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Entertainment Editor (1988 KP) created a video about 1992 Deluxe by Princess Nokia in Music
Dec 28, 2017
Merissa (12058 KP) rated A Barlow Lens (Circles #2) in Books
Feb 24, 2020
A BARLOW LENS is the second book in the Circles series and we continue with Wyatt and Val as they try to solve a mystery from a time-gone-by.
I LOVED THIS STORY! I really enjoyed reading about the historical side of things, and how Tom and Philip managed to be together. Archie was a nasty piece of work and I really can't say I'm sad about his ending!
There is mention of horse-racing in this one but nowhere near as much as in the first, simply because it isn't the focus in here. I loved how it was still there and an important time for Wyatt and Val, but I'm also glad the emphasis was on Tom and Philip.
Two for the price of one and both thoroughly enjoyable. Absolutely recommended by me.
I LOVED THIS STORY! I really enjoyed reading about the historical side of things, and how Tom and Philip managed to be together. Archie was a nasty piece of work and I really can't say I'm sad about his ending!
There is mention of horse-racing in this one but nowhere near as much as in the first, simply because it isn't the focus in here. I loved how it was still there and an important time for Wyatt and Val, but I'm also glad the emphasis was on Tom and Philip.
Two for the price of one and both thoroughly enjoyable. Absolutely recommended by me.
Gareth von Kallenbach (980 KP) rated Honest Thief (2020) in Movies
Oct 13, 2020
Tom (Liam Neeson) is a long-time bank robber eager to put his past behind him in the new film “Honest Thief”. A circumstance forced Tom to decide to strike back at the establishment following a career in ordinance in the military and has found he has a real talent for blowing safes and making away with millions of dollars over several years.
The Feds have been unable to stop him and regularly field numerous calls from people claiming to be responsible in order to gain attention. So when Tom calls Agent Sam Baker (Robert Patrick) and his partner Agent Meyers (Jeffrey Donovan); his claims are met with skepticism.
Tom has fallen in love with an aspiring Psychologist he met while renting a storage facility and he is eager to start a new and honest life with Annie (Kate Walsh). Tom offers to return all nine million dollars that he has stolen in term for a light sentence at a minimum security locale near Boston so Annie can visit him frequently.
Unwilling to accept that Tom is who he says he is, the agents dispatch Agents Nivens (Jai Courtney) and Agent Hall (Anthony Ramos); to interview Tom and check out his story. Tom offers to tell them where the money is in order to prove his claims. When several boxes of cash are discovered in storage; Nivens decides to take the money and pressures Hall into going along with it despite his reservations.
Nivens them attempts to eliminate Tom but in doing so kills Agent Baker who has shown up unexpectedly. Tom is now framed for a murder he did not commit and forced to flee in order to try to clear his name and make good on his initial offer to turn himself in.
Nivens is not willing to stop there and escalates his level of corruption and danger including threats on Hall and his family to ensure his compliance and silence.
As anyone who has ever seen a Liam Neeson film in the last ten years or so can deduce his character is motivated by events that follows and with his expert knowledge of explosives looks to strike back at Nivens and ensure justice is served.
While the film may be a bit slower paced in some areas than fans of Neeson may expect; he turns in a satisfying performance as a sort of modern day Robin Hood.
Tom is a man who does not make excuses for his actions and is willing to pay the price for them but believes he was justified in what he did and the reasons behind them.
The supporting cast is solid and while the film does have some real gaps in logic which must be suspended to make the story work; it does entertain.
In the end “Honest Thief” provides enough enjoyment to make it worth your time and shows that Neeson still can deliver what fans have come to expect from him.
3.5 stars out of 5
The Feds have been unable to stop him and regularly field numerous calls from people claiming to be responsible in order to gain attention. So when Tom calls Agent Sam Baker (Robert Patrick) and his partner Agent Meyers (Jeffrey Donovan); his claims are met with skepticism.
Tom has fallen in love with an aspiring Psychologist he met while renting a storage facility and he is eager to start a new and honest life with Annie (Kate Walsh). Tom offers to return all nine million dollars that he has stolen in term for a light sentence at a minimum security locale near Boston so Annie can visit him frequently.
Unwilling to accept that Tom is who he says he is, the agents dispatch Agents Nivens (Jai Courtney) and Agent Hall (Anthony Ramos); to interview Tom and check out his story. Tom offers to tell them where the money is in order to prove his claims. When several boxes of cash are discovered in storage; Nivens decides to take the money and pressures Hall into going along with it despite his reservations.
Nivens them attempts to eliminate Tom but in doing so kills Agent Baker who has shown up unexpectedly. Tom is now framed for a murder he did not commit and forced to flee in order to try to clear his name and make good on his initial offer to turn himself in.
