Search
Cody Cook (8 KP) rated The Circus of Dr Lao in Books
Jun 29, 2018
Somewhat mixed feelings about this book. I became interested due to the film with Tony Randall, which keeps the book's dark humor while adding on a layer of optimism and sentimentality. However, this layer is completely absent from the book. Instead, one feels the palpable cynicism and hatred for humanity and God of a military and newspaper man who obviously witnessed more than his fair share of suffering and inhumanity.
The cynicism does not always feel unwarranted, nor does the bitter but humorous style of much of the book fail to be entertaining. It vacilates between being a sardonic delight and a heavy (and even heavy-handed) piece of short literature that has to be digested in multiple sittings.
The author, himself the grandson and namesake of the great evangelist and abolitionist Charles Finney, if he believes in a God, seems to find Him distant, petty, and hateful. One begins to wonder why the circus seems to provide such fodder for this kind of nihilism (as in Bradbury's Something Wicked This Way Comes and Anton LaVey's biographical details), and perhaps it's because it puts on display those things that we think of as deserving to be hidden where we must face them and despair. The Circus of Dr. Lao puts God through a theodicy trial that Finney doesn't seem to think the Deity survives, but Finney's nihilism is hardly a palatable alternative.
Funny at times, interesting often, and very well-written, the life-as-a-meaningless-freakshow motif still sullies what this book could be. An interesting counterpoint to the film, but on the whole I still much prefer the cinematic rendering.
The cynicism does not always feel unwarranted, nor does the bitter but humorous style of much of the book fail to be entertaining. It vacilates between being a sardonic delight and a heavy (and even heavy-handed) piece of short literature that has to be digested in multiple sittings.
The author, himself the grandson and namesake of the great evangelist and abolitionist Charles Finney, if he believes in a God, seems to find Him distant, petty, and hateful. One begins to wonder why the circus seems to provide such fodder for this kind of nihilism (as in Bradbury's Something Wicked This Way Comes and Anton LaVey's biographical details), and perhaps it's because it puts on display those things that we think of as deserving to be hidden where we must face them and despair. The Circus of Dr. Lao puts God through a theodicy trial that Finney doesn't seem to think the Deity survives, but Finney's nihilism is hardly a palatable alternative.
Funny at times, interesting often, and very well-written, the life-as-a-meaningless-freakshow motif still sullies what this book could be. An interesting counterpoint to the film, but on the whole I still much prefer the cinematic rendering.
Reach for the Skies: Ballooning, Birdmen and Blasting into Space
Book
As far back as stories go, pioneers have reached for the skies. In the last two hundred years, they...
LeftSideCut (3778 KP) rated Wishmaster (1997) in Movies
Sep 25, 2020
Robert Kurtzman, Wes Craven, and Greg Nicotero - a match made in heaven surely? Not quite it turns out, but almost. For all it's cheesiness and cheap jump scares, Wishmaster is still a load of fun, with some fantastic practical effects and a handful of big name horror cameos.
The effects are what stand out the most - there are some shitty CGI moments spread about but the majority of the gory moments are practical and rightly disgusting. A mere two minutes in, some poor fuckers skeleton becomes sentient and rips out from his body. It's glorious. Other than that, Wishmaster coasts along on the strength of its villain, The Djinn, played by Andrew Divoff. He's suitably creepy both in human form and in full make up, and gives the film a whole heap of credit, even if the way he pronounces stuff becomes a little grating after a while.
Having Wes Craven as a producer clearly pays off, as multiple horror stalwarts pop up throughout the runtime - Robert Englund, Tony Todd, Kane Hodder, Ted Raimi - some top tier cameos for sure. Even Angus Scrimm pops up to do a bit of narrating!
Everything else is a little lackluster. The premise is ok, but full of holes, and the ending feels like a bit of a cop out, and lead actress Tammy Lauren just seems like she's in the wrong film for the most part.
Wishmaster unfortunately never manages to excel above it's ridiculous opening scene, and is pretty mediocre overall, but it still has a lot to offer to horror fans, and I can't help but enjoy it.
The effects are what stand out the most - there are some shitty CGI moments spread about but the majority of the gory moments are practical and rightly disgusting. A mere two minutes in, some poor fuckers skeleton becomes sentient and rips out from his body. It's glorious. Other than that, Wishmaster coasts along on the strength of its villain, The Djinn, played by Andrew Divoff. He's suitably creepy both in human form and in full make up, and gives the film a whole heap of credit, even if the way he pronounces stuff becomes a little grating after a while.
Having Wes Craven as a producer clearly pays off, as multiple horror stalwarts pop up throughout the runtime - Robert Englund, Tony Todd, Kane Hodder, Ted Raimi - some top tier cameos for sure. Even Angus Scrimm pops up to do a bit of narrating!
