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BankofMarquis (1832 KP) rated Memento (2000) in Movies
Feb 9, 2018
Heady Trip
Christopher Nolan first burst onto the scene (for me) with MEMENTO, a 2000 film about a man with a rare condition - he cannot store any short term memories - and is looking for the man that murdered his wife and hit him on the head, thus causing this condition. The twist of the film - and the "trick" that makes this film work -is that it is told backwards (the last scene is first, the 2nd to last scene is 2nd...the first scene is last) so we, the audience, have no memory of what happened just before this scene and, thus, are suffering from the same inability to access what has happened just before as the main character.
This "trick" works very well and holds the film together, we are peeling apart the onion (or, more appropriately, we are putting the peels back on the onion) as the film progresses, gaining greater knowledge as we go along and, with each new piece of "old" information, we gain a new - and in most cases different - view of the scene that we just saw, keeping the audience off-balance for the entire film.
Nolan shows a sure-handedness in his direction of this film. It is clear he had a vision that he wanted to put on the screen and with the screenplay written by Nolan and his long-time collaborator, his brother Jonathan Nolan, Christopher Nolan has a canvas to paint his off-kilter picture and play with the themes of time and memory - themes he would come back to over again.
As the man with the memory loss, Leonard, Guy Pearce solidified himself for me (at the time) as a fine actor that is worth watching (this, afterall, was just a few years after LA CONFIDENTIAL). His Leonard is earnest and straightforward and while he does have a "tick" to show that his memory is erasing (to clue us, the audience in), he marches (backward) through this film strongly.
Aiding Pearce is veteran character actor Joe Pantoliano as Teddy - a cop who is helping Leonard find his wife's killer (or is he?). "Joey Pants" (as he is known) is perfect for this type of ambiguous character, never really trusting him, but trusting him "just enough". Also jumping in is Trinity, herself, Carrie-Ann Moss - an actress that I thought was going to build on this (and the Matrix) and become quite the star. It didn't quite work out.
I enjoyed this mystery and was thinking about how well it works if you ran the scenes in chronological order - upon reflection, I realized that if you did that, holes get punched into things pretty quickly. So, don't do that, but do rent or stream or pull the old DVD of MEMENTO off your bookshelves, it is worth your time.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
This "trick" works very well and holds the film together, we are peeling apart the onion (or, more appropriately, we are putting the peels back on the onion) as the film progresses, gaining greater knowledge as we go along and, with each new piece of "old" information, we gain a new - and in most cases different - view of the scene that we just saw, keeping the audience off-balance for the entire film.
Nolan shows a sure-handedness in his direction of this film. It is clear he had a vision that he wanted to put on the screen and with the screenplay written by Nolan and his long-time collaborator, his brother Jonathan Nolan, Christopher Nolan has a canvas to paint his off-kilter picture and play with the themes of time and memory - themes he would come back to over again.
As the man with the memory loss, Leonard, Guy Pearce solidified himself for me (at the time) as a fine actor that is worth watching (this, afterall, was just a few years after LA CONFIDENTIAL). His Leonard is earnest and straightforward and while he does have a "tick" to show that his memory is erasing (to clue us, the audience in), he marches (backward) through this film strongly.
Aiding Pearce is veteran character actor Joe Pantoliano as Teddy - a cop who is helping Leonard find his wife's killer (or is he?). "Joey Pants" (as he is known) is perfect for this type of ambiguous character, never really trusting him, but trusting him "just enough". Also jumping in is Trinity, herself, Carrie-Ann Moss - an actress that I thought was going to build on this (and the Matrix) and become quite the star. It didn't quite work out.
I enjoyed this mystery and was thinking about how well it works if you ran the scenes in chronological order - upon reflection, I realized that if you did that, holes get punched into things pretty quickly. So, don't do that, but do rent or stream or pull the old DVD of MEMENTO off your bookshelves, it is worth your time.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Jerzy Dudek: A Big Pole in Our Goal - Autobiography
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Liverpool Football Club has won trophy after trophy. It has enjoyed success after success....
Gareth von Kallenbach (980 KP) rated The Man Who Knew Infinity (2016) in Movies
Aug 6, 2019
In 1914, Srinivasa Ramanujan (Dev Patel) traveled from his poverty-stricken existence in Madras, India to Trinity College, Cambridge in the hope that he would have his theories published and be recognized for the mathematical genius he was. While there, despite facing racism, hostility and severe illness, he formed an important relationship with G.H. Hardy (Jeremy Irons) that would lead to breakthroughs in mathematics that are still relevant today.
