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Lucy Buglass (45 KP) rated Black Mirror: Bandersnatch (2018) in Movies
Jun 20, 2019
It comes as no surprise that Black Mirror was Netflix’s guinea pig for their first ever interactive film. Charlie Brooker’s anthology series about the dark side of technology has captivated fans ever since it first aired on Channel 4 in the UK. With Netflix being a leading entertainment service, the time had come for them to try something brand new. The film dropped over the Christmas break, and I for one was very excited to sit down and try it.
Black Mirror: Bandersnatch is set in the ’80s and follows teenager Stefan Butler as he works to create a choice/consequence video game called ‘Bandersnatch’. He’s basing it off one of his mother’s ‘choose your own adventure’ books, where you could flick back and forth between chapters to change the course of your story. He’s been invited to speak with video games company Tuckersoft, comprised of video game creator Colin Ritman and savvy businessman Mohan Thaku, in the hopes he can make the game for their company.
As Stefan works on ‘Bandersnatch’, he also visits a therapist to help with his depression following the loss of his mother. He takes an unnamed medication in an attempt to ease his symptoms. Soon, the lines between reality and the video game world start to blur for Stefan, and he becomes more and more unhinged before our eyes.
That’s about all I’m going to tell you about the plot itself, because I don’t want to give away any spoilers. My advice when approaching this for the first time is to go in completely blind and just make your own decisions. You can find numerous pathway guides online, but try to avoid these until your later playthroughs if you can. Black Mirror: Bandersnatch is an experience that requires multiple watches and a lot of patience, but I promise you it’s worth it.
Personally I adore this episode, and I think they did such a fantastic job of bringing it to life. It’s so fluid and engaging; the scenes continue to play even when the options pop up on screen. The acting is absolutely stunning, with Fionn Whitehead (Stefan) and Will Poulter (Colin) impressing me the most, but every character is so well acted and believable. For the very first time, you feel part of the Black Mirror universe, and everything starts to feel so meta. There are also a lot of references to previous episodes which will delight long term fans, but aren’t too jarring for those new to the series.
Both Black Mirror and Netflix have proven they can work with interactivity without making it too gimmicky or tedious. It’s a fascinating format that I’m excited to see more of, and I’m sure we haven’t seen the last of this. I have equal amounts of praise for both the series and Netflix themselves, because they’re constantly upping the entertainment game which makes me fall in love even more. This is the kind of stuff that really excites me!
In classic Black Mirror style, there are some disturbing pathways but they’re arguably my favourite. They’re chilling, harrowing and bloody brilliant. At this point I think I’ve explored every possible ending or pathway, but I’m reluctant to spoil any of them on here because that would ruin the experience. However, if you do want to discuss anything, please do message me on @LGTHBlog so we can fangirl together!
https://lucygoestohollywood.com/2019/01/06/netflixs-first-interactive-film-my-thoughts-on-black-mirror-bandersnatch/
Black Mirror: Bandersnatch is set in the ’80s and follows teenager Stefan Butler as he works to create a choice/consequence video game called ‘Bandersnatch’. He’s basing it off one of his mother’s ‘choose your own adventure’ books, where you could flick back and forth between chapters to change the course of your story. He’s been invited to speak with video games company Tuckersoft, comprised of video game creator Colin Ritman and savvy businessman Mohan Thaku, in the hopes he can make the game for their company.
As Stefan works on ‘Bandersnatch’, he also visits a therapist to help with his depression following the loss of his mother. He takes an unnamed medication in an attempt to ease his symptoms. Soon, the lines between reality and the video game world start to blur for Stefan, and he becomes more and more unhinged before our eyes.
That’s about all I’m going to tell you about the plot itself, because I don’t want to give away any spoilers. My advice when approaching this for the first time is to go in completely blind and just make your own decisions. You can find numerous pathway guides online, but try to avoid these until your later playthroughs if you can. Black Mirror: Bandersnatch is an experience that requires multiple watches and a lot of patience, but I promise you it’s worth it.
Personally I adore this episode, and I think they did such a fantastic job of bringing it to life. It’s so fluid and engaging; the scenes continue to play even when the options pop up on screen. The acting is absolutely stunning, with Fionn Whitehead (Stefan) and Will Poulter (Colin) impressing me the most, but every character is so well acted and believable. For the very first time, you feel part of the Black Mirror universe, and everything starts to feel so meta. There are also a lot of references to previous episodes which will delight long term fans, but aren’t too jarring for those new to the series.
Both Black Mirror and Netflix have proven they can work with interactivity without making it too gimmicky or tedious. It’s a fascinating format that I’m excited to see more of, and I’m sure we haven’t seen the last of this. I have equal amounts of praise for both the series and Netflix themselves, because they’re constantly upping the entertainment game which makes me fall in love even more. This is the kind of stuff that really excites me!
In classic Black Mirror style, there are some disturbing pathways but they’re arguably my favourite. They’re chilling, harrowing and bloody brilliant. At this point I think I’ve explored every possible ending or pathway, but I’m reluctant to spoil any of them on here because that would ruin the experience. However, if you do want to discuss anything, please do message me on @LGTHBlog so we can fangirl together!
https://lucygoestohollywood.com/2019/01/06/netflixs-first-interactive-film-my-thoughts-on-black-mirror-bandersnatch/
Joe Goodhart (27 KP) rated Superman: Action Comics - The Oz Effect in Books
Nov 30, 2020
I passed on "The Oz Effect" when it first ran in ACTION COMICS back in 2017. The whole "Rebirth" thing intrigued me, but some of the stuff like the Flash/Batman crossover "The Button", just left me cold and bordering on disinterest. When I saw the identity reveal as to the story arc's antagonist, I felt frustrated and disappointing, feeling like "#Facepalm Didn't we do something like this already?!".