Nivens is not willing to stop there and escalates his level of corruption and danger including threats on Hall and his family to ensure his compliance and silence.
As anyone who has ever seen a Liam Neeson film in the last ten years or so can deduce his character is motivated by events that follows and with his expert knowledge of explosives looks to strike back at Nivens and ensure justice is served.
While the film may be a bit slower paced in some areas than fans of Neeson may expect; he turns in a satisfying performance as a sort of modern day Robin Hood.
Tom is a man who does not make excuses for his actions and is willing to pay the price for them but believes he was justified in what he did and the reasons behind them.
The supporting cast is solid and while the film does have some real gaps in logic which must be suspended to make the story work; it does entertain.
In the end “Honest Thief” provides enough enjoyment to make it worth your time and shows that Neeson still can deliver what fans have come to expect from him.
3.5 stars out of 5
Matthew Krueger (10051 KP) rated Fright Night (1985) in Movies
Oct 30, 2020
You Can't Murder a Vampire
Fright Night- is a excellent vampire movie. Directed by Tom Holland. It has comedy, horror, lots of gory and Peter Vincent.
The plot: Teenage Charley Brewster (William Ragsdale) is a horror-film junkie, so it's no surprise that, when a reclusive new neighbor named Jerry Dandridge (Chris Sarandon) moves next-door, Brewster becomes convinced he is a vampire. It's also no surprise when nobody believes him. However, after strange events begin to occur, Charlie has no choice but to turn to the only person who could possibly help: washed-up television vampire killer Peter Vincent (Roddy McDowall).
While writing the script for Cloak & Dagger, Tom Holland amused himself when he conceived the idea of a horror-movie fan becoming convinced that his next-door neighbor was a vampire, but he did not initially think this premise was enough to sustain a story. "What's he gonna do", Holland asked, "because everybody's gonna think he's mad!"
The Peter Vincent character was named after horror icons Peter Cushing and Vincent Price, and Holland specifically wrote the part for Price, but at this point in his career, Price had been so badly typecast that he had stopped accepting roles in horror movies.
Holland and McDowall built a lasting friendship, and McDowall eventually invited Holland to a dinner party where he introduced him to Vincent Price, who was flattered that the part was an homage to him and commented that the film "was wonderful and he thought Roddy did a wonderful job."
Once his cast was in place, Holland got input from each of the actors and made numerous revisions to the script. Some were slight and others were major – such as the ending, which originally featured Peter Vincent transforming into a vampire as he returned to host Fright Night.
The cast could only wear them for a maximum of 20 minutes because they were virtually blind in them, and they were thick and painful, and dried out their eyes. A set was made for Stark to wear when he was in his final pursuit of Peter and Charley, but he kept tripping on the stairs. Holland told him to take one out, and he was then able to perform the scene.
Three sets were made for Amanda Bearse, but one of them caused her agonizing pain, which she initially tried to endure. When it finally became too much to bear, she took the contacts out and the crew realized they had forgotten to buff them. For the scene in Mrs. Brewster's bedroom, Geoffreys kept his contacts in for nearly 40 minutes, resulting in scratches on his eyeballs for months afterward.
For the transformation sequences, up to 8 hours were needed to prepare Sarandon's makeup.
The makeup for Evil Ed's wolf transformation took 18 hours.
On Christmas Eve, during the shooting of a scene where he is running down a staircase, Ragsdale accidentally tripped and broke his ankle, resulting in the film being temporarily put on a hold until he could recover. "
Many scenes were shot with his foot in a cast, including the scene in which Jerry comes to Charley's room to attack him. For shots in which Charley's feet were visible, the costumers slit Ragsdale's shoes in several places, slipped them on and then covered the portions of white cast that peeked through the slits with black cloth. For the scene in which Jerry is carrying Charley by the throat with one hand, Sarandon was simultaneously pushing Ragsdale along on a furniture dolly.
The shot of Jerry pulling the pencil out of his hand was achieved by having a spring-loaded, collapsible pencil glued to his palm and an eraser-tip loosely attached to the back of his hand. When he turns his hand and pulls the spring-loaded piece from his palm, out of shot a |monofilament wire jerked away the tip, so when he turns it back, it appears as though he hss pulled it straight through his hand.
Filming of the sequence with the bat was difficult for effects veteran Randall Cook, who kept winding up on film while puppeteering the creature.
Its a excellent movie.
The plot: Teenage Charley Brewster (William Ragsdale) is a horror-film junkie, so it's no surprise that, when a reclusive new neighbor named Jerry Dandridge (Chris Sarandon) moves next-door, Brewster becomes convinced he is a vampire. It's also no surprise when nobody believes him. However, after strange events begin to occur, Charlie has no choice but to turn to the only person who could possibly help: washed-up television vampire killer Peter Vincent (Roddy McDowall).