It would be easy to prattle on about the tremendous talent onscreen in The Man Who Knew Infinity and with a supporting cast that features some of Britain’s best; we get exactly what we’d expect from the likes of Jeremy Irons, Toby Jones and Kevin McNally. All at the top of their game, they serve the story well with nuanced and well-rounded performances, and I’m certainly not going to take anything away from the exceptional jobs they’ve all done here. All the praise this film deserves however, needs to be directed at Dev Patel. In his role as Ramanujan, he’s completely stepped out of the shadow of his big-screen debut in Slumdog Millionaire and has proved his worth as a leading man capable of carrying the weight of an entire feature. Distancing himself also from the lovable, bumbling hotel owner in The Best Exotic Marigold movies, with Ramanujan he is allowed the room to display an incredible range, from quiet intensity to outspoken, unbridled passion and determination. Kudos also to the writers for not going The Big Short route (e.g. talking down to the uninitiated with ridiculous cutaways), but by using simple logic and examples to help convey complex information relevant to the plot.
For the performances alone, this is a solid entry in the biopic genre, but structurally speaking, it’s the editing that lets the film down. This very easily could have emerged as the next A Beautiful Mind, but between a bloated first act, a middling and wandering second act and a truncated final third, The Man Who Knew Infinity falls just short of greatness. Not only is no attention paid to Ramanujan’s achievements as a child, but too much time is given to details and subplots that are arguably inconsequential to the main narrative. This is especially evident in the inclusion of Bertrand Russell (who lived such a rich and fascinating life himself, it would take several films to do that story justice) and his being here feels like just a hollow excuse to include a cameo from another figure of historical importance. The biggest disservice though comes with the ending where we are denied a much needed catharsis and are left to suffer through a slap-dash, halfhearted montage. A restructuring from a more seasoned hand would have undoubtedly led to stronger word-of-mouth and perhaps a wider release. I also wouldn’t be surprised to learn that this is a case of “too many cooks” as the film has a staggering 43 credited producers. I get that independent features can be forced to source their funding from many places, but you can’t tell me that with all those opinions flying about that some of the original intent didn’t get lost in the noise.
As an aside, what Stephen Fry is doing here is beyond me. He’s given two scenes with perhaps a half a dozen lines, leaving his incomparable persona entirely wasted on a completely throwaway character. It’s a pity he wasn’t given a meatier role as one of Ramanujan’s antagonists.
It would be easy to prattle on about the tremendous talent onscreen in The Man Who Knew Infinity and with a supporting cast that features some of Britain’s best; we get exactly what we’d expect from the likes of Jeremy Irons, Toby Jones and Kevin McNally. All at the top of their game, they serve the story well with nuanced and well-rounded performances, and I’m certainly not going to take anything away from the exceptional jobs they’ve all done here. All the praise this film deserves however, needs to be directed at Dev Patel. In his role as Ramanujan, he’s completely stepped out of the shadow of his big-screen debut in Slumdog Millionaire and has proved his worth as a leading man capable of carrying the weight of an entire feature. Distancing himself also from the lovable, bumbling hotel owner in The Best Exotic Marigold movies, with Ramanujan he is allowed the room to display an incredible range, from quiet intensity to outspoken, unbridled passion and determination. Kudos also to the writers for not going The Big Short route (e.g. talking down to the uninitiated with ridiculous cutaways), but by using simple logic and examples to help convey complex information relevant to the plot.
For the performances alone, this is a solid entry in the biopic genre, but structurally speaking, it’s the editing that lets the film down. This very easily could have emerged as the next A Beautiful Mind, but between a bloated first act, a middling and wandering second act and a truncated final third, The Man Who Knew Infinity falls just short of greatness. Not only is no attention paid to Ramanujan’s achievements as a child, but too much time is given to details and subplots that are arguably inconsequential to the main narrative. This is especially evident in the inclusion of Bertrand Russell (who lived such a rich and fascinating life himself, it would take several films to do that story justice) and his being here feels like just a hollow excuse to include a cameo from another figure of historical importance. The biggest disservice though comes with the ending where we are denied a much needed catharsis and are left to suffer through a slap-dash, halfhearted montage. A restructuring from a more seasoned hand would have undoubtedly led to stronger word-of-mouth and perhaps a wider release. I also wouldn’t be surprised to learn that this is a case of “too many cooks” as the film has a staggering 43 credited producers. I get that independent features can be forced to source their funding from many places, but you can’t tell me that with all those opinions flying about that some of the original intent didn’t get lost in the noise.