Since re-discovering my love of Superman (my earliest recollections of the character were one of love and admiration, because he was just so darned GOOD, y'know?) during Bendis taking the reins, I figured reading this book would aid me in what was to come. Catching it on a recent Comixology sale for the Big 'S' was the icing on the cake!
The first story in book, the two-issue story "Only Human", written by Rob Williams, was just meh. It felt like "paint by number", as far as the plot was concerned. Nothing in it made me go, "Whoa! Holy crapola, that was fab!" Nope.
The only reason it was included was due to the inclusion, and overall influence, of Mr. Oz on the story. Outside of that, I saw no reason to include it, other than DC wanted to add more pages (good, bad, or otherwise) for the money spent on purchasing it!
Now, the art by Guillem March was another story altogether. I felt he did a great job of capturing the heroic aspects to Superman, as well as the "human" side, achieving a perfect balance. I also thought the way he drew Lois Lane was also perfect, making her appear to be smart, because, well, she is, right? 'Nuff said. Thank you. Guillem, for helping to make this a 3-Star review instead of just a 2-Star one!
As far as the remainder of the book, which WAS "The Oz Effect, I thought it was fair. Not terrible by any means, but certainly not the kind of Dan Jurgens' helmed story. I felt the dialogue involving Clark and Jon, as well as with Lois, was good, as was the way he handled Perry White. But the reveal for Mr. Oz (no Spoilers, promise!) was just a bit underwhelming!
The character who he really has been done before. Sometimes good, sometimes not so good. This round, I was just like "Hmmm.. Ok, didn't see it coming, but at the same time.." I think a lot of people, myself included, were hoping it would be WATCHMEN's Ozmandyias. *womp* *womp* Nope. And that, dear readers, is the only kinda-sorta Spoiler in this review!
What really made it work for me, as well as aiding that push for the 3-Star review, was the backstory. Even though <i>his name</i> (not gonna say it, but we all know the blue fellow in question) is not mentioned, it is clear who is behind all of this. The fact that he brought this person into the present, tweaking the grand scheme of Everything? Whew! That's heavy! And definitely interest enough for me to stay onboard with Supes, especially with care Bendis is exhibiting with the character as well as the book's main cast.
This was my first time with Viktor Bogdanovic's art style. Quite good, I'd say. He really does a great job at capturing character's emotions, really drawing you into what is going on in that particular panel. Definitely someone I will be looking out for going forward.
So, final verdict, do I recommend this? Yeah, because there's a lot of little bits that owe to the bigger story involving <i>him</i>. However, don't expect to have your mind blown or anything, because it really ain't gonna do that. But, it's good enough to read.
And that, dear readers, is all I have to say about it!
I will be curious to finally read Geoff Johns' DOOMSDAY CLOCK (hopefully, it will conclude in my lifetime!) as I feel a lot more will make sense.
Since re-discovering my love of Superman (my earliest recollections of the character were one of love and admiration, because he was just so darned GOOD, y'know?) during Bendis taking the reins, I figured reading this book would aid me in what was to come. Catching it on a recent Comixology sale for the Big 'S' was the icing on the cake!
The first story in book, the two-issue story "Only Human", written by Rob Williams, was just meh. It felt like "paint by number", as far as the plot was concerned. Nothing in it made me go, "Whoa! Holy crapola, that was fab!" Nope.
The only reason it was included was due to the inclusion, and overall influence, of Mr. Oz on the story. Outside of that, I saw no reason to include it, other than DC wanted to add more pages (good, bad, or otherwise) for the money spent on purchasing it!
Now, the art by Guillem March was another story altogether. I felt he did a great job of capturing the heroic aspects to Superman, as well as the "human" side, achieving a perfect balance. I also thought the way he drew Lois Lane was also perfect, making her appear to be smart, because, well, she is, right? 'Nuff said. Thank you. Guillem, for helping to make this a 3-Star review instead of just a 2-Star one!
As far as the remainder of the book, which WAS "The Oz Effect, I thought it was fair. Not terrible by any means, but certainly not the kind of Dan Jurgens' helmed story. I felt the dialogue involving Clark and Jon, as well as with Lois, was good, as was the way he handled Perry White. But the reveal for Mr. Oz (no Spoilers, promise!) was just a bit underwhelming!
The character who he really has been done before. Sometimes good, sometimes not so good. This round, I was just like "Hmmm.. Ok, didn't see it coming, but at the same time.." I think a lot of people, myself included, were hoping it would be WATCHMEN's Ozmandyias. *womp* *womp* Nope. And that, dear readers, is the only kinda-sorta Spoiler in this review!
What really made it work for me, as well as aiding that push for the 3-Star review, was the backstory. Even though <i>his name</i> (not gonna say it, but we all know the blue fellow in question) is not mentioned, it is clear who is behind all of this. The fact that he brought this person into the present, tweaking the grand scheme of Everything? Whew! That's heavy! And definitely interest enough for me to stay onboard with Supes, especially with care Bendis is exhibiting with the character as well as the book's main cast.
This was my first time with Viktor Bogdanovic's art style. Quite good, I'd say. He really does a great job at capturing character's emotions, really drawing you into what is going on in that particular panel. Definitely someone I will be looking out for going forward.
