people, Jim Broadbent, who pops up to antagonise Miss Sheppard but appears less like a real human being and more like a cartoon supervillain. For a second, I thought the character’s name was Baron von Drakkhen.
But great players cannot save a bad game, and the story of the film is flat, predictable and boring. If you don’t immediately care about Miss Sheppard, then the film becomes more tedious and lifeless by the second. I guessed long before the end the mystery behind Miss Sheppard, but even if I hadn’t I would still have been bored due to the lack of any interest. The film believes that the existence of a mystery to be motivation enough to solve it, which just isn’t the case; I don’t know what John McCririck had for breakfast, but I’m not going to stare at his stools to find out.
Not helping matters is a very by the numbers direction by Nicholas Hytner. While not incompetent, there’s very little in the way of style or flair without being casual. The only parts that show any sort of imagination are the fourth wall breaks, but the best only happen towards the end. It’s a shame that the potential of having two Alan Bennetts and seeing the film from the perspective of the writer only starts to be explored as the film is drawing to a close. Otherwise, a robot could’ve directed this film.
Alan Bennett is a highly praised writer, and rightfully so, but The Lady in the Van just isn’t his best. The above-average but by no means stellar script is tied to a plot as lifeless and sluggish as a particularly lethargic sloth. If you’re really hurting to see Bennett at his best, it’d be a lot cheaper and a lot more entertaining to rent The Madness of King George or The History Boys or even one of The Secret Policeman’s Ball’s, plus you can order some pizza from your sofa. Otherwise, The Lady in the Van, unlike the real Miss Sheppard, can very safely be ignored.
https://moviemetropolis.net/2015/11/19/like-a-particularly-lethargic-sloth-the-lady-in-the-van-review/
BankofMarquis (1832 KP) rated Doctor Sleep (2019) in Movies
Oct 5, 2020
Better Than I Expected
Over the years, there has been "cash grab" sequels thrown out onto an unsuspecting public years after the beloved original film has settled into the warm memories of time. Films like THE TWO JAKES (sequel to CHINATOWN), THE EVENING STAR (sequel to TERMS OF ENDEARMENT) and, most notably, THE GODFATHER III (sequel to the first two, terrific GODFATHER films) all were filmed more than 10 years after the original classic and quickly died at the box office.
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated Public Enemies (2009) in Movies
Jun 22, 2019
The year is 1933 and bank robberies are at an all time high. John Dillinger, Baby Face Nelson, and Pretty Boy Floyd are at the top of their game. In the public eye, robbers are looked at as heroes instead of criminals. Dillinger enjoys the fruit of his labor to the fullest until the day Melvin Purvis is put in charge of the FBI division down in Chicago. Word traveled fast of how one of FBI's top agents (Purvis) took down Pretty Boy Floyd and hopes are high that he can help in the newly announced "war on crime." Once Purvis arrived in Chicago, the crime wave of the 30's that was on a steady uprise took a drastic decline. Bank robberies were never the same as Dillinger's friends began dropping like flies. As Dillinger's motto of not thinking about tomorrow since he's too busy enjoying today comes back to haunt him, he soon realizes that he can only hide for so long and that the feds will catch up with him sooner or later.
The most noticeable thing about the film is its cinematography. Michael Mann has used the same method of shooting Public Enemies with HD digital cameras like he did with Collateral. This could be a hassle to some viewers as the picture isn't as shaky as it was in something like Cloverfield, but isn't as crystal clear and steady as you may have found in some of Mann's earlier work like Heat or most other films, for that matter. Perspective plays a huge role in this film. Certain lighting seems to come off better being shot in HD digital and it certainly shows, but the imperfections seem to give the film more character. Some people might throw the word, "edgy," around, but we'll settle on saying this style of filming feels like a more realistic approach. It makes the audience feel like they're actually amongst these gangsters during their heyday.
It almost felt like Christian Bale didn't really want to be there. Between this and Terminator: Salvation, he's really lacking the charisma and talent he's shown in films like The Prestige and The Machinist or even American Psycho. Maybe he's just hit his peak and has nothing else up his sleeve to wow audiences. Bale has hit an eye-catching slump, which is hard to say since this is coming from a long time fan. As long as he continues to be cast in big budget films though and those films wind up doing extremely well at the box office, then not many people are going to notice a difference in the actor's lackluster performance.
