Search
Search results
Hadley (567 KP) rated The Shining in Books
Apr 6, 2019
Different from the movie (1 more)
Well written
Contains spoilers, click to show
In his most well-known horror story, 'The Shining,' which is either a ghost story or the collapse of a man's mental state, Jack Torrance, a recovering alcoholic who just lost his job teaching at a school, gets hired to be the Winter caretaker of the infamous Overlook Hotel. In this book, the readers follow Jack into a nervous breakdown, as well as his possession by the ghosts of this hotel.
While the Torrance's seem like every other family - a small boy and moving to a new town - we find out that their son, Danny, has special abilities that help him to see things that may or may not happen in the future.
Soon after the family arrives to take over the hotel for the Winter, Danny meets a man named Hallorann - a chef at the hotel - who has the same abilities as him, which he calls 'Shine:' "What you got son, I call it shinin' on, the Bible calls it having visions, and there's scientists that call it precognition. I've read up on it, son. I've studied on it. They all mean seeing the future. Do you understand that?" Hallorann tells Danny.
Why does Danny, or anyone for that matter, have the Shine? King doesn't explain this in the book, it just seems to be something specific people are born with, even Danny's parents take him to a doctor before the snowfall hits to figure out what is going on,but even the doctor believes it's just a child's overactive imagination. Even so, Danny continues to have visions: one is of the room 217 in the Overlook, which even Hallorann told him to never go inside, and the other is of a creature-like man swinging a roque mallet, yelling about someone needing to take their medicine,"Come out! Come out, you little shit! Take your medicine!" We,also,meet his imaginary friend, Tony, who is the one whom continues to show Danny these visions over and over.
Unlike the movie, 'The Shining' book stands on it's own as an almost completely different story, even having Jack wielding a roque mallet and not an axe. Also the infamous scene of the Grady twins showing up in a hallway, asking Danny to play with them, never happened in the book; Hallorann also survives Jack's attack, Wendy is nearly beaten to-death by the roque mallet, and the hedge maze doesn't even exist! Instead, King wrote about topiary animals that came to life to kill you, "The rabbit was down on all fours, cropping grass. Its belly was against the ground. But not ten minutes ago it had been up on its hind legs, of course it had been, he had trimmed its ears...and its belly."
Jack begins to change when he finds a scrapbook in the basement that contains articles and such of things that happened at the Overlook. One such thing that sticks with Jack is about a Masked Ball that took place at the grand opening of the hotel. "Horace M. Derwent Requests The Pleasure of Your Company At a Masked Ball to Celebrate The Grand Opening of THE OVERLOOK HOTEL...Dinner Will Be Served At 8 P.M. Unmasking And Dancing At Midnight August 29,1945...RSVP"
Later on in the story, Jack, Wendy and Danny are awoken by the elevator going up and down by itself, but inside is a surprise,"Then she was up, her cheeks flushed, her forehead as pale and shining as a spirit lamp. 'What about this, Jack? Is this a short circuit?' She threw something and suddenly the hall was full of drifting confetti, red and white and blue and yellow. 'Is this?' A green party streamer, faded to a pale pastel color with age." Continuously, throughout the book,the past hotel guests make themselves known, either by showing up in rooms or leaving things for the family to find.
King shines (pun intended) with this book, he keeps things moving so that readers don't get bored. Known for his horror books, he doesn't disappoint in this one, which I personally think that this is his best work ever. He doesn't jump from scene to scene (like in many of his other books), he flawlessly keeps the timeline going even though he switches from character view points, between Jack, Danny, Wendy and Hallorann.
Although the film 'The Shining' is a classic in the horror movie genre, it is a huge step away from the book itself. "And the Red Death held sway over all." is a line that was never in the movie,but is quite frequent through the book. Even the most recognizable scene of "Here's Johnny!" is not in the book!