So, final verdict, do I recommend this? Yeah, because there's a lot of little bits that owe to the bigger story involving <i>him</i>. However, don't expect to have your mind blown or anything, because it really ain't gonna do that. But, it's good enough to read.
And that, dear readers, is all I have to say about it!
I will be curious to finally read Geoff Johns' DOOMSDAY CLOCK (hopefully, it will conclude in my lifetime!) as I feel a lot more will make sense.
Becs (244 KP) rated The Crucible in Books
Oct 2, 2019
I absolutely love Arthur Miller and anything regarding witches/ the Salem Trials. So, the crucible for me is a five-star novel. Can we just take a moment to admire the writers of the 50’s and older as they don’t seem to be getting much hype lately? Like, literary classics are deemed school reads and not your typical everyday read. THIS NEEDS TO CHANGE.
Reading these in school and then giving them a reread five years after graduating, has shown a new light onto these novels. And has made me appreciate them more as a whole compared to when I read them in high school. If you haven’t read many literary classics, I recommend starting with something by Arthur Miller or George Orwell. Yes, they may be a bit hard to get into at first, but give it time. That’s the key when reading any book!
The Crucible by Arthur Miller
Genre: Literary Classic, Historical Fiction, Plays, Drama
Synopsis: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history,” Arthur Miller wrote of his classic play about the witch-hunts and trials in seventeenth-century Salem, Massachusetts. Based on historical people and real events, Miller’s drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town’s most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence.
Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy’s “witch-hunts” in the United States. Within the text itself, Miller contemplates the parallels, writing, “Political opposition… is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence.”
WIth an introduction by Christopher Bigsby.
Audience/ Reading Level: High School +
Interests: Plays, Drama, Witches, the Salem Trials, Arthur Miller, Literary Classics.
Point of View: Third Person Omniscient
Difficulty Reading: With every literary classic, you run into the problem of the first 30% of the novel being a bore or hard to get into. The Crucible was only a bore in parts but taking the novel as a whole, it was a pretty easy read.
Promise: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history.”
Insights: The Crucible is based on true events and Arthur Miller has a way of explaining everything that was wrong with the way people lived. I.E. Woman did not have rights until the early 1920’s. This didn’t stop some countries/states to still not allow the woman to have rights. But taking The Crucible into perspective, the women that were charged with witchcraft were unable to explain themselves to the men. The men believed the accusers either because they were sleeping with them or because they were their family. Luckily, nowadays we don’t have this extreme of situations but it still does exist. The Crucible teaches all of its readers, young or old, many valuable lessons that are sometimes hard to witness. Plus, Miller correlates the events in the Crucible to the anti-communist McCarthyism of the 1950s.
Favorite Quotes: “I speak my own sins; I cannot judge another. I have no tongue for it.”
“Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!”
“You are pulling down heaven and raising up a whore”
What will you gain: A love for another literary classic and a love for Arthur Miller if you do not already love his writing. Plus, a great historical read.
Aesthetics: The witches, the trials, the way people take sides, I mean I can’t say much more without giving spoilers away. We wouldn’t want that, now would we?
“It is rare for people to be asked the question which puts them squarely in front of themselves”
Reading these in school and then giving them a reread five years after graduating, has shown a new light onto these novels. And has made me appreciate them more as a whole compared to when I read them in high school. If you haven’t read many literary classics, I recommend starting with something by Arthur Miller or George Orwell. Yes, they may be a bit hard to get into at first, but give it time. That’s the key when reading any book!
The Crucible by Arthur Miller
Genre: Literary Classic, Historical Fiction, Plays, Drama
Synopsis: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history,” Arthur Miller wrote of his classic play about the witch-hunts and trials in seventeenth-century Salem, Massachusetts. Based on historical people and real events, Miller’s drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town’s most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence.
Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy’s “witch-hunts” in the United States. Within the text itself, Miller contemplates the parallels, writing, “Political opposition… is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence.”
WIth an introduction by Christopher Bigsby.
Audience/ Reading Level: High School +
Interests: Plays, Drama, Witches, the Salem Trials, Arthur Miller, Literary Classics.
Point of View: Third Person Omniscient
Difficulty Reading: With every literary classic, you run into the problem of the first 30% of the novel being a bore or hard to get into. The Crucible was only a bore in parts but taking the novel as a whole, it was a pretty easy read.
Promise: “I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history.”
Insights: The Crucible is based on true events and Arthur Miller has a way of explaining everything that was wrong with the way people lived. I.E. Woman did not have rights until the early 1920’s. This didn’t stop some countries/states to still not allow the woman to have rights. But taking The Crucible into perspective, the women that were charged with witchcraft were unable to explain themselves to the men. The men believed the accusers either because they were sleeping with them or because they were their family. Luckily, nowadays we don’t have this extreme of situations but it still does exist. The Crucible teaches all of its readers, young or old, many valuable lessons that are sometimes hard to witness. Plus, Miller correlates the events in the Crucible to the anti-communist McCarthyism of the 1950s.
Favorite Quotes: “I speak my own sins; I cannot judge another. I have no tongue for it.”
“Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!”
“You are pulling down heaven and raising up a whore”
What will you gain: A love for another literary classic and a love for Arthur Miller if you do not already love his writing. Plus, a great historical read.
Aesthetics: The witches, the trials, the way people take sides, I mean I can’t say much more without giving spoilers away. We wouldn’t want that, now would we?