As an aside, what Stephen Fry is doing here is beyond me. He’s given two scenes with perhaps a half a dozen lines, leaving his incomparable persona entirely wasted on a completely throwaway character. It’s a pity he wasn’t given a meatier role as one of Ramanujan’s antagonists.
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Darren (1599 KP) rated Dolls (2019) in Movies
Jul 2, 2019
Story: Dolls starts when alcoholic children’s book author Robert Holbrook (Downey) moves into his recently deceased mother’s home to start work on his latest work, when he is joined by his teenage daughter Sammey (Simpson) who wants to get away from her mother.
When Robert and Sammey discover three creepy dolls in the attic, Robert decides that he wants to use these characters to create his latest story, known as the Attic Dolls. When a sister of a former patient Margaret (Wallace) appears, she warns Sammey about the evil inside the dolls that come out to play when you look away.
Thoughts on Dolls
Characters – Robert is an alcoholic children’s author, he has made mistakes in his life which has left his family facing financial ruin, his daughter struggle to be able to face a college future, he has moved out to focus on his new book, which will see him being joined by his daughter. The latest book idea uses the creepy dolls found in the attic of his mother’s home, which will see him suffer nightmares as he looks to withdraw from his drinking problems. Sammey is his 17-year-old daughter who wants to live with him over her mother, she has been on certain medications, though it is unclear what is wrong with her to need them. She first gets scared by the dolls believing the story she hears about them, while trying to remain rebellious about her future. Margaret was the sister of one of the patient’s of Robert’s mother, she warns the family about the evil from the dolls which might be connected to the deaths.
Performances – Thomas Downey is strong through the film, we believe that he is going through troubles. Trinity Simpson is entertaining in her role, she brings the fear of what is going on to make us believe everything happening. Dee Wallace is the biggest name in the film, she is in a supporting role, which lets her bring the experience to the film.
Story – The story here follows a family that move into a house of a deceased relative only to discover three creepy dolls in the attic, soon strange things start happening around the house as it appears the dolls come to life when people aren’t looking. This story does play into the creepy dolls genre of horror which does to use mental health and addiction to try and reflect the situation going on through the events of the film. It does start by going in one direction, but it does feel like it is going to target on a rampage, then throws another twist to them in and it does seem to rush a lot of the story going on through the film. it does end in a very confusing manor which could make most of the film feel almost redundant.
Horror – The horror in this comes from the dolls which do feel creepy and make us feel uneasy wondering what they will be doing next.
Settings – The film is set in the one location which is the house, it is filled with locations where the dolls could sneak around without being seen, only heard, which does play into the rules created.
Special Effects – The effects in the film are only used when they are needed, they are simply with certain small movements which does help the film unfold.
Scene of the Movie – The dolls appearance.
That Moment That Annoyed Me – The ending.
Final Thoughts – This is a new creepy doll movie, which has been the it feature at the moment, with Child’s Play and Annabelle in the cinema, this one does have a creepy feel to it even if the story does seem to be rushed.
Overall: Creepy Fun horror.
When Robert and Sammey discover three creepy dolls in the attic, Robert decides that he wants to use these characters to create his latest story, known as the Attic Dolls. When a sister of a former patient Margaret (Wallace) appears, she warns Sammey about the evil inside the dolls that come out to play when you look away.
Thoughts on Dolls
Characters – Robert is an alcoholic children’s author, he has made mistakes in his life which has left his family facing financial ruin, his daughter struggle to be able to face a college future, he has moved out to focus on his new book, which will see him being joined by his daughter. The latest book idea uses the creepy dolls found in the attic of his mother’s home, which will see him suffer nightmares as he looks to withdraw from his drinking problems. Sammey is his 17-year-old daughter who wants to live with him over her mother, she has been on certain medications, though it is unclear what is wrong with her to need them. She first gets scared by the dolls believing the story she hears about them, while trying to remain rebellious about her future. Margaret was the sister of one of the patient’s of Robert’s mother, she warns the family about the evil from the dolls which might be connected to the deaths.