While writing the script for Cloak & Dagger, Tom Holland amused himself when he conceived the idea of a horror-movie fan becoming convinced that his next-door neighbor was a vampire, but he did not initially think this premise was enough to sustain a story. "What's he gonna do", Holland asked, "because everybody's gonna think he's mad!"
The Peter Vincent character was named after horror icons Peter Cushing and Vincent Price, and Holland specifically wrote the part for Price, but at this point in his career, Price had been so badly typecast that he had stopped accepting roles in horror movies.
Holland and McDowall built a lasting friendship, and McDowall eventually invited Holland to a dinner party where he introduced him to Vincent Price, who was flattered that the part was an homage to him and commented that the film "was wonderful and he thought Roddy did a wonderful job."
Once his cast was in place, Holland got input from each of the actors and made numerous revisions to the script. Some were slight and others were major – such as the ending, which originally featured Peter Vincent transforming into a vampire as he returned to host Fright Night.
The cast could only wear them for a maximum of 20 minutes because they were virtually blind in them, and they were thick and painful, and dried out their eyes. A set was made for Stark to wear when he was in his final pursuit of Peter and Charley, but he kept tripping on the stairs. Holland told him to take one out, and he was then able to perform the scene.
Three sets were made for Amanda Bearse, but one of them caused her agonizing pain, which she initially tried to endure. When it finally became too much to bear, she took the contacts out and the crew realized they had forgotten to buff them. For the scene in Mrs. Brewster's bedroom, Geoffreys kept his contacts in for nearly 40 minutes, resulting in scratches on his eyeballs for months afterward.
For the transformation sequences, up to 8 hours were needed to prepare Sarandon's makeup.
The makeup for Evil Ed's wolf transformation took 18 hours.
On Christmas Eve, during the shooting of a scene where he is running down a staircase, Ragsdale accidentally tripped and broke his ankle, resulting in the film being temporarily put on a hold until he could recover. "
Many scenes were shot with his foot in a cast, including the scene in which Jerry comes to Charley's room to attack him. For shots in which Charley's feet were visible, the costumers slit Ragsdale's shoes in several places, slipped them on and then covered the portions of white cast that peeked through the slits with black cloth. For the scene in which Jerry is carrying Charley by the throat with one hand, Sarandon was simultaneously pushing Ragsdale along on a furniture dolly.
The shot of Jerry pulling the pencil out of his hand was achieved by having a spring-loaded, collapsible pencil glued to his palm and an eraser-tip loosely attached to the back of his hand. When he turns his hand and pulls the spring-loaded piece from his palm, out of shot a |monofilament wire jerked away the tip, so when he turns it back, it appears as though he hss pulled it straight through his hand.
Filming of the sequence with the bat was difficult for effects veteran Randall Cook, who kept winding up on film while puppeteering the creature.
Its a excellent movie.
Gareth von Kallenbach (980 KP) rated Lawless (2012) in Movies
Aug 7, 2019
Prohibition means profit to the bootlegging Bondurant brothers, until a new deputy appears wanting a cut of the action. When the family, led by oldest brother Forrest (Tom Hardy), refuses, it ignites a pattern of violent lawless retribution between the corrupt local authorities and the moonshine-selling brothers.
While adapted from the pages of a successful book, the plot of “Lawless” portrays a familiar story. A young romance slated against the challenges of a family who is literally and metaphorically, sticking to their guns. The brilliance of the film exists in the vivid set work, understated characterization, and graphic portrayals of unbridled yet historically accurate punishments.
There are bullet holes everywhere in this wild land of violence. The depictions of torture, while not the most graphically intensive in cinema, are characterized by psychological malice. The result is a film that manages to entirely pull the viewer into a different, much less civilized, time.
Led and narrated by seasoned actor, Shia LaBeouf, as the youngest brother, Jack Bondurant, the role is hardly a challenge. Yet his performances only stands out when supported by other cast members, such as the gangster Floyd Banner, played by Gary Oldman. And while LaBeouf’s performance is not a great as it could be, it shines next to his lackluster costar, Mia Wasikowska as Bertha Minnix the forbidden preacher’s daughter and object of young Jack’s eye.
The best performance in the film is not the lead, but that of his brother Forrest who dispenses well-timed wisdom or humor even in direst situations. Further helping in the films success are the supporting characters; the third Bondurant brother, Howard (Jason Clarke), mechanically gifted family friend, Cricket Pate (Dane DeHaan), and city wise beauty Maggie Beauford (Jessica Chastain).
While not as impressive as expected, the slow but steady story and complex visceral nature of “Lawless”, make it a film that is worth the price of a ticket, for anyone who can make it through the squeamish bits.
