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Lee KM Pallatina (951 KP) rated Comedown (2012) in Movies
Apr 13, 2020
It's fun getting High, but the comedown is a killer.
Contains spoilers, click to show
Jacob Anderson, Jessica Barden, Duane Henry, Callum Macnab, Sophie Stuckey, Adam Deacon & Jeff Bell star as 6 friends who agree to setup an aerial on the roof of an abandoned tower block In exchange for free drugs & cash.
After Breaking into the building & completing the Job, they begin an excessive night of drugs, booze and Tunes.
Unfortunately for them, the Tower block isn't as empty as they thought, as they quickly realise that this is someone's home and trespassers will be killed....
A perfectly dark & serious tone, with a Saw meets Scream feel that definitely is one you'll happily rewatch.
After Breaking into the building & completing the Job, they begin an excessive night of drugs, booze and Tunes.
Unfortunately for them, the Tower block isn't as empty as they thought, as they quickly realise that this is someone's home and trespassers will be killed....
A perfectly dark & serious tone, with a Saw meets Scream feel that definitely is one you'll happily rewatch.
AmyBee (4 KP) rated The Bell Jar in Books
Sep 5, 2018
I cannot believe I have only just read this for the first time! The Bell Jar is definitely deserving of it's status as a 'classic' in semi-autobiographical fiction. Plath really captures you with the stream-of-consciousness monologue of Esther Greenwood, a young woman who narrates her journey into insanity in the 1950's.
The Bell Jar is narrated in a similar vein to and is quite reminiscent of Virginia Woolf's novel 'Mrs Dalloway', although it has a decidedly more risqué tone as the narrator talks in great detail about subjects which would not have been deemed acceptable in the 1920's (such as losing her virginity!).
What particularly gripped me about this novel is that Esther's mental illness seems to sneak up on her and this is reflected in the novel, as it almost seems to take the reader by surprise that this seemingly normal young woman is falling deeper and deeper into her illness.
Mental health stigma is also clearly represented in the novel, as it almost seem is at points that Esther's illness is treated as a joke, and definitely not taken seriously by most. It's also interesting to read about the archaic means of treatment for mental health sufferers eg Electroconvulsive Therapy (ECT) AKA Electroshock therapy, and it's aftermath.
All in all, a very thoroughly enjoyable read. Highly recommended for lovers of classic literature surrounding mental health issues.
The Bell Jar is narrated in a similar vein to and is quite reminiscent of Virginia Woolf's novel 'Mrs Dalloway', although it has a decidedly more risqué tone as the narrator talks in great detail about subjects which would not have been deemed acceptable in the 1920's (such as losing her virginity!).
What particularly gripped me about this novel is that Esther's mental illness seems to sneak up on her and this is reflected in the novel, as it almost seems to take the reader by surprise that this seemingly normal young woman is falling deeper and deeper into her illness.
Mental health stigma is also clearly represented in the novel, as it almost seem is at points that Esther's illness is treated as a joke, and definitely not taken seriously by most. It's also interesting to read about the archaic means of treatment for mental health sufferers eg Electroconvulsive Therapy (ECT) AKA Electroshock therapy, and it's aftermath.
All in all, a very thoroughly enjoyable read. Highly recommended for lovers of classic literature surrounding mental health issues.
Darren (1599 KP) rated Veronica Mars (2014) in Movies
Jul 25, 2019
Story: Veronica Mars starts as Veronica Mars (Bell) fills the fans of the show in with the last few years of her life after the television show finished and gave us first time viewers a chance to get a basic grip of who the main characters are going to be.
Veronica is now about to take her bar exam, but when her ex-boyfriend Logan Echolls (Dohring) is accused of killing his celebrity girlfriend, Veronica returns home to get to the bottom of the crime, re-living her private eye ways and catching up with old friends.
Thoughts on Veronica Mars
Characters – Veronica Mars is the former private eye that has moved on to study law only to learn a former friend has been accused of murder. The character gets to return to see old friends to see where they are in life now and how things have changed, in the biggest case of her life. Logan Echolls is the ex-boyfriend of Veronica that has been accused of murder, he needs her help to prove his innocence.