“It is rare for people to be asked the question which puts them squarely in front of themselves”
Gareth von Kallenbach (980 KP) rated Leatherheads (2008) in Movies
Aug 14, 2019
The movie opens with John Krasinski’s character, “Carter Rutherford”, playing college-level football for Princeton at a bleacher-groaning, over-packed game chock full of screaming patrons and die-hard fans. The kid is a golden-child, a war hero, and the nation’s most promising young athlete in the good old year of 1925. Carter is dynamic, attractive, and exactly what the country needs at a time of World War I. It is little wonder his face plasters billboards across town, that his name is uttered with awe and adoration. In truth, how could you not? The kid had, after all, single-handedly forced a contingent of German soldiers to surrender without even shooting one bullet.
Cut to George Clooney’s character, the aging “Dodge Connelly”, playing pro-football in mire-like conditions; his audience a tangle of bored fans and uninspired locals. It is a far cry from the opulent circumstance of college-level football. Men, bedraggled and sweating under the promise of returning to work at the mines and fields if their football dreams go under, play with reckless abandon and forgotten morals in hopes of winning that next game. Yet, as fate will go, the Bulldogs lose their sponsorship and the team goes under, forcing men to return to their day-jobs and leaving Dodge without a future. The man has no marketable skills, no trade. He is a football player and is determined to see his team back in the game.
Of course, that isn’t the only bit of chaos. There has to be a girl; there is always a girl involved in stories like these. Enter Renée Zellweger’s character, the vivacious and equally tenacious “Lexie Littleton” – a news reporter for the Tribune. Lexie is on a mission to expose Carter Rutherford and get to the bottom of his infamous war story. It comes to no surprise that when Lexie and Dodge meet in a hotel lobby awaiting the arrival of Carter Rutherford and his manager, “CC Frazier” (played by Jonathan Pryce), that sparks immediately fly between them. Dodge has a proposal for CC and Carter: have Carter take a leave of absence from Princeton to play pro-football for the Bulldogs, thus saving pro-football and paying Carter for his efforts. Naturally, CC wants a cut from the profits and finds a way to do so to accommodate his own needs. Dodge, without any other alternative, agrees.
Meanwhile, Lexie is working her magic on Carter to try and weasel the true story out of him as best she can. Try as she might she cannot ignore Dodge, no matter how acid her tongue wags in his direction. In the end, Lexie gets her story yet realizes she must decide between exposing the truth or letting America bask in the glory of its self-proclaimed war-hero.
In review, there is a true chemistry between all of the main characters and both Zellweger and Clooney do a good job of conveying the vehement (and callous) emotion between Lexie and Dodge. However, no matter how funny the banter becomes between these three main characters or how well the scene plugs along, in the end the movie comes off as a passable but by no means memorable. Betimes it seems to stretch on and on and more then once I found myself looking at my clock. In truth, the movie didn’t need to be nearly two hours long. It felt two hours long which is never a good thing, especially when we’re talking about theatre seats.
That said, I thought the movie was a cute and enjoyable comedy. It won’t crack your funny bone but it will certainly tickle it more then once. All in all I give it 3.5 out of 5. It succeeded in making me laugh and did keep me entertained. Above all, I’m sure many will find it enjoyable to some extent.
Cut to George Clooney’s character, the aging “Dodge Connelly”, playing pro-football in mire-like conditions; his audience a tangle of bored fans and uninspired locals. It is a far cry from the opulent circumstance of college-level football. Men, bedraggled and sweating under the promise of returning to work at the mines and fields if their football dreams go under, play with reckless abandon and forgotten morals in hopes of winning that next game. Yet, as fate will go, the Bulldogs lose their sponsorship and the team goes under, forcing men to return to their day-jobs and leaving Dodge without a future. The man has no marketable skills, no trade. He is a football player and is determined to see his team back in the game.
Of course, that isn’t the only bit of chaos. There has to be a girl; there is always a girl involved in stories like these. Enter Renée Zellweger’s character, the vivacious and equally tenacious “Lexie Littleton” – a news reporter for the Tribune. Lexie is on a mission to expose Carter Rutherford and get to the bottom of his infamous war story. It comes to no surprise that when Lexie and Dodge meet in a hotel lobby awaiting the arrival of Carter Rutherford and his manager, “CC Frazier” (played by Jonathan Pryce), that sparks immediately fly between them. Dodge has a proposal for CC and Carter: have Carter take a leave of absence from Princeton to play pro-football for the Bulldogs, thus saving pro-football and paying Carter for his efforts. Naturally, CC wants a cut from the profits and finds a way to do so to accommodate his own needs. Dodge, without any other alternative, agrees.
Meanwhile, Lexie is working her magic on Carter to try and weasel the true story out of him as best she can. Try as she might she cannot ignore Dodge, no matter how acid her tongue wags in his direction. In the end, Lexie gets her story yet realizes she must decide between exposing the truth or letting America bask in the glory of its self-proclaimed war-hero.
In review, there is a true chemistry between all of the main characters and both Zellweger and Clooney do a good job of conveying the vehement (and callous) emotion between Lexie and Dodge. However, no matter how funny the banter becomes between these three main characters or how well the scene plugs along, in the end the movie comes off as a passable but by no means memorable. Betimes it seems to stretch on and on and more then once I found myself looking at my clock. In truth, the movie didn’t need to be nearly two hours long. It felt two hours long which is never a good thing, especially when we’re talking about theatre seats.
That said, I thought the movie was a cute and enjoyable comedy. It won’t crack your funny bone but it will certainly tickle it more then once. All in all I give it 3.5 out of 5. It succeeded in making me laugh and did keep me entertained. Above all, I’m sure many will find it enjoyable to some extent.