Also, Hallorann's character has a much bigger part in the story, the reader gets to see him living his Winter life in Florida, working as a chef in another hotel.. Hallorann even has a back story in the book that is wonderful to read about; we get to accompany him to a lawyer's office where he feels the need to get his Will made out for everything to be left to his sister when he is overcome with the feeling that his life may be about to end,"Hallorann had stepped in and told this McIver that he wanted to make a will,and could McIver help him out? Well, McIver asked,how soon do you want the document? Yesterday, said Hallorann, and threw his head back and laughed."
This 659- page book is well worth the read. You not only get a different take on 'The Shining' that is so well known,but you also get a different ending!'The Shining' will now always be a staple on my book shelf.
Even if you love the movie as much as I do (it is my favorite horror movie of all time), you will love the book just as much. King went above and beyond when he wrote 'The Shining.' Highly recommend!
While the Torrance's seem like every other family - a small boy and moving to a new town - we find out that their son, Danny, has special abilities that help him to see things that may or may not happen in the future.
Soon after the family arrives to take over the hotel for the Winter, Danny meets a man named Hallorann - a chef at the hotel - who has the same abilities as him, which he calls 'Shine:' "What you got son, I call it shinin' on, the Bible calls it having visions, and there's scientists that call it precognition. I've read up on it, son. I've studied on it. They all mean seeing the future. Do you understand that?" Hallorann tells Danny.
Why does Danny, or anyone for that matter, have the Shine? King doesn't explain this in the book, it just seems to be something specific people are born with, even Danny's parents take him to a doctor before the snowfall hits to figure out what is going on,but even the doctor believes it's just a child's overactive imagination. Even so, Danny continues to have visions: one is of the room 217 in the Overlook, which even Hallorann told him to never go inside, and the other is of a creature-like man swinging a roque mallet, yelling about someone needing to take their medicine,"Come out! Come out, you little shit! Take your medicine!" We,also,meet his imaginary friend, Tony, who is the one whom continues to show Danny these visions over and over.
Unlike the movie, 'The Shining' book stands on it's own as an almost completely different story, even having Jack wielding a roque mallet and not an axe. Also the infamous scene of the Grady twins showing up in a hallway, asking Danny to play with them, never happened in the book; Hallorann also survives Jack's attack, Wendy is nearly beaten to-death by the roque mallet, and the hedge maze doesn't even exist! Instead, King wrote about topiary animals that came to life to kill you, "The rabbit was down on all fours, cropping grass. Its belly was against the ground. But not ten minutes ago it had been up on its hind legs, of course it had been, he had trimmed its ears...and its belly."
Jack begins to change when he finds a scrapbook in the basement that contains articles and such of things that happened at the Overlook. One such thing that sticks with Jack is about a Masked Ball that took place at the grand opening of the hotel. "Horace M. Derwent Requests The Pleasure of Your Company At a Masked Ball to Celebrate The Grand Opening of THE OVERLOOK HOTEL...Dinner Will Be Served At 8 P.M. Unmasking And Dancing At Midnight August 29,1945...RSVP"
Later on in the story, Jack, Wendy and Danny are awoken by the elevator going up and down by itself, but inside is a surprise,"Then she was up, her cheeks flushed, her forehead as pale and shining as a spirit lamp. 'What about this, Jack? Is this a short circuit?' She threw something and suddenly the hall was full of drifting confetti, red and white and blue and yellow. 'Is this?' A green party streamer, faded to a pale pastel color with age." Continuously, throughout the book,the past hotel guests make themselves known, either by showing up in rooms or leaving things for the family to find.
King shines (pun intended) with this book, he keeps things moving so that readers don't get bored. Known for his horror books, he doesn't disappoint in this one, which I personally think that this is his best work ever. He doesn't jump from scene to scene (like in many of his other books), he flawlessly keeps the timeline going even though he switches from character view points, between Jack, Danny, Wendy and Hallorann.
Although the film 'The Shining' is a classic in the horror movie genre, it is a huge step away from the book itself. "And the Red Death held sway over all." is a line that was never in the movie,but is quite frequent through the book. Even the most recognizable scene of "Here's Johnny!" is not in the book!