Everything else is a little lackluster. The premise is ok, but full of holes, and the ending feels like a bit of a cop out, and lead actress Tammy Lauren just seems like she's in the wrong film for the most part.
Wishmaster unfortunately never manages to excel above it's ridiculous opening scene, and is pretty mediocre overall, but it still has a lot to offer to horror fans, and I can't help but enjoy it.
Breaking Glass Barefoot
Book
Hazel O'Connor has loved and been loved, but her generosity and spirit of adventure have often come...
Phillip McSween (751 KP) rated Citizen Kane (1941) in Movies
Sep 30, 2019
Beautiful Cinematic Treat
Citizen Kane follows the life of a newspaper tycoon. I saw this movie months ago, but have been dreading the review due to my scoring. Granted, I LOVED this movie, I just know there will be those that say I should have scored the movie higher and I’m ok with that. Here goes nothing…
Acting: 10
Orson Welles delivers a powerful performance as Charles Foster Kane. In my eyes, I see him as the original Tony Stark: Powerful, suave, and undeniably lovable. His presence takes over making it hard for me to remember the impact of other performances. There is no doubt that this is a classic, iconic role.
Beginning: 10
Characters: 10
Again, I could watch a movie made up of just Charles Foster Kane and no one else and still enjoy it. Yes, there were other characters that contributed to the film’s overall impactfulness, but the character of Kane is one you remember for a long time. He is a well-layered powerful man that has a lot brewing beneath the surface. He is compensating for something missing in his life and it doesn’t take us long to see this. His journey is definitely one worth watching.
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 10
The entire movie revolves around a mystery: What exactly is rosebud? It takes us all the way to the end to truly find out what that means. I don’t know about you, but I spent much of my time while watching the film trying to find hints to what the mystery could mean. This made the movie all the more interesting and it was a clever way to keep me engaged. This movie doesn’t need a full two hours to pack a powerful punch.
Memorability: 10
Pace: 8
Plot: 10
Resolution: 6
Here’s where i get crucified: I think the ending to Citizen Kane is a bit overrated. When I found out what it all meant, I kind of rolled my eyes a bit. I didn’t hate it, but also didn’t see what the big deal was.
Overall: 92
Citizen Kane definitely deserves its classic status and I agree that, even to this day, it is still one of the best movies ever made. I won’t go as far as to say the greatest movie of all time (as of today it sits at 87 on my list), but it is truly a movie to remember.
Acting: 10
Orson Welles delivers a powerful performance as Charles Foster Kane. In my eyes, I see him as the original Tony Stark: Powerful, suave, and undeniably lovable. His presence takes over making it hard for me to remember the impact of other performances. There is no doubt that this is a classic, iconic role.
Beginning: 10
Characters: 10
Again, I could watch a movie made up of just Charles Foster Kane and no one else and still enjoy it. Yes, there were other characters that contributed to the film’s overall impactfulness, but the character of Kane is one you remember for a long time. He is a well-layered powerful man that has a lot brewing beneath the surface. He is compensating for something missing in his life and it doesn’t take us long to see this. His journey is definitely one worth watching.
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 10
The entire movie revolves around a mystery: What exactly is rosebud? It takes us all the way to the end to truly find out what that means. I don’t know about you, but I spent much of my time while watching the film trying to find hints to what the mystery could mean. This made the movie all the more interesting and it was a clever way to keep me engaged. This movie doesn’t need a full two hours to pack a powerful punch.
Memorability: 10
Pace: 8
Plot: 10
Resolution: 6
Here’s where i get crucified: I think the ending to Citizen Kane is a bit overrated. When I found out what it all meant, I kind of rolled my eyes a bit. I didn’t hate it, but also didn’t see what the big deal was.
Overall: 92
Citizen Kane definitely deserves its classic status and I agree that, even to this day, it is still one of the best movies ever made. I won’t go as far as to say the greatest movie of all time (as of today it sits at 87 on my list), but it is truly a movie to remember.
BankofMarquis (1832 KP) rated The Many Saints of Newark (2021) in Movies
Oct 12, 2021
The "non-Sopranos" part of this film worked much better
The new Sopranos prequel film THE MANY SAINTS OF NEWARK is a review-proof film. Most people fall into 1 of 2 camps.
The first, fans of the 1999-2007 landmark HBO series that some (including myself) call one of the best TV series of all time. The folks that fall into this camp will be checking this film out no matter what.
The second are folks that either never saw the series or have only a passing knowledge of it - these folks are (more than likely) gonna take a pass at this film.