Gareth von Kallenbach (980 KP) rated Pride and Prejudice and Zombies (2016) in Movies
Aug 6, 2019
As a fan of the Pride and Prejudice book by Jane Austen, I thought it was all kinds of wrong when I came across the parody novel Pride and Prejudice and Zombies, by Seth Grahame-Smith, that essentially Austen’s classic novel with elements of modern zombie fiction. Mainly because I’m not a fan of horror movies. So as we approached the theater where we were screening Pride and Prejudice and Zombies, I told my husband, “I really don’t want to watch this. I hate zombies.” He just laughed. “You hate zombies, but you watch Walking Dead. Just pretend it’s an episode of Walking dead. Just set near the Victorian era.” I admit, I do watch the Walking Dead but it’s the most stressful hour of television for me, and there are commercial breaks. This movie has a running time for this move was almost 2 hrs with no commercials.
But the movie got a giggle out of me in the first 5 minutes. And of course it made me gasp not long after. But Walking Dead has trained me well, and it wasn’t too long ago that I watched Hateful Eight, so I think I’m quite desensitized to blood and gore now, and in comparison, PPZ was relatively mild in that regard. It also had enough of the elements of the original story that fighting zombies actually became an entertaining digression. You know – beautiful young ladies, dashing young men, ballroom dancing, budding romance, zombie attack.
“To succeed in polite society, a young woman must be many things. Kind… well-read… and accomplished. But to survive in the world as WE know it, you’ll need… other qualities.” Those qualities include being skilled in the martial arts and weapons training, while wearing a corset –essentially making them Regency era bad-asses.
Because I don’t watch Downton Abbey, the last time I saw Lily James, who plays Elizabeth Bennett, she was brilliantly blond and sweetly keeping her promise to her mother to “have courage and be kind.” as Cinderella. In PPZ, she’s a fierce brunette who doesn’t take too kindly to Fitzwilliam Darcy, played by a sullen and haughty Sam Riley – another Disney alum, last seen as Diaval, Maleficent’s companion raven.
Where the Jane Austen’s Mr. Darcy is won over by Elizbeth’s charm and wit, PPZ’s Darcy is slowly won over by Elizabeth’s aggressive and bold battle skills. Adding the alternate history of how zombies came to be a part of Regency era England hurried the story along, so the romantic developments felt a bit rushed, but Riley’s Darcy was quite believable in his reluctant but growing admiration of Elizabeth.
I was pleasantly surprised by how much I enjoyed this movie, zombies and all. When you can get guys to cheer for some undead’s head getting blown off, and still make the ladies sigh for the romance, you have a pretty perfect date movie. It may very well be my favorite period costume romantic zombie action film.
But the movie got a giggle out of me in the first 5 minutes. And of course it made me gasp not long after. But Walking Dead has trained me well, and it wasn’t too long ago that I watched Hateful Eight, so I think I’m quite desensitized to blood and gore now, and in comparison, PPZ was relatively mild in that regard. It also had enough of the elements of the original story that fighting zombies actually became an entertaining digression. You know – beautiful young ladies, dashing young men, ballroom dancing, budding romance, zombie attack.
“To succeed in polite society, a young woman must be many things. Kind… well-read… and accomplished. But to survive in the world as WE know it, you’ll need… other qualities.” Those qualities include being skilled in the martial arts and weapons training, while wearing a corset –essentially making them Regency era bad-asses.
Because I don’t watch Downton Abbey, the last time I saw Lily James, who plays Elizabeth Bennett, she was brilliantly blond and sweetly keeping her promise to her mother to “have courage and be kind.” as Cinderella. In PPZ, she’s a fierce brunette who doesn’t take too kindly to Fitzwilliam Darcy, played by a sullen and haughty Sam Riley – another Disney alum, last seen as Diaval, Maleficent’s companion raven.
Where the Jane Austen’s Mr. Darcy is won over by Elizbeth’s charm and wit, PPZ’s Darcy is slowly won over by Elizabeth’s aggressive and bold battle skills. Adding the alternate history of how zombies came to be a part of Regency era England hurried the story along, so the romantic developments felt a bit rushed, but Riley’s Darcy was quite believable in his reluctant but growing admiration of Elizabeth.
I was pleasantly surprised by how much I enjoyed this movie, zombies and all. When you can get guys to cheer for some undead’s head getting blown off, and still make the ladies sigh for the romance, you have a pretty perfect date movie. It may very well be my favorite period costume romantic zombie action film.
I would like to start off by saying to Owlcrate, amazing job at curating this book for the box. I was stoked when I opened the box to see this one in there because this was on my wish list!
I know quite a few people on this site did not enjoy this book. I, obviously, am not one of them. I really liked the magical quality of Caraval. It seemed like a really creepy, yet beautiful place to be. As you probably can see, it took me a while to actually read this book, but that's not the writing's fault. I just kept getting distracted or into mini slumps. I promise, I liked this book a lot.
Caraval has gotten a lot of hype and attention, I think for a good reason. This, I believe, is Stephanie Garber's first full novel and she did an excellent job at it. I am excited to see what she comes up with next.
The characters were interesting. I liked Scarlett and her sleuthing skills. She was strong and wanted to protect those around her which I can understand. She is a little too self-sacrificing to be completely relatable, though which is one fault I will put onto her. I can say I wasn't a big fan of her sister, Donatella. That's all I will say about that. The Grand Master Legend was creepy as hell and he wasn't really seen in the book at all. That was great writing to be able to feel that creeping sensation throughout the book. He was just a heavy presence at the back of your mind that you couldn't quite shake. I felt immediately attached and wary of Julian. When you read the book, you'll find out why.