Also, Hallorann's character has a much bigger part in the story, the reader gets to see him living his Winter life in Florida, working as a chef in another hotel.. Hallorann even has a back story in the book that is wonderful to read about; we get to accompany him to a lawyer's office where he feels the need to get his Will made out for everything to be left to his sister when he is overcome with the feeling that his life may be about to end,"Hallorann had stepped in and told this McIver that he wanted to make a will,and could McIver help him out? Well, McIver asked,how soon do you want the document? Yesterday, said Hallorann, and threw his head back and laughed."
This 659- page book is well worth the read. You not only get a different take on 'The Shining' that is so well known,but you also get a different ending!'The Shining' will now always be a staple on my book shelf.
Even if you love the movie as much as I do (it is my favorite horror movie of all time), you will love the book just as much. King went above and beyond when he wrote 'The Shining.' Highly recommend!
BankofMarquis (1832 KP) rated The Matrix Resurrections (2021) in Movies
Dec 31, 2021
Unnecessary
And now from the unnecessary sequels department…
And, that, pretty much sums up THE MATRIX RESURRECTIONS - a title that is a confession of a studio and creator that is looking to milk a few more bucks out of a dormant franchise.
Written and Directed by Lana Wachowski (one of the creators/directors of the original Matrix trilogy), MATRIX RESURRECTIONS drops us back into the Matrix that is the same, yet different, and - intriguingly enough - brings us back to Neo and Trinity, 2 characters that died in the 3rd film.
Of course, this being Science Fiction/Fantasy, no one needs to stay dead, if another story can be built around them.
Keanu Reeves and Carrie-Anne Moss are back as Neo & Trinity (this film would not have happened if they didn’t say yes to this) - and they are the best thing in this film. Their chemistry is strong and any film that can bring back Carrie-Anne Moss as a lead in a film, is okay by me.
The best newcomer in this film is Jonathan Groff as “Agent Smith” (Hugo Weaving was set to reprise his role, but had to drop out due to Theater Commitments). Groff channels his inner “King George” (the character that he was Tony Nominated for in the Stage Musical Hamilton) and it works well in this film.
As for the other “character/actors” - like the characters that Jada Pinkett-Smith (the only other returning actor from the original trilogy), Yahya Abdbul-Mateen II (playing a version of Morpheus), Thelma Hopkins, Jessica Henwick and…yes that IS Cristina Ricci - they are all pretty generic and serve as plot machinations to get us from one action set piece to another.
And, of course, there is Neil Patrick Harris as “THE ANALYST”, it’s an interesting, pivotal, role in this film and would have been better served being played by someone less “well known”. All I kept thinking as I watched this performance was - “it’s evil Neil Patrick Harris”!
As for the special effects/set pieces, they are “fine” but nothing “special”. The first Matrix film was a brilliant, groundbreaking and mind-bending piece of filmmaking that introduced cinema (for good or ill) to “bullet time” - a Special F/X that has been en vogue ever since. But this film is just a mismash of CGI that is neither brilliant nor groundbreaking and the dense mythology plot of this film is not “mind-bending”, it is more like “headache-inducing”.
Do yourself a favor and skip the Resurrection of The Matrix and, instead, check out the brilliant 1999 original - it holds up well (and is the subject of my January podcast).
Letter Grade: B- (thanks to Reeves, Moss and Groff)
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
And, that, pretty much sums up THE MATRIX RESURRECTIONS - a title that is a confession of a studio and creator that is looking to milk a few more bucks out of a dormant franchise.
Written and Directed by Lana Wachowski (one of the creators/directors of the original Matrix trilogy), MATRIX RESURRECTIONS drops us back into the Matrix that is the same, yet different, and - intriguingly enough - brings us back to Neo and Trinity, 2 characters that died in the 3rd film.
Of course, this being Science Fiction/Fantasy, no one needs to stay dead, if another story can be built around them.