Performances – Kristen Bell made this role her own on television and now you can see her own enjoyment of returning to this role. Jason Bohring is solid enough in the role of the suspect. It would be fair to say the whole returning cast enjoyed coming back and it worked for the film.
Story – The story plays into the hands of the fans of the show wonderfully, the problem comes if you never saw the show, you will never understand the moments between characters in this movie. This isn’t a film for people that never saw the show, but it does bring our character back to her old role to see where friends are which is always a nice touch for popular shows.
Crime/Mystery – The crime mystery tone is everything the TV show kept up with the light-hearted comic tone of the movie, with plenty of mystery moments to keep us guessing.
Settings – The settings do help the fans of the original show that have returned to their favourite show, seeing all the places we saw their favourite characters.
Scene of the Movie – Reunion.
That Moment That Annoyed Me – Not knowing enough from the TV show.
Final Thoughts – This is a wonderful treat for the fans of the show, catching up with our favourite characters is something we all like to do and this is no different.
Overall: Good TV show to movie.
Veronica is now about to take her bar exam, but when her ex-boyfriend Logan Echolls (Dohring) is accused of killing his celebrity girlfriend, Veronica returns home to get to the bottom of the crime, re-living her private eye ways and catching up with old friends.
Thoughts on Veronica Mars
Characters – Veronica Mars is the former private eye that has moved on to study law only to learn a former friend has been accused of murder. The character gets to return to see old friends to see where they are in life now and how things have changed, in the biggest case of her life. Logan Echolls is the ex-boyfriend of Veronica that has been accused of murder, he needs her help to prove his innocence.
Performances – Kristen Bell made this role her own on television and now you can see her own enjoyment of returning to this role. Jason Bohring is solid enough in the role of the suspect. It would be fair to say the whole returning cast enjoyed coming back and it worked for the film.
Story – The story plays into the hands of the fans of the show wonderfully, the problem comes if you never saw the show, you will never understand the moments between characters in this movie. This isn’t a film for people that never saw the show, but it does bring our character back to her old role to see where friends are which is always a nice touch for popular shows.
Crime/Mystery – The crime mystery tone is everything the TV show kept up with the light-hearted comic tone of the movie, with plenty of mystery moments to keep us guessing.
Settings – The settings do help the fans of the original show that have returned to their favourite show, seeing all the places we saw their favourite characters.
Scene of the Movie – Reunion.
That Moment That Annoyed Me – Not knowing enough from the TV show.
Final Thoughts – This is a wonderful treat for the fans of the show, catching up with our favourite characters is something we all like to do and this is no different.
Overall: Good TV show to movie.
LeftSideCut (3778 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020 (Updated Feb 12, 2020)
Birds of Prey is a mixed bag, but there's just about enough good there to make it an enjoyable time.
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way 👍)
I absolutely hated Suicide Squad, so naturally, didn't have high hopes for this. The film is aesthetically in the same vein, and carries a similar tone, but this time around, it mostly works.
One of the only things I liked in SS was Margot Robbie, so making her front and centre here is a smart move. She is undeniably the star, and even a cynical bastard like me has to admit, that she is a solid embodiment of Harley Quinn
The surrounding cast are unfortunately, under developed and have little impact. It's great to see characters like Black Canary, Huntress and Zsasz finally bought to the big screen, and Mary Elizabeth Winstead and Jurnee Smollett-Bell so a good job with what they're given, but the plots focus on Harley, and the films relatively brief runtime, leave little room for development past a flashback here and there, which is a shame.
The only character that comes close to matching the leading lady is Ewan McGregor's Roman Sionis aka Black Mask. McGregor obviously relishes in making Sionis seedy, nasty, misogynistic, and flamboyant, and results in one of those villains that you can't wait to get stomped down. The two of them carry the film, no doubt.
The pacing and narrative structure is comparable to Deadpool, with a good chunk of the film being told through various flashbacks. It honestly feels messy for much of the first half, and the truth is, this structure is hiding a fairly thread bare plot.
When the movie catches up with itself, if you will, and moves forward with a more traditional story path, is where there movie started to shine a bit more. The mid section lost me a little bit, with the exception of the odd set piece (the scene in the police station looks incredible), but when Birds of Prey hits it's third act, it's a lot of dumb, beautifully shot fun. The whole final sequence is great, and instead of the overloaded CGI orgies that I've come to expect from the DCEU, we get given fantastically choreographed, practical fight scenes, full of colour, swearing, a surprisingly hard hitting violence.