While adapted from the pages of a successful book, the plot of “Lawless” portrays a familiar story. A young romance slated against the challenges of a family who is literally and metaphorically, sticking to their guns. The brilliance of the film exists in the vivid set work, understated characterization, and graphic portrayals of unbridled yet historically accurate punishments.
There are bullet holes everywhere in this wild land of violence. The depictions of torture, while not the most graphically intensive in cinema, are characterized by psychological malice. The result is a film that manages to entirely pull the viewer into a different, much less civilized, time.
Led and narrated by seasoned actor, Shia LaBeouf, as the youngest brother, Jack Bondurant, the role is hardly a challenge. Yet his performances only stands out when supported by other cast members, such as the gangster Floyd Banner, played by Gary Oldman. And while LaBeouf’s performance is not a great as it could be, it shines next to his lackluster costar, Mia Wasikowska as Bertha Minnix the forbidden preacher’s daughter and object of young Jack’s eye.
The best performance in the film is not the lead, but that of his brother Forrest who dispenses well-timed wisdom or humor even in direst situations. Further helping in the films success are the supporting characters; the third Bondurant brother, Howard (Jason Clarke), mechanically gifted family friend, Cricket Pate (Dane DeHaan), and city wise beauty Maggie Beauford (Jessica Chastain).
While not as impressive as expected, the slow but steady story and complex visceral nature of “Lawless”, make it a film that is worth the price of a ticket, for anyone who can make it through the squeamish bits.
Bob Mann (459 KP) rated Honest Thief (2020) in Movies
Dec 3, 2020
Chemistry between Neeson and Walsh (1 more)
Great cinematography around a scenic Boston
As discussed in my One Mann's Movies review of "Cold Pursuit", Liam Neeson has had a rather rocky PR road of late. But - unlike Kevin Spacey - he is clearly not being put on the naughty step by Hollywood, since he is filming/announced for five other features at the time of writing. His latest release - "Honest Thief" - has Mark Williams directing and co-writing (with Steve Allrich), and sees Neeson back on VERY familiar territory in an exciting and sometimes violent thriller.
The nice concept behind the story sees Tom (Liam Neeson) as a hugely successful bank robber meeting the love of his life in Annie (Kate Walsh) and committing to jack it all in for love. Furthermore, not wishing to have to live with the deception and guilt of his hidden life, he determines to hand himself over to the FBI, along with the $9 million stolen cash, in return for a lenient sentence.
There's a problem though: he's about the fifteenth person calling the FBI claiming to be the "In and Out burgler", so no-one wants to take him seriously. Boston area chief Sam Baker (Robert Patrick - the "Terminator" cop!) and his deputy Meyers (Jeffrey Donovan) casually put it on the "to-do" pile of agents Nivens (Jai Courtney) and Hall (Anthony Ramos).
The best laid plans run off the rails in a big way though when Nivens and Hall investigate and find that Tom is the real deal.
The concept here works nicely for a thriller, but the rest of the script is so formulaic that it's fairly and squarely a 'park your brain in the foyer' movie. For several of the actions and motives going on here, suspension of disbelief was required . Even given the limited competition in 2020, the script is in no way going to trouble the Academy.
All that being said, Mark Williams has put together a tight and well-executed movie, not outstaying its welcome at only 99 minutes long. Even with the 15 year age difference, Neeson and Walsh make a believable couple (given that Neeson looks pretty good for his 68 years) and the chemistry between them is great. And for a pretty 'small' movie, the supporting cast is pretty impressive.
Another standout for me was the cinematography by Shelly Johnson (whose had a busy year with the latest "Bill and Ted" and "Greyhound" under his belt). Boston - always a great movie location - looks spectacular, and the framing of the car chase action impressed me.
For me, there was only one really dodgy element of the movie: the special effects used in a house explosion/fire. The budget clearly didn't stretch to using practical effects! More work on Adobe "After Effects" (or similar) was required here!
Is Honest Thief worth seeing? - My expectations for this movie were pretty low. But I'm pleased to say that they were exceeded. Is it a masterpiece? No. Will I readily remember much about it in six month's time? No. But in rather a desert of new releases, this one was at least entertaining and I think it's worth the ticket price for a long overdue night out at the flicks. I'm willing to guess that my feelings were partially influenced by the sheer joy of being back in a cinema again... so I will temper my rating perhaps by a star here.
(For the full graphical review, please check out One Mann's Movies here - https://rb.gy/9kcnr5. Thanks.)
The nice concept behind the story sees Tom (Liam Neeson) as a hugely successful bank robber meeting the love of his life in Annie (Kate Walsh) and committing to jack it all in for love. Furthermore, not wishing to have to live with the deception and guilt of his hidden life, he determines to hand himself over to the FBI, along with the $9 million stolen cash, in return for a lenient sentence.