The plot is primarily about the game and sisterhood. Scarlett will do anything to protect Donatella, and I mean anything. She knows she has to win this game she has been dreaming about her whole life to keep Tella safe, and damn it, she is going to do her best. I respect that. I liked the pacing of the plot, though there were a few moments things happened too quickly. I feel like there were a few too many jumps to immediate conclusions for the hints in the game that the readers couldn't necessarily keep up with.
The setting was beautiful. Who wouldn't want to go to this magical circus island? I mean, yes, it's super dangerous, but I would go! I love the rose imagery throughout. It was a great connecting theme that I liked because even if the characters sometimes were disoriented, you could find your way again with the roses.
The game was crazy. Literally. I was so blown away with the thought process Garber had to forman of when she was writing this. Blown. Away.
The twists and turns of this book had me going at all times. I really enjoyed not being able to see things coming, which I usually can when there is more of a suspenseful plot line, but in this one, there were only a few moments I could see ahead.
Overall, I really enjoyed reading this book and I can't wait for the next one!
I know quite a few people on this site did not enjoy this book. I, obviously, am not one of them. I really liked the magical quality of Caraval. It seemed like a really creepy, yet beautiful place to be. As you probably can see, it took me a while to actually read this book, but that's not the writing's fault. I just kept getting distracted or into mini slumps. I promise, I liked this book a lot.
Caraval has gotten a lot of hype and attention, I think for a good reason. This, I believe, is Stephanie Garber's first full novel and she did an excellent job at it. I am excited to see what she comes up with next.
The characters were interesting. I liked Scarlett and her sleuthing skills. She was strong and wanted to protect those around her which I can understand. She is a little too self-sacrificing to be completely relatable, though which is one fault I will put onto her. I can say I wasn't a big fan of her sister, Donatella. That's all I will say about that. The Grand Master Legend was creepy as hell and he wasn't really seen in the book at all. That was great writing to be able to feel that creeping sensation throughout the book. He was just a heavy presence at the back of your mind that you couldn't quite shake. I felt immediately attached and wary of Julian. When you read the book, you'll find out why.
The plot is primarily about the game and sisterhood. Scarlett will do anything to protect Donatella, and I mean anything. She knows she has to win this game she has been dreaming about her whole life to keep Tella safe, and damn it, she is going to do her best. I respect that. I liked the pacing of the plot, though there were a few moments things happened too quickly. I feel like there were a few too many jumps to immediate conclusions for the hints in the game that the readers couldn't necessarily keep up with.
The setting was beautiful. Who wouldn't want to go to this magical circus island? I mean, yes, it's super dangerous, but I would go! I love the rose imagery throughout. It was a great connecting theme that I liked because even if the characters sometimes were disoriented, you could find your way again with the roses.
The game was crazy. Literally. I was so blown away with the thought process Garber had to forman of when she was writing this. Blown. Away.
The twists and turns of this book had me going at all times. I really enjoyed not being able to see things coming, which I usually can when there is more of a suspenseful plot line, but in this one, there were only a few moments I could see ahead.
Overall, I really enjoyed reading this book and I can't wait for the next one!
Gareth von Kallenbach (980 KP) rated Us (2019) in Movies
Jul 2, 2019
We’ve all heard that somewhere out in the world there is a true Doppelganger for each and every one of us. An almost exact copy which may not behave the same but would otherwise be indistinguishable from the other. In a common instance a Doppelganger might be a set of identical twins who share the same DNA, or in pop culture references we might look to the definition of a Doppelganger in Dungeons and Dragons, defined as a monstrous humanoid able to change the shape and read the minds of their intended target to mimic them completely. Somewhere in the middle is where Jordan Peele’s latest masterpiece takes us.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
The film begins in the mid 80’s, when Michael Jackson’s Thriller is topping the charts and Hands Across America was a very real idea (worth looking up for younger readers who may not even know what I’m talking about). A young Adelaide Wilson is exploring the boardwalk on a beach in Santa Cruz with her parents. When her father is distracted by a game of Whack a’ Mole something draws Adelaide down to the beach where she passes a man holding a sign referencing Jeremiah 11:11, one of the first messages that foreshadows what is to come. On the beach she encounters an empty and sinister looking hall of mirrors attraction. Wandering through the hall of mirrors a young Adelaide encounters a girl in the mirror, an exact duplicate of herself whose encounter is so traumatic that it leaves her unable to speak.
The film transitions to present day where the now adult Adelaide (Lupita Nyong’o) is traveling with her husband Gabriel (Winston Duke) and her two children Zora (Shahadi Wright Joseph) and youngest son Jason (Evan Alex) to her parents’ home near the beach in Santa Cruz. Adelaide has resisted going back to the very same boardwalk where she had encountered her doppelganger as a young child. With her husband and children pressing her to go to the beach, she reluctantly agrees as long as they promise to be home before dark. The day at the beach is relatively uneventful until it is nearing time to go home and the family has lost sight of young Jason. Adelaide in a panic frantically searches for him, finally finding him returning from the bathroom.
The incident, while minor, convinces Adelaide that they should never have come back and wants to leave immediately. Various subtle “coincidences” occur that leave her feeling as though a black cloud hangs over her and a sense of dread that something terrible is about to happen. Before the family turns in for the evening, Jason sees “A family” at the edge of their driveway. Gabriel attempts to get to the bottom of who these mysterious visitors are, only for a night of unimaginable terror to ensue.