Performances – Thomas Downey is strong through the film, we believe that he is going through troubles. Trinity Simpson is entertaining in her role, she brings the fear of what is going on to make us believe everything happening. Dee Wallace is the biggest name in the film, she is in a supporting role, which lets her bring the experience to the film.
Story – The story here follows a family that move into a house of a deceased relative only to discover three creepy dolls in the attic, soon strange things start happening around the house as it appears the dolls come to life when people aren’t looking. This story does play into the creepy dolls genre of horror which does to use mental health and addiction to try and reflect the situation going on through the events of the film. It does start by going in one direction, but it does feel like it is going to target on a rampage, then throws another twist to them in and it does seem to rush a lot of the story going on through the film. it does end in a very confusing manor which could make most of the film feel almost redundant.
Horror – The horror in this comes from the dolls which do feel creepy and make us feel uneasy wondering what they will be doing next.
Settings – The film is set in the one location which is the house, it is filled with locations where the dolls could sneak around without being seen, only heard, which does play into the rules created.
Special Effects – The effects in the film are only used when they are needed, they are simply with certain small movements which does help the film unfold.
Scene of the Movie – The dolls appearance.
That Moment That Annoyed Me – The ending.
Final Thoughts – This is a new creepy doll movie, which has been the it feature at the moment, with Child’s Play and Annabelle in the cinema, this one does have a creepy feel to it even if the story does seem to be rushed.
Overall: Creepy Fun horror.
Darren (1599 KP) rated The Clovehitch Killer (2018) in Movies
Aug 6, 2019
Story: The Clovehitch Killer starts as we head to a small town that has been living in the shadow of a serial killer branded Clovehitch because of his style of knot. We meet the picture-perfect family with Don (McDermott), Tyler (Plummer), Susie (Sherman) and Cindy (Mathis) who go to church every week.
When Tyler discovers a photo in his father’s car, he starts to think the killer could be closer to home than he first thought, he turns to the local Kassi (Beaty) who has been studying the killer for years to see if his father could be the town’s serial killer.
Thoughts on The Clovehitch Killer
Characters – Don is the father of the family, he has always helped his son with his boy scout assignments including knot tying, he helps around the neighbourhood too with his time in the church. He is hiding a secret that his son starts to figure out and does what he can to keep this from the rest of the world, Don is created in the same light as what we saw The Trinity Killer in Dexter. Tyler is the son that starts to think his father is the serial killer that scared the town, he tries to investigate which only makes things more difficult to one believe the truth and two keep a secret from his father. Cindy is the wife of Don, she is involved in the church believing they are living a happy life. Kassi is the estranged teenager in the town, she is considered an outsider because if her search for the Clovehitch killer, she is the one that Tyler turns to for help.
Performances – Dylan McDermott does give us a very disturbing performance which shows us just how easily a serial killer could operate in this world. Charlie Plummer gives us a strong performance as 2018 year was a fantastic year for him. Samantha Mathis is here and doesn’t get that much to do in the film, while Madisen Beaty brings the investigation figure to life well through the film.
Story – The story here follows a teenager that starts to believe his father is the town’s serial killer and starts investigating whether this is true or not. This is an interesting spin on the serial killer film, we do go down the line that Dexter had with the character which is all good because we see how one operates and manages to keep things secret from their family. The idea that the son is trying to learn the truth keeps us on edge, but seeing the action unfolding we get an intense story that manages to keep nearly everything calm through the events of the film.
Horror/Mystery – The horror follows the idea of a serial killer being in the family, it gets to show us how they can seem like they are everyday people which only makes the serial killer coming off worse. The mystery of the film follows whether he is the killer or not, well it is meant to, only for it to give away everything way to early.
Settings – The film uses the small town settings to make us believe just how the town has been in fear since the serial killer, it shows how one could operate without being looked at differently.
Special Effects – The effects in the film are very simple, we get to see just how he does the kills, only we don’t need to see anything graphic.
Scene of the Movie – The newest victim.
That Moment That Annoyed Me – It could have been slightly more mysterious or just given us that he is a killer early on, it just doesn’t commit either side.