And both camps would be right and wrong for THE MANY SAINTS OF NEWARK is a middle-of-the-road film that will be satisfying for SOPRANOS fans, but the part of this film that really, really works well has nothing to do with the series.
Written by Sopranos creator David Chase, TMSON is set in the late 1960’s-early 1970’s and tells the tale of a young Tony Soprano and his introduction to the North Jersey mafia and the charismatic mob boss who he is drawn to.
The first 15 minutes of this film were written specifically for SOPRANOS fans for it is here that you are introduced to younger versions of many of your favorite characters. From Tony to Uncle Junior to Livia (Tony’s Mom) to Pauly Walnuts, Silvio and “Big Pussy” they are all there - along with a few others you don’t know (and it is not a spoiler to say, there is a reason that they never made it to the TV series). You are also introduced to Tony’s Father Johnny Soprano, Mob Boss “Hollywood” Dick Moltisanti and the center of this film, the son of the Boss “Uncle” Dickie Moltisanti (father of future TV Series character Christopher).
It’s an enjoyable enough introduction, but it is nothing new. The characters sit around, talk, act tough and eat. Something that we’ve seen in countless mob movies before. Chase and Director Alan Taylor (THOR: THE DARK WORLD) appear somewhat bored with this part of the film - almost as if they are saying “here they all are, enjoy this for we have a more interesting story to tell”. This first 15 minutes of the film seem to go on forever.
And then the movie - and Chase’s ideas and Taylor’s Direction - kick in.
And this is where TMSON begins to escalate as the story splits into 2 parts - the first following Dickie (Alessandro Nivola) and the 2nd following one of his “runners” (Leslie Odom, Jr.) who is destined to become a powerful boss of the “Black Mafia”.
It’s a smart juxtaposition of story, but unfortunately for SOPRANO’s fans, the first story (following Dickie) and including most of the Soprano’s characters is the less interesting of the 2 stories. It is the journey of Leslie Odom, Jr.’s character that makes for a more compelling story. It is as if Chase had an interesting idea for a mob film but knew he would not be able to get it made unless he tied it somewhat to a Sopranos story.
Leslie Odom Jr. is magnetic as Harold McBrayer, the former numbers runner for Dickie that has an awaking through the Black Power movement of the late ‘60’s and becomes a formidable mob boss in his own right. This half of the movie/story is intriguing and interesting for you never know in what direction it is going to land. This “B” story is free to be whatever it wants/needs to be and this freedom elevates it.
The same cannot be said for the “A” story - the journey of Dickie Moltisanti. Alessandro Nivola is charming enough as this sadistic, sociopathic mobster, but he is saddled with too much TV show baggage to become a character on his own. Specifically his mentorship and (ultimate) disassociation with the young Tony Soprano (played by Michael Gandolfini, the son of the late James Gandolfini who played Tony in the TV series). I felt like these characters were burdened with the weight of the TV show and the need to pay homage to what will be coming in their lives via the TV show and to shoehorn in each character along the way.
Consequently some great actors like Vera Farmiga (Tony’s mother Livia), Jon Bernthal (Tony’s father), and Corey Stoll (as Uncle Junior) are all filming extended cameos. They do a good (enough) job bringing the essence of the characters from the TV Series to this film, but they just don’t have enough to do. I would love for these 3 to spin-off on their own.
The same can be said for Billy Magnussen (Pauly), John Magaro (Silvio) and Samson Moeakiola (Big Pussy). They all do a nice job bringing the younger versions of these characters to life (especailly Magaro) but they just don’t have enough to do.
And then there is Ray Liotta’s over-the-top performance as Mob Boss “Hollywood” Dick Moltisanti. Ove-the-top doesn’t even begin to describe the performance he is giving. I will give him credit, though, he does tone it down about 1/2 way through the film, but…geez…the first part…wow.
Ultimately, the failure of the “A” story to captivate dooms this movie to mediocre status. I would have loved for Chase to really sink his teeth into the “B” story - and to let Leslie Odom Jr. really fly as a character and and actor.
But that would have defeated the purpose of making a Sopranos prequel - a prequel that, perhaps, shouldn’t have been made in the first place.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
The first, fans of the 1999-2007 landmark HBO series that some (including myself) call one of the best TV series of all time. The folks that fall into this camp will be checking this film out no matter what.
The second are folks that either never saw the series or have only a passing knowledge of it - these folks are (more than likely) gonna take a pass at this film.
And both camps would be right and wrong for THE MANY SAINTS OF NEWARK is a middle-of-the-road film that will be satisfying for SOPRANOS fans, but the part of this film that really, really works well has nothing to do with the series.