Keanu Reeves and Carrie-Anne Moss are back as Neo & Trinity (this film would not have happened if they didn’t say yes to this) - and they are the best thing in this film. Their chemistry is strong and any film that can bring back Carrie-Anne Moss as a lead in a film, is okay by me.
The best newcomer in this film is Jonathan Groff as “Agent Smith” (Hugo Weaving was set to reprise his role, but had to drop out due to Theater Commitments). Groff channels his inner “King George” (the character that he was Tony Nominated for in the Stage Musical Hamilton) and it works well in this film.
As for the other “character/actors” - like the characters that Jada Pinkett-Smith (the only other returning actor from the original trilogy), Yahya Abdbul-Mateen II (playing a version of Morpheus), Thelma Hopkins, Jessica Henwick and…yes that IS Cristina Ricci - they are all pretty generic and serve as plot machinations to get us from one action set piece to another.
And, of course, there is Neil Patrick Harris as “THE ANALYST”, it’s an interesting, pivotal, role in this film and would have been better served being played by someone less “well known”. All I kept thinking as I watched this performance was - “it’s evil Neil Patrick Harris”!
As for the special effects/set pieces, they are “fine” but nothing “special”. The first Matrix film was a brilliant, groundbreaking and mind-bending piece of filmmaking that introduced cinema (for good or ill) to “bullet time” - a Special F/X that has been en vogue ever since. But this film is just a mismash of CGI that is neither brilliant nor groundbreaking and the dense mythology plot of this film is not “mind-bending”, it is more like “headache-inducing”.
Do yourself a favor and skip the Resurrection of The Matrix and, instead, check out the brilliant 1999 original - it holds up well (and is the subject of my January podcast).
Letter Grade: B- (thanks to Reeves, Moss and Groff)
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Thor (2011) in Movies
Jun 25, 2019
Action-packed and cracked me up
Thor, the God of Thunder, is about to ascend to his rightful place as King of Asgard and, in the process, will go up against the greatest opposition he has ever faced. While Thor doesn’t quite earn a spot in the upper echelon of Marvel films, it is still quite awesome and pleasing to watch. It’s the fun origin story of how Thor first came to interact with Earthlings.
Acting: 10
Although I cringe when Chris Hemsworth takes his shirt off and my wife is in the room, he plays a damn good Thor. Like Robert Downey’s Tony Stark, you can’t help but fall for Hemsworth’s charisma and how he treats the character. There is one particular moment I think he captured exceptionally well: After tearing through a number of dudes like it’s nothing, he’s staring down at his hammer which is stuck in the mud. He has this confident all-knowing smirk on his face as he prepares to lift it…and the hammer doesn’t budge. The absolute heartbreak he experiences after is definitely felt as you wanted him to succeed. There were a number of other solid performances throughout this film, but Hemsworth steals the show.
Beginning: 10
Characters: 10
It’s hard choosing a favorite Avenger and characters like Thor make it so. He’s got this flared ego about him that should be annoying but it’s somehow both endearing and funny. In one scene, the guy slams a coffee mug down in the middle of a diner because he demands “Another!” cup of the delicious drink. When love interest Jane Foster (Thor) tells him he could have just simply asked for more, he innocently shrugs it off like that was the only way he knew. It’s hilariously believable and one of many scenes that crack you up.
I’ve talked about Thor a lot, but the movie is packed with a number of other characters that make the film spin successfully. I loved Loki’s character arc and his internal struggles. He terribly wants the throne, but there are moments (albeit brief) where you can see him struggling with the things he is doing. Loki and Thor definitely had more depth to their characters than I expected.
Cinematography/Visuals: 10
Conflict: 8
Genre: 6
Memorability: 6
It hasn’t been too long since I watched the movie, but I am already starting to forget some of the things that have happened and it’s honestly blending a bit with the second (which was terrible). A film like Iron Man, in comparison, has stuck with me since the first time I watched it in theaters. Thor didn’t blow me away. Doesn’t mean it wasn’t fun, however.