I left the cinema talking about all the bits that I liked, a stark contrast to the vitriol I felt after seeing Suicide Squad. It's not perfect, it's messy, it's a little cheesy, and is maybe guilty of thinking it's better than it is, but all in all, I can't find too much to complain about.
Also, that car chase scene was ridiculous (in a good way 👍)
Andy K (10821 KP) rated Vertigo (1958) in Movies
Oct 20, 2019
An ex cop is asked to surveil the wife of a friend who seems to be exhibiting erratic behavior. Unfortunately, Scottie had to retire from active duty after an incident of vertigo caused the death of another officer. He takes the job and wanders with the woman as she visits an art gallery and cemetery among others. She inexplicably one day decides to hurl her body into San Francisco Bay and luckily he is there to retrieve her.
Once revived, Madeleine is no worse for wear, but does not remember the incident or the circumstances of her rescue at the hands of Scottie. They form a quick friendship that turns quickly into lust and a deepening feeling of obsession for Scottie. One day, they take a trip to Mission San Juan Bautista based on a nightmare vision described by Madeleine. She climbs the bell tower, but Scottie is unable to follow restrained by his vertigo and, unfortunately, has to just watch as she plunges to her death.
Afterwards, an investigation reveals Madeleine had been exhibiting irrational behavior which was the cause of her husband's concern in hiring Scottie, so her death is ruled a suicide. Scottie is distraught over the loss and takes consolation in his friend, Midge. On the mend, Scottie frequents locations Madeleine had visited previously hoping this would offer consolation to his grief. He meets a familiar, yet strange woman there.
Vertigo is usually not only considered Hitchcock's best film, but also on many critic lists as the greatest film of all time alongside Citizen Kane and Casablanca.
The movie does have a lot to admire including its complicated, intriguing screenplay which had smart discussions with its characters with lots of exposition given at various points challenging the audience to keep up. The film's situations are interesting and the plot keeps going at a vicious pace through the twists to the end.
I learned recently Hitchcock diva Vera Miles was initially cast for the role of Madeleine, but had to withdraw as she became pregnant before filming so Kim Novak replaced her. Due to several unforeseen delays, Miles had given birth and could've been available; however Hitchcock forged ahead with Novak anyways.
The harrowing initial scene where Scottie chases a random perpetrator across blackened rooftops only to stumble and discover his title affliction really sets the tone for the film both with the cinematography which is stunning and the blistering score at full pace.
Picking an absolute favorite Hitchcock movie has always been difficult for me. Vertigo would probably rank 3rd behind Psycho and The Birds, but still all masterpieces. I love the fact as in other Hitchcock classics, you think you know where the story is going, but he always keeps you guessing.
A magnificent performance by Jimmy Stewart as well. Well deserved of the praise he has gotten over the years for it. He is intense, charming and morose throughout the film which makes him electrifying to watch. His work with Hitchcock including Rope and Rear Window is among his best work.
A masterpiece.
Once revived, Madeleine is no worse for wear, but does not remember the incident or the circumstances of her rescue at the hands of Scottie. They form a quick friendship that turns quickly into lust and a deepening feeling of obsession for Scottie. One day, they take a trip to Mission San Juan Bautista based on a nightmare vision described by Madeleine. She climbs the bell tower, but Scottie is unable to follow restrained by his vertigo and, unfortunately, has to just watch as she plunges to her death.
Afterwards, an investigation reveals Madeleine had been exhibiting irrational behavior which was the cause of her husband's concern in hiring Scottie, so her death is ruled a suicide. Scottie is distraught over the loss and takes consolation in his friend, Midge. On the mend, Scottie frequents locations Madeleine had visited previously hoping this would offer consolation to his grief. He meets a familiar, yet strange woman there.
Vertigo is usually not only considered Hitchcock's best film, but also on many critic lists as the greatest film of all time alongside Citizen Kane and Casablanca.
The movie does have a lot to admire including its complicated, intriguing screenplay which had smart discussions with its characters with lots of exposition given at various points challenging the audience to keep up. The film's situations are interesting and the plot keeps going at a vicious pace through the twists to the end.