Final Thoughts – This is a horror film that does take things in new direction which keeps us on edge even if it does miss a chance to commit to one side of the film.
Overall: Serial killer film with a twist.
When Tyler discovers a photo in his father’s car, he starts to think the killer could be closer to home than he first thought, he turns to the local Kassi (Beaty) who has been studying the killer for years to see if his father could be the town’s serial killer.
Thoughts on The Clovehitch Killer
Characters – Don is the father of the family, he has always helped his son with his boy scout assignments including knot tying, he helps around the neighbourhood too with his time in the church. He is hiding a secret that his son starts to figure out and does what he can to keep this from the rest of the world, Don is created in the same light as what we saw The Trinity Killer in Dexter. Tyler is the son that starts to think his father is the serial killer that scared the town, he tries to investigate which only makes things more difficult to one believe the truth and two keep a secret from his father. Cindy is the wife of Don, she is involved in the church believing they are living a happy life. Kassi is the estranged teenager in the town, she is considered an outsider because if her search for the Clovehitch killer, she is the one that Tyler turns to for help.
Performances – Dylan McDermott does give us a very disturbing performance which shows us just how easily a serial killer could operate in this world. Charlie Plummer gives us a strong performance as 2018 year was a fantastic year for him. Samantha Mathis is here and doesn’t get that much to do in the film, while Madisen Beaty brings the investigation figure to life well through the film.
Story – The story here follows a teenager that starts to believe his father is the town’s serial killer and starts investigating whether this is true or not. This is an interesting spin on the serial killer film, we do go down the line that Dexter had with the character which is all good because we see how one operates and manages to keep things secret from their family. The idea that the son is trying to learn the truth keeps us on edge, but seeing the action unfolding we get an intense story that manages to keep nearly everything calm through the events of the film.
Horror/Mystery – The horror follows the idea of a serial killer being in the family, it gets to show us how they can seem like they are everyday people which only makes the serial killer coming off worse. The mystery of the film follows whether he is the killer or not, well it is meant to, only for it to give away everything way to early.
Settings – The film uses the small town settings to make us believe just how the town has been in fear since the serial killer, it shows how one could operate without being looked at differently.
Special Effects – The effects in the film are very simple, we get to see just how he does the kills, only we don’t need to see anything graphic.
Scene of the Movie – The newest victim.
That Moment That Annoyed Me – It could have been slightly more mysterious or just given us that he is a killer early on, it just doesn’t commit either side.
Final Thoughts – This is a horror film that does take things in new direction which keeps us on edge even if it does miss a chance to commit to one side of the film.
Overall: Serial killer film with a twist.
Hazel (1853 KP) rated God: A Human History in Books
Nov 5, 2017
An Ambiguous History
I received this book for free through Goodreads First Reads.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Hazel (1853 KP) rated God: A Human History in Books
Dec 7, 2018
<i>I received this book for free through Goodreads First Reads.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
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Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Chris Sawin (602 KP) rated Anchorman - The Legend Of Ron Burgundy (2004) in Movies
Jun 18, 2019
How in the world do you review a film like Anchorman: The Legend of Ron Burgundy? The film is meant to be as ridiculous as possible with outrageous performances and a paper thin storyline; half of its charm is its overuse of improvisation. You either found its absurd nature hilarious and consider it one of the funniest films ever (and completely ignore the horrid sequel) or hate it for being a nonsensical comedy filled with a cast of immature people who can’t hold a straight face for a single take. It’s honestly difficult to argue either perspective, but the 20-year-old version of this critic who saw this film and adored it would drop dead if he found out that it doesn’t hold up as well nearly 15 years later.
It’s 1974 and on the local San Diego news station KVWN channel 4 newscaster Ron Burgundy (Will Ferrell) is king since channel 4 is always number one in the ratings. His news team consists of sports newscaster Champ Kind (David Koechner), investigative news reporter Brian Fantana (Paul Rudd), and weatherman Brick Tamland (Steve Carell). Up until this point, only men were allowed to read the news but a new female co-anchor named Veronica Corningstone (Christina Applegate) is hired by channel 4 and has bigger plans. Veronica is ambitious, has a ton of experience, and envisions herself as one day becoming a lead network anchor. Tensions rise and feuds flare up, but times are changing and it’s something everyone, including Ron Burgundy, is going to have to deal with.