Pace: 8
For the most part, the movie is good about keeping you motivated with consistent conflict. When it does slow down in spots, there are some funny parts (like the scene in the diner) that help maintain the entertainment value. Less than a handful of dead spots kept this category out of the perfect realm.
Plot: 10
I had no issues with the story or found any holes. It would be easy for a movie like this to cut corners, but it allowed itself to play out organically. I appreciated the nice touch of character development for the sake of adding depth and impact.
Resolution: 5
Definitely the weakest part of the movie overall. I hate when movies purposefully leave you hanging for a sequel a la Spider-Man. The best endings are just that: They end the story and provide closure. Missed the mark here.
Overall: 83
There is a really cool part during Thor where the hero and his crew are traveling to Jotunheim, home of the frost giants. I remember having a big grin on my face then which carried me through most of the movie. I won’t call it a classic, but I will say it’s a solid addition in the Marvel Cinematic Universe that should be recognized.
Acting: 10
Although I cringe when Chris Hemsworth takes his shirt off and my wife is in the room, he plays a damn good Thor. Like Robert Downey’s Tony Stark, you can’t help but fall for Hemsworth’s charisma and how he treats the character. There is one particular moment I think he captured exceptionally well: After tearing through a number of dudes like it’s nothing, he’s staring down at his hammer which is stuck in the mud. He has this confident all-knowing smirk on his face as he prepares to lift it…and the hammer doesn’t budge. The absolute heartbreak he experiences after is definitely felt as you wanted him to succeed. There were a number of other solid performances throughout this film, but Hemsworth steals the show.
Beginning: 10
Characters: 10
It’s hard choosing a favorite Avenger and characters like Thor make it so. He’s got this flared ego about him that should be annoying but it’s somehow both endearing and funny. In one scene, the guy slams a coffee mug down in the middle of a diner because he demands “Another!” cup of the delicious drink. When love interest Jane Foster (Thor) tells him he could have just simply asked for more, he innocently shrugs it off like that was the only way he knew. It’s hilariously believable and one of many scenes that crack you up.
I’ve talked about Thor a lot, but the movie is packed with a number of other characters that make the film spin successfully. I loved Loki’s character arc and his internal struggles. He terribly wants the throne, but there are moments (albeit brief) where you can see him struggling with the things he is doing. Loki and Thor definitely had more depth to their characters than I expected.
Cinematography/Visuals: 10
Conflict: 8
Genre: 6
Memorability: 6
It hasn’t been too long since I watched the movie, but I am already starting to forget some of the things that have happened and it’s honestly blending a bit with the second (which was terrible). A film like Iron Man, in comparison, has stuck with me since the first time I watched it in theaters. Thor didn’t blow me away. Doesn’t mean it wasn’t fun, however.
Pace: 8
For the most part, the movie is good about keeping you motivated with consistent conflict. When it does slow down in spots, there are some funny parts (like the scene in the diner) that help maintain the entertainment value. Less than a handful of dead spots kept this category out of the perfect realm.
Plot: 10
I had no issues with the story or found any holes. It would be easy for a movie like this to cut corners, but it allowed itself to play out organically. I appreciated the nice touch of character development for the sake of adding depth and impact.
Resolution: 5
Definitely the weakest part of the movie overall. I hate when movies purposefully leave you hanging for a sequel a la Spider-Man. The best endings are just that: They end the story and provide closure. Missed the mark here.
Overall: 83
There is a really cool part during Thor where the hero and his crew are traveling to Jotunheim, home of the frost giants. I remember having a big grin on my face then which carried me through most of the movie. I won’t call it a classic, but I will say it’s a solid addition in the Marvel Cinematic Universe that should be recognized.