I learned recently Hitchcock diva Vera Miles was initially cast for the role of Madeleine, but had to withdraw as she became pregnant before filming so Kim Novak replaced her. Due to several unforeseen delays, Miles had given birth and could've been available; however Hitchcock forged ahead with Novak anyways.
The harrowing initial scene where Scottie chases a random perpetrator across blackened rooftops only to stumble and discover his title affliction really sets the tone for the film both with the cinematography which is stunning and the blistering score at full pace.
Picking an absolute favorite Hitchcock movie has always been difficult for me. Vertigo would probably rank 3rd behind Psycho and The Birds, but still all masterpieces. I love the fact as in other Hitchcock classics, you think you know where the story is going, but he always keeps you guessing.
A magnificent performance by Jimmy Stewart as well. Well deserved of the praise he has gotten over the years for it. He is intense, charming and morose throughout the film which makes him electrifying to watch. His work with Hitchcock including Rope and Rear Window is among his best work.
A masterpiece.
James P. Sumner (65 KP) rated Zombieland: Double Tap (2019) in Movies
Oct 21, 2019
The best Zom-com since its predecessor!
When "Zombieland (2009)" first came out, I was sceptical about it, as it looked like it would be nothing but a gore-fest packed with silly and cringe-worthy cheap laughs. But then it started and 'For Whom The Bell Tolls' began playing and I knew I was in for a treat!
Fast-forward a decade, and I entered "Zombieland: Double Tap (2019)" with similar scepticism. I was concerned the studios were going to take what had become a modern classic and simply rehash it in a poor attempt to cash in on its previous success. But then it started and 'Master of Puppets' began playing and I knew I was in for a treat!
Picking up seamlessly where the first one left off, both in terms of story and tone, Double Tap begins with the our group of heroes approaching the White House, which they decide is a good place to lay down some roots in the post-apocalyptic, zombie-infested world they find themselves in.
It isn't long before the youngest member of the group, Little Rock, tires of their attempt at normality, desperate for interaction with any survivors her own age. After Wichita and Columbus fall out, the sisters take off, prompting a road trip for Tallahassee and Columbus to bring them back.
This is a masterclass in how a comedy movie should be executed. Laughs are frequent but not forced. The script is well-written and packed with the same sharp, witty dialogue found in its predecessor. And it manages to maintain its pacing for the duration - something few films can pull off. Too often, comedy films start off with an hilarious first act, but then runs out of steam by Act 2 before ruining the final act by trying to be too serious.
Yes, I'm looking at you "Baywatch (2017)"!
But Double Tap doesn't suffer from any of that. It retains the heart that made it stand out the first time around, whilst building on the laughs and relationships between the characters.
I found this film a little more meta than I remember the first one being. Lots of references to Zombie pop culture, like "The Walking Dead" and "Dawn of the Dead" - both of which Columbus refers to as unrealistic, which is ironically funny.
Of course, being a sequel, you need to introduce some new faces. The first one is Madison, played brilliantly by the beautiful Zoey Deutch. When the airhead blonde stereotype first appears, you immediately cringe and worry she's going to be the annoying tag-along that hopefully dies... yet the character is written in such a way that she effortlessly fits into the group and quickly becomes a likeable addition.
Next is Nevada, portrayed by the ever-reliable Rosario Dawson. She's a hard-hitting, Zombie-killing, Elvis-loving beauty who is an immediate and obvious match for Tallahassee.
And speaking of him, Woody Harrelson again steals the show with his incredibly funny, heart-warming and cringe-inducing turn as the violent Redneck. His lines are hilarious, even when they're not meant to be, and they're delivered inch-perfect every time.
The soundtrack is spot-on, and the visuals fit the type of movie this is trying to be. Overall, this film is a real treat. It flies by, provides many, many laughs, and also tugs on the heart strings just a little bit. It has everything that made the first one great, and it adds just enough to make this feel like more than just a remake.
Oh, and without spoiling things, it ain't over 'til the credits stop rolling... just saying! :-)
Not to be missed!