Us takes queues from several other movie types, The Strangers, Night of the Living Dead and Invasion of the Body Snatchers mashing them together to weave its frightening (and often funny) tale. It takes a little time to gain momentum, but once it does It never once lets off the gas. While at first it seems nothing more than a home invasion from characters who look exactly like the Wilson family, it quickly grows into something substantially more terrifying. The backdrop varies between a somewhat isolated house in the woods, to the bustling beach, giving a sense of isolation even at the most crowded of places. The boardwalk is a place that is both wonderous and terrifying at the same time, reminiscent of the early scenes in the 80’s classic The Lost Boys. While lacking in both clowns or vampires, it holds its own secrets (and terrors).
Us is a movie that is unlike any other and is refreshing when stacked against similar fright films that have been released recently. If you are a fan of Jordan Peele’s Get Out, you will find a lot to like here as well. It maintains its dark humor without ever going over board and has plenty of thrills and scares to keep you on your toes at all times. It’s not a movie that will keep you up all night hiding under your covers, but it may cause you to rethink your next vacation to the beach or the boardwalk. In the end, I feel this is another film that is sure to become a cult classic, enjoyable for fans of the genre.
theVman (16 KP) rated Twin Peaks - Season 3 in TV
May 22, 2017
The Cast (1 more)
The new mysterys
Lack of the familar Twin Peaks stuff (2 more)
The way the story unfolds
Very Slow
The first four episodes
Twin Peaks: The Return
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
*** Ive tried to write this as spoiler free as i can, you may find some in here but nothing that i think would ruin watching the show for you ***
I don’t think it will come to anyones surprise to say that the first four episodes of Twin Peaks return are strange. But maybe not in the way that we know and love.
I found these first four episodes difficult to enjoy not because they were bad, but because it was not what I was expecting at all. I wanted the key things that I love about Twin Peaks to be there, the returning characters, the iconic score by Angleo Badalamenti, the quirky weirdness grounded by soap opera like stories. I wanted the dark seriousness of murder, lust and money, beautifully intertwined with the ridiculousness of silent drape runners, saving the pine weasel and miss twin peaks contests.Unfortunately I found very little of any of what I wanted.
Yes Cooper is back or more accurately Kyle Maclachlan is back but has yet to act or sound anything like Special Agent Dale Cooper at all, the story calling for him to play a very lifeless rendition of his former glory. Other familiar faces have shown up along the way, but not very many and for not very long at all.
What we have is something very Lynchian, long drawn out scenes, especially in The Black Lodge that after extended moments of a droning humming score and lot of not a lot going on in slow motion followed by more not a lot going on but this time with a white horse or a talking lump of flesh on a leafless tree in the picture, it starts to feel like a lot of weird stuff just for sheer sake of being weird.
Fans of the previous seasons of Twin Peaks might be left wondering what is going on with the stories that were left open, is Leo still holding that rope in his mouth, what happened after the explosion in the bank vault, and what the hell has happened to Annie – well you wont find any of these answers here. Instead we are given a whole bunch of new characters, who’s stories we are still trying to figure out and how they are related to the events of Twin Peaks, which is a made into a bigger and more confusing mystery seeing as none of them actually take place in Twin Peaks at all. In fact, the most recognisable place in the first few hours is The Black Lodge, which features extensively in the first two episodes before “Cooper” bizarrely ends up in Las Vegas. Also knocking us out of our comfort zone and driving home the fact that this is not the same kind of Twin Peaks show we are used to, are the occasional F bombs being dropped and the coy sexiness that flowed through the show has been replaced with plain nudity.
We have been given vision that is pure David Lynch. He produces some fantastical imagery and some unnerving editing that is like watching Eraserhead, Lost Highway and Fire Walk With Me all at the same time on the same screen. As a piece of art it has its place amongst Lynch fans, but as a piece of entertainment for prime time television, it missed the mark for me, and as a return to Twin Peaks, it should be ashamed of itself, as apart from 30 seconds or so in episode 4 where here the familiar twangs of the original score, I didn’t feel like there was any return to that great tv show from the early 90s. There is the odd nugget of new that will keep me watching, Naomi Watts and Matthew Lillard have joined the team in what promises to be entertaining roles, there is a glass box that is being kept in some kind of secret bunker under constant video monitoring that seems to have something to do with The Black Lodge, the log lady is getting message from her log again, a body that doesn’t belong to its head and we are still hanging out at the Bang Bang Bar with Bobby, Shelley and James even if it was for far too brief at time.
Overall: It didn’t deliver on its promise, or give me what I wanted, but there is still a lot more episodes to come. I cant think of another show that would get away with such a slow build or lack of deliverance than the new third season of Twin Peaks.
Acanthea Grimscythe (300 KP) rated The Haunting of Hill House in Books
May 16, 2018
Several years ago, I watched The Haunting (1999). It was not an intentional watching of the movie and I actually forgot that I had watched it shortly after. Now and then, I would recall a scene and try to remember where it was from without much luck. At that time, I was not aware that it was an adaptation of Shirley Jackson's novel, The Haunting of Hill House. In fact, it wasn't until more recently that I returned to my long forgotten passion for the written word. In a way, I'm a bit glad that I read the book - or in this case, listened to it.