Anchorman is a tricky comedy because it throws all of its success into this random formula. There is a plot, but it takes a backseat to the memorable and hysterical one-liners from the film. These one-liners are phrases that you’ll be saying for years to come as a few will likely become household favorites if you or your family has any sort of taste whatsoever. With the absolute blessing of owning so many cats, a common phrase from Anchorman that gets repeated around here on a regular basis is, “You will eat that cat poop!” With a comedy this spontaneous, it’s difficult to comment on aspects such as the story since it shouldn’t be taken as seriously as a film where the story actually matters. Anchorman isn’t trying to win any awards. This is a film that is only trying to make its audience laugh and if it does that then it has to be successful in some sort of capacity. The cast absolutely embodies these characters to a fairly flawless extent. Being so absorbed in these roles makes the absurdity more believable and slightly easier to swallow.
Before Will Ferrell became unbearable, the holy trinity of Will Ferrell comedies were Step Brothers, Anchorman, and Talladega Nights; in that order (unless his cameo in Wedding Crashers counts). This was the early and late 2000s before Farrell’s on-screen antics had grown stale. Most of Farrell’s films follow the same generic formula; a nonexistent plot followed by a series of aimless one-liners and spitfire jokes that come out of nowhere. Ferrell’s career is well past the redundant stage as his more serious roles show more promise these days than his exasperating comedies. That formula was still working with Anchorman and it seems to have worked for many other who saw it as the film garnered a cult status over time.
Anchorman: The Legend of Ron Burgundy isn’t going to be for everyone and it’s totally understandable if you or someone you know downright hates the film. It is absolutely moronic in its execution, but for those who love it that is why it’s as funny as it is. There isn’t a riveting story, impressive character development, or a steady buildup towards anything worthwhile (unless Jack Black dropkicking a fake dog off of an overpass counts as a proper climax). Anchorman has the attention span of a Family Guy cutaway gag. If you enjoy Family Guy, then Anchorman is probably one of your favorite movies.
This is like getting together with a bunch of friends and laughing at stupid stuff because you’re loaded on sugar, but Anchorman stretches out that feeling for an hour and a half; it’s a 90-minute sugar rush with no breaks. It’s like snorting Pixie Stix and laughing like an idiot for an hour straight or chugging a two-liter Coke and inhaling seven packets of Pop Rocks and laughing at your stomach not exploding. You don’t watch Anchorman to ponder your life choices or be amazed at technical achievements in filmmaking. This is a paper thin comedy that only wants to make you laugh and forget about how hard it is to make adult decisions in the overly intimidating modern world for a short hour and a half time period. If Anchorman can accomplish all of that and you quote it like a giggling idiot, then the two of us have something in common and Anchorman: The Legend of Ron Burgundy should be considered as a masterwork in hilarious idiocy.
Anchorman: The Legend of Ron Burgundy is currently available to rent via Amazon Video, Youtube, Vudu, and Google Play for $2.99 and through iTunes for $3.99. The Unrated DVD is available as an add-on item through Amazon for $3.99, multi-format Blu-ray for $6.98, and the unrated Rich Mahogany Blu-ray for $5.99. It’s also available on DVD ($2.45) and Blu-ray ($3.65) through eBay with free shipping.
It’s 1974 and on the local San Diego news station KVWN channel 4 newscaster Ron Burgundy (Will Ferrell) is king since channel 4 is always number one in the ratings. His news team consists of sports newscaster Champ Kind (David Koechner), investigative news reporter Brian Fantana (Paul Rudd), and weatherman Brick Tamland (Steve Carell). Up until this point, only men were allowed to read the news but a new female co-anchor named Veronica Corningstone (Christina Applegate) is hired by channel 4 and has bigger plans. Veronica is ambitious, has a ton of experience, and envisions herself as one day becoming a lead network anchor. Tensions rise and feuds flare up, but times are changing and it’s something everyone, including Ron Burgundy, is going to have to deal with.
Anchorman is a tricky comedy because it throws all of its success into this random formula. There is a plot, but it takes a backseat to the memorable and hysterical one-liners from the film. These one-liners are phrases that you’ll be saying for years to come as a few will likely become household favorites if you or your family has any sort of taste whatsoever. With the absolute blessing of owning so many cats, a common phrase from Anchorman that gets repeated around here on a regular basis is, “You will eat that cat poop!” With a comedy this spontaneous, it’s difficult to comment on aspects such as the story since it shouldn’t be taken as seriously as a film where the story actually matters. Anchorman isn’t trying to win any awards. This is a film that is only trying to make its audience laugh and if it does that then it has to be successful in some sort of capacity. The cast absolutely embodies these characters to a fairly flawless extent. Being so absorbed in these roles makes the absurdity more believable and slightly easier to swallow.