Fast-forward a decade, and I entered "Zombieland: Double Tap (2019)" with similar scepticism. I was concerned the studios were going to take what had become a modern classic and simply rehash it in a poor attempt to cash in on its previous success. But then it started and 'Master of Puppets' began playing and I knew I was in for a treat!
Picking up seamlessly where the first one left off, both in terms of story and tone, Double Tap begins with the our group of heroes approaching the White House, which they decide is a good place to lay down some roots in the post-apocalyptic, zombie-infested world they find themselves in.
It isn't long before the youngest member of the group, Little Rock, tires of their attempt at normality, desperate for interaction with any survivors her own age. After Wichita and Columbus fall out, the sisters take off, prompting a road trip for Tallahassee and Columbus to bring them back.
This is a masterclass in how a comedy movie should be executed. Laughs are frequent but not forced. The script is well-written and packed with the same sharp, witty dialogue found in its predecessor. And it manages to maintain its pacing for the duration - something few films can pull off. Too often, comedy films start off with an hilarious first act, but then runs out of steam by Act 2 before ruining the final act by trying to be too serious.
Yes, I'm looking at you "Baywatch (2017)"!
But Double Tap doesn't suffer from any of that. It retains the heart that made it stand out the first time around, whilst building on the laughs and relationships between the characters.
I found this film a little more meta than I remember the first one being. Lots of references to Zombie pop culture, like "The Walking Dead" and "Dawn of the Dead" - both of which Columbus refers to as unrealistic, which is ironically funny.
Of course, being a sequel, you need to introduce some new faces. The first one is Madison, played brilliantly by the beautiful Zoey Deutch. When the airhead blonde stereotype first appears, you immediately cringe and worry she's going to be the annoying tag-along that hopefully dies... yet the character is written in such a way that she effortlessly fits into the group and quickly becomes a likeable addition.
Next is Nevada, portrayed by the ever-reliable Rosario Dawson. She's a hard-hitting, Zombie-killing, Elvis-loving beauty who is an immediate and obvious match for Tallahassee.
And speaking of him, Woody Harrelson again steals the show with his incredibly funny, heart-warming and cringe-inducing turn as the violent Redneck. His lines are hilarious, even when they're not meant to be, and they're delivered inch-perfect every time.
The soundtrack is spot-on, and the visuals fit the type of movie this is trying to be. Overall, this film is a real treat. It flies by, provides many, many laughs, and also tugs on the heart strings just a little bit. It has everything that made the first one great, and it adds just enough to make this feel like more than just a remake.
Oh, and without spoiling things, it ain't over 'til the credits stop rolling... just saying! :-)
Not to be missed!
Phillip McSween (751 KP) rated Forgetting Sarah Marshall (2008) in Movies
Jan 15, 2019
Classic
A man goes to Hawaii to forget about his celebrity ex-girlfriend…only to find that she’s staying at the same resort with her new dude.
Acting: 10
Jason Segel plays the perfect broken man in his role as Peter. He carries a pitifulness that’s endearing, a guy easy to root for. From a comedic standpoint, his timing is always right there and it feels extremely natural as if we’re being introduced to a real person. I can only think of a handful of actors that could pull off the role as successfully as Segel. A number of other roles solidified the acting in the movie as well, but Segel carried the movie in my opinion.
Beginning: 10
Forgetting Sarah Marshall grabs your funny bone from jump and sets the tone. The first ten minutes introduces us to Peter as we watch him go about his boring, but hilarious day. Everytime I think about the breakup scene between him and Sarah (Kristen Bell), it still cracks me up. You knew right away the rest of the film was going to be classic.
Characters: 10
The movie sports a solid cast of characters with just enough originality to keep things interesting without going overboard. You’ve got Rachel (Mila Kunis), the badass front desk attendant who gives Peter a reason to enjoy life again. Then there’s the British rockstar and the hotel attendant who is obsessed with him. I could go on as these are just a handful of the crew that make this movie shine.
Cinematography/Visuals: 10
Conflict: 10
Genre: 10
Others won’t agree, but this is the funniest movie I’ve ever seen. It has everything we want in a comedy. It’s funny without having to go over the top to try. It succeeds with a comical real-life premise that has the right characters surrounding it. Not only does it make you laugh, but it makes you feel as well. But, most importantly, it makes you laugh…A LOT. It hits you with several different types of funny from the characters themselves to the subtle jabs.