One of the largest determining factors for me when I'm listening to an audio book is the quality of the narration, and in this case I highly suggest the version narrated by David Warner over Bernadette Dunne. Warner's voice is far gentler on the ears and his heavy English lends an utterly unique feeling to the story. I only listened to a sample of Dunne's version and found it very painful on my ears. Warner's reading is published by Phoenix, whereas Dunne's is from Blackstone Audio. Considering that I use audiobooks in order to help me relax along the hour long commute to and from work, the quality of the recording is vital to whether or not I am capable of stomaching the book (and for this reason, I nearly dropped House).
The Haunting of Hill House was published in 1959 by Viking, six years before Shirley Jackson's death. <a href="https://en.wikipedia.org/wiki/Shirley_Jackson"; target="new">The book itself is lauded as a classic example of haunted house fiction, earning praise from my all time favorite author, Stephen King.</a> It is a story in which four individuals take up summer residence in the famed Hill House, where they embark upon an unexpectedly brief journey to learn more about the supernatural - and perhaps even about their own selves. Each character is riddled with their own flaws and, to my great surprise, are not filled with the incessantly needy yearning for romance that is so common in other books.
I can also admit that none of the characters are particularly likable. The character that I find most tolerable is Eleanor Vance, our star for this read who clearly suffers from mental illness. Given the time in which the book takes place, it is almost heartbreaking how little others are able to pick up regarding her mental state and, when they finally do, the disdain they treat her with is extremely painful to watch. My least favorite of the cast is Mrs. Montague and her planchette. Mrs. Montague seems rather incapable of caring about anyone other than herself and goes to great lengths to undermine her husband. Her short fuse makes her utterly unbearable and, were I to cross paths with her, I can't promise that I wouldn't want to throttle her.
As far as the haunting of the manse itself goes, there's very little to it. While Jackson's prose is meticulous and gorgeous to behold, at no point did I feel any sense of unease. Much of what is meant to be unsettling is not supernatural in origin, but derived from the interactions of the characters. In a way, the reader is simply a passenger along for the ride in Eleanor's descent into madness, and it is from this that unease can be felt than by anything ethereal.
I enjoyed The Haunting of Hill House and I find it to be a pleasant read (or in this case, listen), but it is not among my favorites when it comes to horror. I felt no real need to keep going and none of the edge-of-your-seat anxiety that horror fans like myself thrive on. It is certainly a beautiful book and Hill House has a hauntingly sad past, but other than that I did not find the story to be overly impressive. While some of this could be attributed to the fact that I had seen the movie in the past, I don't really feel that is the case - especially since I seem to be in agreement with several other readers.
One of the largest determining factors for me when I'm listening to an audio book is the quality of the narration, and in this case I highly suggest the version narrated by David Warner over Bernadette Dunne. Warner's voice is far gentler on the ears and his heavy English lends an utterly unique feeling to the story. I only listened to a sample of Dunne's version and found it very painful on my ears. Warner's reading is published by Phoenix, whereas Dunne's is from Blackstone Audio. Considering that I use audiobooks in order to help me relax along the hour long commute to and from work, the quality of the recording is vital to whether or not I am capable of stomaching the book (and for this reason, I nearly dropped House).
The Haunting of Hill House was published in 1959 by Viking, six years before Shirley Jackson's death. <a href="https://en.wikipedia.org/wiki/Shirley_Jackson"; target="new">The book itself is lauded as a classic example of haunted house fiction, earning praise from my all time favorite author, Stephen King.</a> It is a story in which four individuals take up summer residence in the famed Hill House, where they embark upon an unexpectedly brief journey to learn more about the supernatural - and perhaps even about their own selves. Each character is riddled with their own flaws and, to my great surprise, are not filled with the incessantly needy yearning for romance that is so common in other books.
I can also admit that none of the characters are particularly likable. The character that I find most tolerable is Eleanor Vance, our star for this read who clearly suffers from mental illness. Given the time in which the book takes place, it is almost heartbreaking how little others are able to pick up regarding her mental state and, when they finally do, the disdain they treat her with is extremely painful to watch. My least favorite of the cast is Mrs. Montague and her planchette. Mrs. Montague seems rather incapable of caring about anyone other than herself and goes to great lengths to undermine her husband. Her short fuse makes her utterly unbearable and, were I to cross paths with her, I can't promise that I wouldn't want to throttle her.
As far as the haunting of the manse itself goes, there's very little to it. While Jackson's prose is meticulous and gorgeous to behold, at no point did I feel any sense of unease. Much of what is meant to be unsettling is not supernatural in origin, but derived from the interactions of the characters. In a way, the reader is simply a passenger along for the ride in Eleanor's descent into madness, and it is from this that unease can be felt than by anything ethereal.
I enjoyed The Haunting of Hill House and I find it to be a pleasant read (or in this case, listen), but it is not among my favorites when it comes to horror. I felt no real need to keep going and none of the edge-of-your-seat anxiety that horror fans like myself thrive on. It is certainly a beautiful book and Hill House has a hauntingly sad past, but other than that I did not find the story to be overly impressive. While some of this could be attributed to the fact that I had seen the movie in the past, I don't really feel that is the case - especially since I seem to be in agreement with several other readers.
Bob Mann (459 KP) rated Last Night in Soho (2021) in Movies
Nov 11, 2021
Edgar Wright’s Haunting Love Letter to the Swinging Sixties.
A young 21st-century teen walks in her nightclothes down a darkened alley emerging into a bustling 60’s Soho street across from a theatre showing “Thunderball”. She enters the Cafe de Paris with a reflection mimicking her actions but showing a very different girl. So it was that the trailer for Edgar Wright’s “Last Night in Soho” hit earlier this year.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.