There's a problem though: he's about the fifteenth person calling the FBI claiming to be the "In and Out burgler", so no-one wants to take him seriously. Boston area chief Sam Baker (Robert Patrick - the "Terminator" cop!) and his deputy Meyers (Jeffrey Donovan) casually put it on the "to-do" pile of agents Nivens (Jai Courtney) and Hall (Anthony Ramos).
The best laid plans run off the rails in a big way though when Nivens and Hall investigate and find that Tom is the real deal.
The concept here works nicely for a thriller, but the rest of the script is so formulaic that it's fairly and squarely a 'park your brain in the foyer' movie. For several of the actions and motives going on here, suspension of disbelief was required . Even given the limited competition in 2020, the script is in no way going to trouble the Academy.
All that being said, Mark Williams has put together a tight and well-executed movie, not outstaying its welcome at only 99 minutes long. Even with the 15 year age difference, Neeson and Walsh make a believable couple (given that Neeson looks pretty good for his 68 years) and the chemistry between them is great. And for a pretty 'small' movie, the supporting cast is pretty impressive.
Another standout for me was the cinematography by Shelly Johnson (whose had a busy year with the latest "Bill and Ted" and "Greyhound" under his belt). Boston - always a great movie location - looks spectacular, and the framing of the car chase action impressed me.
For me, there was only one really dodgy element of the movie: the special effects used in a house explosion/fire. The budget clearly didn't stretch to using practical effects! More work on Adobe "After Effects" (or similar) was required here!
Is Honest Thief worth seeing? - My expectations for this movie were pretty low. But I'm pleased to say that they were exceeded. Is it a masterpiece? No. Will I readily remember much about it in six month's time? No. But in rather a desert of new releases, this one was at least entertaining and I think it's worth the ticket price for a long overdue night out at the flicks. I'm willing to guess that my feelings were partially influenced by the sheer joy of being back in a cinema again... so I will temper my rating perhaps by a star here.
(For the full graphical review, please check out One Mann's Movies here - https://rb.gy/9kcnr5. Thanks.)
Gareth von Kallenbach (980 KP) rated Mission: Impossible - Fallout (2018) in Movies
Jul 8, 2019
Ethan Hunt (Tom Cruise) is back and on a mission to stop a terrorist group, known as The Apostles, from acquiring three uranium cores that they will use to create nuclear devices. Hunt and his Impossible Mission Force (IMF) team (Simon Pegg and Ving Rhames) set up a black market deal to purchase the cores. But during the buy Luther (Rhames) is taken hostage. In a rescue attempt Hunt and Benji (Pegg) let the cores slip into the hands of The Apostles. Due to Hunt’s choice to save his team over protecting the cores has put the world in danger of nuclear attack. Luckily, the head of the IMF, Alan Hunley (Alec Baldwin, has received intelligence that an arms dealer known as the White Widow (Vanessa Kirby) is looking to broker a deal for the cores. The only problem is the price is not money but the breaking out of the former IMF nemesis and anarchist Solomon Lane (Sean Harris). Hunt, eager for redemption, agrees to once again track down the cores. But the CIA want to make sure that this time the job is done right, so Director Erica Sloan (Angela Bassett) demands her top cleaner August Walker (Henry Cavill) accompany. With the help of the CIA they will try and break Lane out of prison and save the world from a catastrophic nuclear attack.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
BankofMarquis (1832 KP) rated Bohemian Rhapsody (2018) in Movies
Nov 4, 2018
Come for the music, stay...for the music
My musical tastes end somewhere in the late 1970's/early 1980's. Billy Joel, ELO and, especially, Queen were in constant rotation on my turntable. So it was with a mixture of excitement and nervousness that I checked out BOHEMIAN RHAPSODY, the "Queen movie".
Fortunately, this film rekindled my love for the music of Queen. I gotta admit, I was cranking Queen tunes in the car on the ride home. Unfortunately, the storytelling is weak, so I really did not gain any insight into Freddy, his family, the group, his marriage, his bi-sexuality, his drug use, the times they lived in or the AIDS epidemic of the '80's. All these items were touched upon in the movie, but not delved into, leaving a void in the part of my brain that craves a good, meaningful and touching story with my movie/musicals. It certainly doesn't help this story that I have the wonderful A STAR IS BORN sitting in my recent memory.
But the music, the musical performances and the acting performances of all involved almost make up for this void, leaving a very satisfying experience at the movies.
BOHEMIAN RHAPSODY follows young Farrokh Bulsara as he joins the band SMILE, changes the bands name to QUEEN, changes his name to Freddie Mercury and becomes an International Superstar leading up to the inevitable fall and resurgence at the Live Aid concert in the 1980's.