Ryan Hill (152 KP) rated Black Panther (2018) in Movies
May 11, 2019
"Bury me in the ocean with my ancestors who jumped from the ships, 'cause they knew death was better than bondage"
Full of life, joy, sorrow, and hilarity; Ryan Coogler's Black Panther just has a vibrancy you rarely find in the superhero scene, let alone blockbusters. Enriched with a deep, abiding love for African culture and Afrofuturism; the movie just feels purposeful. Important. Meaningful. Context matters here, as Black Panther will become one of very few films populated by African Americans not dealing with slavery or black history to thrive financially. And that cast is phenomenal. Boseman's soft-spoken panther-of-few-words is the rare MCUer to opt for a moment of silence rather than a snarky comment. Michael B Jordan brings an unmistakable swagger to the perpetually weak slate of Marvel villains, conveying a crushingly sad and challenging story that could just as easily be regarded as the true hero of the film. Letitia Wright as the genius tech maestro was a blast, a character who could give Tony Stark a run for his money both technologically and charismatically. And these are just three of Coogler's creations; drawn from a slate of inspired, unique and wonderfully represented roles for black actors...many of whom will deservingly use this as a career springboard of sorts.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
Chris Sawin (602 KP) rated A Clockwork Orange (1971) in Movies
Jun 15, 2019
Alex DeLarge (Malcolm McDowell) is your average eighteen year old boy...if by average, you mean he fully embraces the old ultraviolence and wanders the streets with his three droogs causing havoc and doing whatever he likes; skipping school, breaking and entering, rape, and assault is just another average day in Alex's life. However, when a planned rape turns into an "accidental" murder, things start to turn fowl for Alex. His droogs turn on him and he winds up being caught by the police. He is then taken to a correctional facility where he spends the next few years, puts on the front that he's fully embraced the bible and that he's now a changed man. But when word makes round of the experimental Ludovico treatment, Alex realizes his chance at freedom and jumps through the proper hoops to get out of the penitentiary he finds himself in and get into the experimental facility where he can be "cured."
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Bob Mann (459 KP) rated Avengers: Endgame (2019) in Movies
Sep 28, 2021
The final curtain.
So… thanks again to work and family commitments, I’ve spent 7 days dodging social media to arrive at my showing of “Endgame” spoiler free… and was successful in doing so! It is of course impossible to write just about anything on this film without dropping spoilers. So I will keep this first part of the review short, but add some footnotes (indexed with <#> symbols) to a “spoiler section” below the trailer video. Proceed at your peril if you haven’t yet seen it!
The Plot
The MCU has delivered an impressively well-connected movie series. In the case of Thanos, this is a story-arc that started in the mid-credit “monkey” at the end of 2012’s “The Avengers” and, at the conclusion of “Avengers: Infinity War”, saw half the universe’s population drift away – Voldemort-style – into grey ash. This, of course, also wiped out half of our heroes (good trivia question for future years: who was the first we saw drift away? Answer below* ). This included Spider-Man (Tom Holland); Dr Strange (Benedict Cumberbatch); Black Panther (Chadwick Boseman); Nick Fury (Samuel L. Jackson); half of the remaining Guardians; The Wasp (Evangeline Lilly) and Dr Pym (Michael Douglas). Oblivious to all of this is Ant Man (Paul Rudd), still stranded in the ‘quantum realm’ following the demise of his colleagues, and with no one to flick the ‘return’ switch.
After some early action, Endgame’s story revolves around a desperate attempt by the remaining Avengers, led by Black Widow (Scarlett Johansson) and a ‘retired’ Tony Stark (Robert Downey Jnr) to undo the undoable. Can they succeed against all the odds? (With a new Spider-Man film due out in the summer, I’ll give you a guess!). Of more relevance perhaps is whether the team can stay unscathed from their encounter with the scheming and massively powerful Thanos (Josh Brolin)?
Thoughtful
The film will not be to every fan’s taste. After the virtually non-stop rip-roaring action of “Infinity War”, “Endgame” takes a far more contemplative approach to its first hour.
The film starts with a devastating prologue, and a great lesson in statistics: that you need a decent sized population to guarantee getting a 50:50 split! There is also a very surprising twist in the first 15 minutes or so that I didn’t see coming AT ALL.