Written by Sopranos creator David Chase, TMSON is set in the late 1960’s-early 1970’s and tells the tale of a young Tony Soprano and his introduction to the North Jersey mafia and the charismatic mob boss who he is drawn to.
The first 15 minutes of this film were written specifically for SOPRANOS fans for it is here that you are introduced to younger versions of many of your favorite characters. From Tony to Uncle Junior to Livia (Tony’s Mom) to Pauly Walnuts, Silvio and “Big Pussy” they are all there - along with a few others you don’t know (and it is not a spoiler to say, there is a reason that they never made it to the TV series). You are also introduced to Tony’s Father Johnny Soprano, Mob Boss “Hollywood” Dick Moltisanti and the center of this film, the son of the Boss “Uncle” Dickie Moltisanti (father of future TV Series character Christopher).
It’s an enjoyable enough introduction, but it is nothing new. The characters sit around, talk, act tough and eat. Something that we’ve seen in countless mob movies before. Chase and Director Alan Taylor (THOR: THE DARK WORLD) appear somewhat bored with this part of the film - almost as if they are saying “here they all are, enjoy this for we have a more interesting story to tell”. This first 15 minutes of the film seem to go on forever.
And then the movie - and Chase’s ideas and Taylor’s Direction - kick in.
And this is where TMSON begins to escalate as the story splits into 2 parts - the first following Dickie (Alessandro Nivola) and the 2nd following one of his “runners” (Leslie Odom, Jr.) who is destined to become a powerful boss of the “Black Mafia”.
It’s a smart juxtaposition of story, but unfortunately for SOPRANO’s fans, the first story (following Dickie) and including most of the Soprano’s characters is the less interesting of the 2 stories. It is the journey of Leslie Odom, Jr.’s character that makes for a more compelling story. It is as if Chase had an interesting idea for a mob film but knew he would not be able to get it made unless he tied it somewhat to a Sopranos story.
Leslie Odom Jr. is magnetic as Harold McBrayer, the former numbers runner for Dickie that has an awaking through the Black Power movement of the late ‘60’s and becomes a formidable mob boss in his own right. This half of the movie/story is intriguing and interesting for you never know in what direction it is going to land. This “B” story is free to be whatever it wants/needs to be and this freedom elevates it.
The same cannot be said for the “A” story - the journey of Dickie Moltisanti. Alessandro Nivola is charming enough as this sadistic, sociopathic mobster, but he is saddled with too much TV show baggage to become a character on his own. Specifically his mentorship and (ultimate) disassociation with the young Tony Soprano (played by Michael Gandolfini, the son of the late James Gandolfini who played Tony in the TV series). I felt like these characters were burdened with the weight of the TV show and the need to pay homage to what will be coming in their lives via the TV show and to shoehorn in each character along the way.
Consequently some great actors like Vera Farmiga (Tony’s mother Livia), Jon Bernthal (Tony’s father), and Corey Stoll (as Uncle Junior) are all filming extended cameos. They do a good (enough) job bringing the essence of the characters from the TV Series to this film, but they just don’t have enough to do. I would love for these 3 to spin-off on their own.
The same can be said for Billy Magnussen (Pauly), John Magaro (Silvio) and Samson Moeakiola (Big Pussy). They all do a nice job bringing the younger versions of these characters to life (especailly Magaro) but they just don’t have enough to do.
And then there is Ray Liotta’s over-the-top performance as Mob Boss “Hollywood” Dick Moltisanti. Ove-the-top doesn’t even begin to describe the performance he is giving. I will give him credit, though, he does tone it down about 1/2 way through the film, but…geez…the first part…wow.
Ultimately, the failure of the “A” story to captivate dooms this movie to mediocre status. I would have loved for Chase to really sink his teeth into the “B” story - and to let Leslie Odom Jr. really fly as a character and and actor.
But that would have defeated the purpose of making a Sopranos prequel - a prequel that, perhaps, shouldn’t have been made in the first place.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Dictator, the Revolution, the Machine: A Political Account of Joseph Stalin
Book
It is a commonplace wisdom that from the authoritarian roots of the Bolshevik revolution in 1917...
MB
Mel Brooks FAQ: All That's Left to Know About the Outrageous Genius of Comedy
Book
Born to be the centre of attention, Mel Brooks grew up learning the ropes of entertainment in the...
Time Surfing: The Zen Approach to Keeping Time on Your Side
Book
"This book is for anyone who feels trapped by over-full, over-scheduled days. It explains how to...
The Complete Peanuts 1971-1972: Volume 11
Charles M. Schulz and Kristin Chenoweth
Book
Peanuts surges into the 1970s with Schulz at the peak of his powers and influence: a few jokes about...