In the lead, Rami Malik is wonderful. He has the essence of the superstar we know down well. He is a winning, watchable presence on screen and I wouldn't be surprised if he is mentioned when Oscar nominations roll around. Joining him as members of the band are Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon and Gwilym Lee as Brian May. All are effective enough in their roles - and believable in the musical scenes - with Lee standing out just a bit more than the others.
Also along for the ride are Lucy Boyton as Freddy's wife, Mary Austin and Tom Hollander, Mike Myers and Aidan Gillen as music execs aiding and attempting to guide Queen to the top. Only Allen Leech as Paul Prenter is unconvincing on the screen. But, I blame this more to the decisions of the screenwriters and directors for Paul is the "villain" of this piece - and a not-too-subtle villain at that.
But, Director Bryan Singer (X-MEN, THE USUAL SUSPECTS) is forgiven his lapses in content and subtlety as the music scenes are strong - and the film finishes with a 20 minute recreation of Queen at the Live Aid concert that is worth the price of admission all on it's own.
All in all, a good time at the movies. If you like Queen, you'll be entertained by this film.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Fortunately, this film rekindled my love for the music of Queen. I gotta admit, I was cranking Queen tunes in the car on the ride home. Unfortunately, the storytelling is weak, so I really did not gain any insight into Freddy, his family, the group, his marriage, his bi-sexuality, his drug use, the times they lived in or the AIDS epidemic of the '80's. All these items were touched upon in the movie, but not delved into, leaving a void in the part of my brain that craves a good, meaningful and touching story with my movie/musicals. It certainly doesn't help this story that I have the wonderful A STAR IS BORN sitting in my recent memory.
But the music, the musical performances and the acting performances of all involved almost make up for this void, leaving a very satisfying experience at the movies.
BOHEMIAN RHAPSODY follows young Farrokh Bulsara as he joins the band SMILE, changes the bands name to QUEEN, changes his name to Freddie Mercury and becomes an International Superstar leading up to the inevitable fall and resurgence at the Live Aid concert in the 1980's.
In the lead, Rami Malik is wonderful. He has the essence of the superstar we know down well. He is a winning, watchable presence on screen and I wouldn't be surprised if he is mentioned when Oscar nominations roll around. Joining him as members of the band are Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon and Gwilym Lee as Brian May. All are effective enough in their roles - and believable in the musical scenes - with Lee standing out just a bit more than the others.
Also along for the ride are Lucy Boyton as Freddy's wife, Mary Austin and Tom Hollander, Mike Myers and Aidan Gillen as music execs aiding and attempting to guide Queen to the top. Only Allen Leech as Paul Prenter is unconvincing on the screen. But, I blame this more to the decisions of the screenwriters and directors for Paul is the "villain" of this piece - and a not-too-subtle villain at that.
But, Director Bryan Singer (X-MEN, THE USUAL SUSPECTS) is forgiven his lapses in content and subtlety as the music scenes are strong - and the film finishes with a 20 minute recreation of Queen at the Live Aid concert that is worth the price of admission all on it's own.
All in all, a good time at the movies. If you like Queen, you'll be entertained by this film.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated All of Me (1984) in Movies
Jul 28, 2020
Wonderful physical comedy performance by Martin
Over the history of cinema, there are certain Director/Lead Actor pairings that are perfect for each other. John Ford/John Wayne, Alfred Hitchcock/Jimmy Stewart, Martin Scorcese/Robert DeNiro, Steven Spielberg/Tom Hanks all come to mind. Add to that the inspired comedic pairing of Director Carl Reiner and the great Steve Martin.
Starting with THE JERK (1979), Martin and Reiner would make 4 films together the last of which was the 1984 comedy ALL OF ME starring Martin and Lilly Tomlin. And like all Reiner/Martin comedies this one is smartly written with heart and a physically comedic performance by Martin that must be seen to believed.
Martin stars as Lawyer Martin Cobb, an aspiring musician who views his lawyer job as a means to support his dream of becoming a musician. Lilly Tomlin co-stars as one of Martin's clients - a dour, serious millionaire who's dying wish is to have her soul transferred into the body of a younger woman. When the transfer goes wrong, Tomlin finds herself inside Martin's body and the two polar opposites spar each other whilst inside the same body.
A pretty ridiculous premise that is executed wonderfully under the watchful Direction of Reiner. He pushes the premise far - but not too far - focusing (wisely) most of the attention of this movie on Martin and his body's maniacal behavior as both Martin and Tomlin wrestle for control of his body.
Martin, of course, is perfectly cast in a role that was tailor made for him. His physical comedy skills are well used by Reiner and the scene of Martin walking down the street in control of the left side of his body while Tomlin is in control of the right side of his body is worth the price of admission right there. But Martin brings a heart and warmth to his character as well as his well known personae of a person who thinks he is the only sane one in the room - where, in fact, he is the INSANE one.