But then things settle down into a far more sombre section of the film: short on action; long on character development. The world is grieving for its loss, unable to move on past the non-stop counselling sessions that everyone is getting. This first hour was, for me, by far, my favourite part of the film. Seeing how the characters we know and love have been impacted – some for better rather than for worse – was terrific. Mark Ruffalo’s Hulk (with a rather glib plot-point) takes on an hilarious new aspect; and Chris Hemsworth adds hugely comedic value as Thor, setting up in Scotland a “New Asgard” settlement in uncharacteristically laid-back fashion.
Cast
As an ensemble cast, everyone plays their parts extremely well. But it is just the breadth of the cast that astounds in this film: just about everyone who is anyone in the Marvel Universe – at least, those who are still alive (alive!) and not dead (dead!) – pop up for an appearance! This is great fun with, in one particular case, the opportunity to try some more rejuvenation of an old timer as previously done with Samuel L. Jackson in “Captain Marvel”.
Inevitably, some of these appearances are overly brief, and characters that I wanted to see developed more in this film (particularly Brie Larson’s Captain Marvel) get very little screen time. Drax (Dave Bautista) and Mantis (Pom Klementieff) barely get a single line each. So it will depend on where your loyalties lie as to whether you are satisfied with the coverage or not. (I personally find Chris Evans‘ Captain America a bit of a po-faced bore, so I wasn’t keen on the amount of screen time he had).
Stan Lee again gets another cameo in the bag before his demise: will this actually be his last live one?
Overall view
I enjoyed this movie. It could obviously NEVER live up to the over-hyped expectations of the fan base. But as a cinematic spectacle, for me, it delivered on its billing as a blockbuster finale, but one filled with a degree of nuance I was not expecting. The problem with the way that the plot have been structured (no spoilers – <#>) is that it is easy to pick holes in the storyline. Indeed, some dramatic options (that to me seemed obvious ones to ‘mine’) were left ‘unmined’ <##>; others were left inexplicably hanging <###>.
I suspect the reason for some of this is that the initial cut of this film probably ran to 5 hours rather than the – still bladder-testing – 3 hours as released. There were probably a bunch of scenes left on the cutting room floor that might allow things to make more sense in the extended BluRay release.
It’s at times slow, but for me never dull. It does suffer from one significant flaw though: the “Return of the King” disease. It doesn’t know when to quit. There was a natural MCU arc to follow and a perfect time at which to end it: but the directors (the Russo Brothers, Anthony Russo and Joe Russo) kept adding additional scenes that detracted from the natural ending <####>.
Above all, unlike I think all but one film in MCU history, there is NO “MONKEY” in the end credits: either mid-credit or end-credit! So, after the long title crawl (and some rather odd choices for end-title music by Alan Silvestri), if you are not to look bloody stupid as the lights come up, and face a storm of derision from your partner, then leave after the dramatic roll-call sequence of the film’s stars!
(*BTW, the answer to the trivia question is, I believe, Bucky.)
So… thanks again to work and family commitments, I’ve spent 7 days dodging social media to arrive at my showing of “Endgame” spoiler free… and was successful in doing so! It is of course impossible to write just about anything on this film without dropping spoilers. So I will keep this first part of the review short, but add some footnotes (indexed with <#> symbols) to a “spoiler section” below the trailer video. Proceed at your peril if you haven’t yet seen it!
The Plot
The MCU has delivered an impressively well-connected movie series. In the case of Thanos, this is a story-arc that started in the mid-credit “monkey” at the end of 2012’s “The Avengers” and, at the conclusion of “Avengers: Infinity War”, saw half the universe’s population drift away – Voldemort-style – into grey ash. This, of course, also wiped out half of our heroes (good trivia question for future years: who was the first we saw drift away? Answer below* ). This included Spider-Man (Tom Holland); Dr Strange (Benedict Cumberbatch); Black Panther (Chadwick Boseman); Nick Fury (Samuel L. Jackson); half of the remaining Guardians; The Wasp (Evangeline Lilly) and Dr Pym (Michael Douglas). Oblivious to all of this is Ant Man (Paul Rudd), still stranded in the ‘quantum realm’ following the demise of his colleagues, and with no one to flick the ‘return’ switch.