Memorability: 10
A classic movie has scenes that stick out in your head for years to come. Forgetting Sarah Marshall has a number of those scenes. When the towel drops. Peter crying naked on the floor then having to defend himself. Dracula musical. The surf scene. I could go on…These are scenes that, by themselves, could make a movie memorable. Together, they made Forgetting Sarah Marshall a classic.
Pace: 10
Plot: 10
I know what you’re thinking. What are the chances he goes on vacation and ends up at the exact same resort as his ex at the same exact time? I thought about this a lot and concluded that it could have been completely conceivable that Peter and Sarah had talked about that resort in the past. Alternatively they could have even had plans to go to that resort together during that week and the breakup changed that. Ultimately I decided it didn’t need to completely make sense. It’s a comedy and it’s unique enough for me to not have gotten bogged down in the “how”.
Resolution: 10
Starts just like it ends: Perfectly. It fits both for Peter and Rachel, definitely putting a smile on my face. It works on a lot of levels, touching but still maintaining the level of humor that carried the film to this point.
Overall: 100
A film is always the sum of its parts. Forgetting Sarah Marshall does everything right and then some. From its beautiful cinematics (thank you, Hawaii) to downright perfect pacing, it succeeds on every level. Classic.
Acting: 10
Jason Segel plays the perfect broken man in his role as Peter. He carries a pitifulness that’s endearing, a guy easy to root for. From a comedic standpoint, his timing is always right there and it feels extremely natural as if we’re being introduced to a real person. I can only think of a handful of actors that could pull off the role as successfully as Segel. A number of other roles solidified the acting in the movie as well, but Segel carried the movie in my opinion.
Beginning: 10
Forgetting Sarah Marshall grabs your funny bone from jump and sets the tone. The first ten minutes introduces us to Peter as we watch him go about his boring, but hilarious day. Everytime I think about the breakup scene between him and Sarah (Kristen Bell), it still cracks me up. You knew right away the rest of the film was going to be classic.
Characters: 10
The movie sports a solid cast of characters with just enough originality to keep things interesting without going overboard. You’ve got Rachel (Mila Kunis), the badass front desk attendant who gives Peter a reason to enjoy life again. Then there’s the British rockstar and the hotel attendant who is obsessed with him. I could go on as these are just a handful of the crew that make this movie shine.
Cinematography/Visuals: 10
Conflict: 10
Genre: 10
Others won’t agree, but this is the funniest movie I’ve ever seen. It has everything we want in a comedy. It’s funny without having to go over the top to try. It succeeds with a comical real-life premise that has the right characters surrounding it. Not only does it make you laugh, but it makes you feel as well. But, most importantly, it makes you laugh…A LOT. It hits you with several different types of funny from the characters themselves to the subtle jabs.
Memorability: 10
A classic movie has scenes that stick out in your head for years to come. Forgetting Sarah Marshall has a number of those scenes. When the towel drops. Peter crying naked on the floor then having to defend himself. Dracula musical. The surf scene. I could go on…These are scenes that, by themselves, could make a movie memorable. Together, they made Forgetting Sarah Marshall a classic.
Pace: 10
Plot: 10
I know what you’re thinking. What are the chances he goes on vacation and ends up at the exact same resort as his ex at the same exact time? I thought about this a lot and concluded that it could have been completely conceivable that Peter and Sarah had talked about that resort in the past. Alternatively they could have even had plans to go to that resort together during that week and the breakup changed that. Ultimately I decided it didn’t need to completely make sense. It’s a comedy and it’s unique enough for me to not have gotten bogged down in the “how”.
Resolution: 10
Starts just like it ends: Perfectly. It fits both for Peter and Rachel, definitely putting a smile on my face. It works on a lot of levels, touching but still maintaining the level of humor that carried the film to this point.
Overall: 100
A film is always the sum of its parts. Forgetting Sarah Marshall does everything right and then some. From its beautiful cinematics (thank you, Hawaii) to downright perfect pacing, it succeeds on every level. Classic.
Bob Mann (459 KP) rated If Beale Street Could Talk (2018) in Movies
Sep 28, 2021
Love and Rage against the machine.
The baby asked,
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.