Tomlin fares less well in her role - being trapped (literally) inside Martin's body and is only seen as reflections in a mirror. Here character is the polar opposite of Martin's, so while Martin is "wild and crazy", she is dour and buttoned up - and this doesn't do her any favors.
Special notice needs to be made of Richard Libertini's turn as Prahka Lasa, the well-meaning "yogi" who is the conduit of the body switching soul. His limited English, earnest and well meaning almost steals the film from Martin.
All in all, an enjoyable evening at the movies which showcases Reiner's ability as a Director and Martin's ability as a gifted, physical comedian very well.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Starting with THE JERK (1979), Martin and Reiner would make 4 films together the last of which was the 1984 comedy ALL OF ME starring Martin and Lilly Tomlin. And like all Reiner/Martin comedies this one is smartly written with heart and a physically comedic performance by Martin that must be seen to believed.
Martin stars as Lawyer Martin Cobb, an aspiring musician who views his lawyer job as a means to support his dream of becoming a musician. Lilly Tomlin co-stars as one of Martin's clients - a dour, serious millionaire who's dying wish is to have her soul transferred into the body of a younger woman. When the transfer goes wrong, Tomlin finds herself inside Martin's body and the two polar opposites spar each other whilst inside the same body.
A pretty ridiculous premise that is executed wonderfully under the watchful Direction of Reiner. He pushes the premise far - but not too far - focusing (wisely) most of the attention of this movie on Martin and his body's maniacal behavior as both Martin and Tomlin wrestle for control of his body.
Martin, of course, is perfectly cast in a role that was tailor made for him. His physical comedy skills are well used by Reiner and the scene of Martin walking down the street in control of the left side of his body while Tomlin is in control of the right side of his body is worth the price of admission right there. But Martin brings a heart and warmth to his character as well as his well known personae of a person who thinks he is the only sane one in the room - where, in fact, he is the INSANE one.
Tomlin fares less well in her role - being trapped (literally) inside Martin's body and is only seen as reflections in a mirror. Here character is the polar opposite of Martin's, so while Martin is "wild and crazy", she is dour and buttoned up - and this doesn't do her any favors.
Special notice needs to be made of Richard Libertini's turn as Prahka Lasa, the well-meaning "yogi" who is the conduit of the body switching soul. His limited English, earnest and well meaning almost steals the film from Martin.
All in all, an enjoyable evening at the movies which showcases Reiner's ability as a Director and Martin's ability as a gifted, physical comedian very well.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated A Beautiful Day in the Neighborhood (2019) in Movies
Dec 13, 2019
"Anything mentionable is manageable"
Tom Hanks' new movie is a film I personally struggled to fully engage with. But some I suspect will truly LOVE it's gentle and feel-good nature.
Who WAS Fred Rogers? Based on a true story this movie very quickly makes you realise that Fred Rogers, who died in 2003, was an American legend. This is supported by the GLOWING reviews here on IMDB by US viewers. Rogers was a children's TV presenter that used puppets and song to help children work through their fears and psychological issues. I suspect, like me, most Brits would say "WHO?" (Just as if a 60's born Brit like me saying "Let's look through the arched window" will similarly get a "WHAT?" from nearly all Americans!)
Here the story revolves not around Fred (Tom Hanks) helping a child with issues, but with Fred's fixation with 'Esquire' journo Lloyd Vogel (Matthew Rhys), who is fighting his own demons of anger, resentment and pain. For Lloyd is struggling not only with his feelings about fatherhood, with the normal strains that is placing on the relationship with wife and mother Andrea (Susan Kelechi Watson), but also with the reemergence on the scene of his estranged and hard-drinking father Jerry (Chris Cooper).
The movie starts (and continues) with model sets reminiscent of the brilliantly barmy "Welcome to Marwen" and (the rather more subtle) "Game Night". Fun is had with matchbox-car freeways and planes flying off and clunking down on model runways.
We join Mr Rogers on set filming his series: and the movie sloooooows to match Rogers' leisurely pace. This was a movie I went into completely blind (which is unusual for me): I knew precisely zip about it. No knowledge of Rogers. No knowledge of the story. No sight of the trailer. Nothing. So these opening scenes were a real "WTF" moment as my brain struggled to work out what the story was all about.
There was undeniably something creepy about seeing the saintly Fred Rogers engaging with sick and vulnerable children. And I realised just what damage the likes of the convicted-paedophiles Jimmy Saville, Stuart Hall and Rolf Harris have done to my suspicions against all such entertainers. I feared - without any background knowledge on Rogers - that the story would take a darker turn. But no! That's not the story....
For as mentioned earlier, this is the story of Lloyd. And it's a relatively simple and linear story of familial stress that we've seen in movies throughout the decades. Whether you will buy into this story-within-the-story, or not, will flavour your overall enjoyment of the film.