After some early action, Endgame’s story revolves around a desperate attempt by the remaining Avengers, led by Black Widow (Scarlett Johansson) and a ‘retired’ Tony Stark (Robert Downey Jnr) to undo the undoable. Can they succeed against all the odds? (With a new Spider-Man film due out in the summer, I’ll give you a guess!). Of more relevance perhaps is whether the team can stay unscathed from their encounter with the scheming and massively powerful Thanos (Josh Brolin)?
Thoughtful
The film will not be to every fan’s taste. After the virtually non-stop rip-roaring action of “Infinity War”, “Endgame” takes a far more contemplative approach to its first hour.
The film starts with a devastating prologue, and a great lesson in statistics: that you need a decent sized population to guarantee getting a 50:50 split! There is also a very surprising twist in the first 15 minutes or so that I didn’t see coming AT ALL.
But then things settle down into a far more sombre section of the film: short on action; long on character development. The world is grieving for its loss, unable to move on past the non-stop counselling sessions that everyone is getting. This first hour was, for me, by far, my favourite part of the film. Seeing how the characters we know and love have been impacted – some for better rather than for worse – was terrific. Mark Ruffalo’s Hulk (with a rather glib plot-point) takes on an hilarious new aspect; and Chris Hemsworth adds hugely comedic value as Thor, setting up in Scotland a “New Asgard” settlement in uncharacteristically laid-back fashion.
Cast
As an ensemble cast, everyone plays their parts extremely well. But it is just the breadth of the cast that astounds in this film: just about everyone who is anyone in the Marvel Universe – at least, those who are still alive (alive!) and not dead (dead!) – pop up for an appearance! This is great fun with, in one particular case, the opportunity to try some more rejuvenation of an old timer as previously done with Samuel L. Jackson in “Captain Marvel”.
Inevitably, some of these appearances are overly brief, and characters that I wanted to see developed more in this film (particularly Brie Larson’s Captain Marvel) get very little screen time. Drax (Dave Bautista) and Mantis (Pom Klementieff) barely get a single line each. So it will depend on where your loyalties lie as to whether you are satisfied with the coverage or not. (I personally find Chris Evans‘ Captain America a bit of a po-faced bore, so I wasn’t keen on the amount of screen time he had).
Stan Lee again gets another cameo in the bag before his demise: will this actually be his last live one?
Overall view
I enjoyed this movie. It could obviously NEVER live up to the over-hyped expectations of the fan base. But as a cinematic spectacle, for me, it delivered on its billing as a blockbuster finale, but one filled with a degree of nuance I was not expecting. The problem with the way that the plot have been structured (no spoilers – <#>) is that it is easy to pick holes in the storyline. Indeed, some dramatic options (that to me seemed obvious ones to ‘mine’) were left ‘unmined’ <##>; others were left inexplicably hanging <###>.
I suspect the reason for some of this is that the initial cut of this film probably ran to 5 hours rather than the – still bladder-testing – 3 hours as released. There were probably a bunch of scenes left on the cutting room floor that might allow things to make more sense in the extended BluRay release.
It’s at times slow, but for me never dull. It does suffer from one significant flaw though: the “Return of the King” disease. It doesn’t know when to quit. There was a natural MCU arc to follow and a perfect time at which to end it: but the directors (the Russo Brothers, Anthony Russo and Joe Russo) kept adding additional scenes that detracted from the natural ending <####>.
Above all, unlike I think all but one film in MCU history, there is NO “MONKEY” in the end credits: either mid-credit or end-credit! So, after the long title crawl (and some rather odd choices for end-title music by Alan Silvestri), if you are not to look bloody stupid as the lights come up, and face a storm of derision from your partner, then leave after the dramatic roll-call sequence of the film’s stars!
(*BTW, the answer to the trivia question is, I believe, Bucky.)