Johnny Depp, on the other hand, stole every scene he was in. His cockiness and confidence in his abilities in what he does just gave life to Dillinger that makes you generally like him. You want to see him escape as soon as he gets caught, pull off that next big robbery, and succeed at everything he does so he can run off with Billie Frechette (Marion Cotillard) and live happily ever after. His dialogue is also generally pretty incredible. In the scene where he's confronting Agent Purvis from behind bars, Dillinger is asking Purvis about what it was like to kill a man. How their eyes looked and how you can literally watch a man just drift away by staring into their eyes while they're dying. That that whole experience could keep a man up at night. Purvis asks Dillinger what keeps him up at night. Dillinger, who always seemed to be chewing gum, replies, "Coffee." Dillinger just felt like one of Depp's better acting roles, as of late. He showed more emotion than we're generally used to seeing from him and it was just an incredibly strong performance from the Oscar nominee.
The film has a lot of great dialogue, intriguing character interaction, and it's interesting watching the story unfold of how the crime wave of the 30s may have come to an end, but what really makes the film worth seeing is the shootouts. Any scene that begins with somebody holding a gun is worth getting excited over. There's a scene in the woods in the latter half of the film that is worth the price of admission alone. It takes place at night and everything is littered with darkness until the tommy guns make an appearance. The way the guns light up everything else around the characters firing them was a nice touch. Small explosions erupting from a chamber every time somebody pulled the trigger. This is some of the best gunfire to ever be filmed.
When it comes to Public Enemies, it is one of the best films of the year which is mentioned in at least one of the TV spots. Anyone who was a fan of Michael Mann's previous films (or gangster films, in general) will more than likely walk away from this film satisfied. Johnny Depp is still at the top of his game while Christian Bale seems to be winding down. Public Enemies is a film worthy of the summer blockbuster season which will satisfy the appetite of any fan of crime films.
The most noticeable thing about the film is its cinematography. Michael Mann has used the same method of shooting Public Enemies with HD digital cameras like he did with Collateral. This could be a hassle to some viewers as the picture isn't as shaky as it was in something like Cloverfield, but isn't as crystal clear and steady as you may have found in some of Mann's earlier work like Heat or most other films, for that matter. Perspective plays a huge role in this film. Certain lighting seems to come off better being shot in HD digital and it certainly shows, but the imperfections seem to give the film more character. Some people might throw the word, "edgy," around, but we'll settle on saying this style of filming feels like a more realistic approach. It makes the audience feel like they're actually amongst these gangsters during their heyday.
It almost felt like Christian Bale didn't really want to be there. Between this and Terminator: Salvation, he's really lacking the charisma and talent he's shown in films like The Prestige and The Machinist or even American Psycho. Maybe he's just hit his peak and has nothing else up his sleeve to wow audiences. Bale has hit an eye-catching slump, which is hard to say since this is coming from a long time fan. As long as he continues to be cast in big budget films though and those films wind up doing extremely well at the box office, then not many people are going to notice a difference in the actor's lackluster performance.
Johnny Depp, on the other hand, stole every scene he was in. His cockiness and confidence in his abilities in what he does just gave life to Dillinger that makes you generally like him. You want to see him escape as soon as he gets caught, pull off that next big robbery, and succeed at everything he does so he can run off with Billie Frechette (Marion Cotillard) and live happily ever after. His dialogue is also generally pretty incredible. In the scene where he's confronting Agent Purvis from behind bars, Dillinger is asking Purvis about what it was like to kill a man. How their eyes looked and how you can literally watch a man just drift away by staring into their eyes while they're dying. That that whole experience could keep a man up at night. Purvis asks Dillinger what keeps him up at night. Dillinger, who always seemed to be chewing gum, replies, "Coffee." Dillinger just felt like one of Depp's better acting roles, as of late. He showed more emotion than we're generally used to seeing from him and it was just an incredibly strong performance from the Oscar nominee.
The film has a lot of great dialogue, intriguing character interaction, and it's interesting watching the story unfold of how the crime wave of the 30s may have come to an end, but what really makes the film worth seeing is the shootouts. Any scene that begins with somebody holding a gun is worth getting excited over. There's a scene in the woods in the latter half of the film that is worth the price of admission alone. It takes place at night and everything is littered with darkness until the tommy guns make an appearance. The way the guns light up everything else around the characters firing them was a nice touch. Small explosions erupting from a chamber every time somebody pulled the trigger. This is some of the best gunfire to ever be filmed.
When it comes to Public Enemies, it is one of the best films of the year which is mentioned in at least one of the TV spots. Anyone who was a fan of Michael Mann's previous films (or gangster films, in general) will more than likely walk away from this film satisfied. Johnny Depp is still at the top of his game while Christian Bale seems to be winding down. Public Enemies is a film worthy of the summer blockbuster season which will satisfy the appetite of any fan of crime films.