Many who are into analysis and 'talking treatments' will - I think - appreciate the script. But I personally didn't really warm to any of the players - other than Rogers - so this was a negative for me. And I found the pace so slow that I ended up a bit fidgety and bored moving into the second reel of the film. Two women got up and walked out at that point - - it was clearly not for them (this was a Cineworld "Unlimited" pre-release screening).
The third reel rather pulled it together again, and established an "It's a Wonderful Life" style of feelgood that I warmed to much more.
This is a movie I predict the Academy will love. And everyone loves Hanks already. Read the tea-leaves. It's a brilliant performance from Hanks in its stillness and quietness.
No more so than in one particular scene....
This is the follow up movie from Marielle Heller to the impressive "Can You Ever Forgive Me?". And this particular scene - let's call it the "Anti-When-Harry-Met-Sally" moment - is a massively brave and striking piece of cinema.
It's truly extraordinary and worth the price of a ticket alone.
In summary, I enjoyed this movie, primarily for watching the master Hanks at work. The pacing for me was somewhat off though. But I can't be overly critical of such a warm-hearted movie. I predict you will see this and go home with a big dose of the warm-fuzzies.
See here for the full graphical review - https://bob-the-movie-man.com/2019/12/12/one-manns-movies-film-review-a-beautiful-day-in-the-neighborhood-2019/
Who WAS Fred Rogers? Based on a true story this movie very quickly makes you realise that Fred Rogers, who died in 2003, was an American legend. This is supported by the GLOWING reviews here on IMDB by US viewers. Rogers was a children's TV presenter that used puppets and song to help children work through their fears and psychological issues. I suspect, like me, most Brits would say "WHO?" (Just as if a 60's born Brit like me saying "Let's look through the arched window" will similarly get a "WHAT?" from nearly all Americans!)
Here the story revolves not around Fred (Tom Hanks) helping a child with issues, but with Fred's fixation with 'Esquire' journo Lloyd Vogel (Matthew Rhys), who is fighting his own demons of anger, resentment and pain. For Lloyd is struggling not only with his feelings about fatherhood, with the normal strains that is placing on the relationship with wife and mother Andrea (Susan Kelechi Watson), but also with the reemergence on the scene of his estranged and hard-drinking father Jerry (Chris Cooper).
The movie starts (and continues) with model sets reminiscent of the brilliantly barmy "Welcome to Marwen" and (the rather more subtle) "Game Night". Fun is had with matchbox-car freeways and planes flying off and clunking down on model runways.
We join Mr Rogers on set filming his series: and the movie sloooooows to match Rogers' leisurely pace. This was a movie I went into completely blind (which is unusual for me): I knew precisely zip about it. No knowledge of Rogers. No knowledge of the story. No sight of the trailer. Nothing. So these opening scenes were a real "WTF" moment as my brain struggled to work out what the story was all about.
There was undeniably something creepy about seeing the saintly Fred Rogers engaging with sick and vulnerable children. And I realised just what damage the likes of the convicted-paedophiles Jimmy Saville, Stuart Hall and Rolf Harris have done to my suspicions against all such entertainers. I feared - without any background knowledge on Rogers - that the story would take a darker turn. But no! That's not the story....
For as mentioned earlier, this is the story of Lloyd. And it's a relatively simple and linear story of familial stress that we've seen in movies throughout the decades. Whether you will buy into this story-within-the-story, or not, will flavour your overall enjoyment of the film.
Many who are into analysis and 'talking treatments' will - I think - appreciate the script. But I personally didn't really warm to any of the players - other than Rogers - so this was a negative for me. And I found the pace so slow that I ended up a bit fidgety and bored moving into the second reel of the film. Two women got up and walked out at that point - - it was clearly not for them (this was a Cineworld "Unlimited" pre-release screening).
The third reel rather pulled it together again, and established an "It's a Wonderful Life" style of feelgood that I warmed to much more.
This is a movie I predict the Academy will love. And everyone loves Hanks already. Read the tea-leaves. It's a brilliant performance from Hanks in its stillness and quietness.
No more so than in one particular scene....
This is the follow up movie from Marielle Heller to the impressive "Can You Ever Forgive Me?". And this particular scene - let's call it the "Anti-When-Harry-Met-Sally" moment - is a massively brave and striking piece of cinema.
It's truly extraordinary and worth the price of a ticket alone.
In summary, I enjoyed this movie, primarily for watching the master Hanks at work. The pacing for me was somewhat off though. But I can't be overly critical of such a warm-hearted movie. I predict you will see this and go home with a big dose of the warm-fuzzies.
See here for the full graphical review - https://bob-the-movie-man.com/2019/12/12/one-manns-movies-film-review-a-beautiful-day-in-the-neighborhood-2019/