Before Will Ferrell became unbearable, the holy trinity of Will Ferrell comedies were Step Brothers, Anchorman, and Talladega Nights; in that order (unless his cameo in Wedding Crashers counts). This was the early and late 2000s before Farrell’s on-screen antics had grown stale. Most of Farrell’s films follow the same generic formula; a nonexistent plot followed by a series of aimless one-liners and spitfire jokes that come out of nowhere. Ferrell’s career is well past the redundant stage as his more serious roles show more promise these days than his exasperating comedies. That formula was still working with Anchorman and it seems to have worked for many other who saw it as the film garnered a cult status over time.
Anchorman: The Legend of Ron Burgundy isn’t going to be for everyone and it’s totally understandable if you or someone you know downright hates the film. It is absolutely moronic in its execution, but for those who love it that is why it’s as funny as it is. There isn’t a riveting story, impressive character development, or a steady buildup towards anything worthwhile (unless Jack Black dropkicking a fake dog off of an overpass counts as a proper climax). Anchorman has the attention span of a Family Guy cutaway gag. If you enjoy Family Guy, then Anchorman is probably one of your favorite movies.
This is like getting together with a bunch of friends and laughing at stupid stuff because you’re loaded on sugar, but Anchorman stretches out that feeling for an hour and a half; it’s a 90-minute sugar rush with no breaks. It’s like snorting Pixie Stix and laughing like an idiot for an hour straight or chugging a two-liter Coke and inhaling seven packets of Pop Rocks and laughing at your stomach not exploding. You don’t watch Anchorman to ponder your life choices or be amazed at technical achievements in filmmaking. This is a paper thin comedy that only wants to make you laugh and forget about how hard it is to make adult decisions in the overly intimidating modern world for a short hour and a half time period. If Anchorman can accomplish all of that and you quote it like a giggling idiot, then the two of us have something in common and Anchorman: The Legend of Ron Burgundy should be considered as a masterwork in hilarious idiocy.
Anchorman: The Legend of Ron Burgundy is currently available to rent via Amazon Video, Youtube, Vudu, and Google Play for $2.99 and through iTunes for $3.99. The Unrated DVD is available as an add-on item through Amazon for $3.99, multi-format Blu-ray for $6.98, and the unrated Rich Mahogany Blu-ray for $5.99. It’s also available on DVD ($2.45) and Blu-ray ($3.65) through eBay with free shipping.
Purple Phoenix Games (2266 KP) rated Bob Ross: Art of Chill Game in Tabletop Games
Jun 30, 2021
Bob Ross is a household name in the United States and has been for quite a while. The man is a legend and part of the Trinity of Mankind (which also includes Mister Rogers and Steve Irwin). Anyone who has watched this man paint instantly recognizes a beautiful human being with extreme talent and the ability to lull audiences into a state of euphoria as he paints mountains, creeks, cabins, and trees. And of course, every one should have a friend. His wholesomeness goes to 11! So what do I find one day whilst perusing the strange board game wares in my local Target one day three years ago but a Bob Ross game. I wasn’t expecting much, but had to have it for nostalgic reasons. Was my money wasted or is there something in this box worth actually playing?
Bob Ross: Art of Chill is a set collection, hand management, card drafting game that has its players attempting to complete masterful paintings before the master does in order to collect bonus “chill points” to win the game. Whomever manages to reach ultimate chill status will be victorious and can return to feeding Peapod, their rascally pocket squirrel.
To setup, place the easel and one of the shuffled painting panels upon it. Place the other panels (paintings) nearby. Place the main scoreboard nearby as well and place the shuffled Chill Cards on its space upon the board. The Technique Cards deck and the Art Supplies Card decks will be shuffled separately and placed below the board with four cards from each deck revealed as an offer. Place the Bob Mover (Bobeeple) on the easel in the first location printed on the panel. Each player will receive a palette, the scoring cube of their color to be placed on the scoreboard, the three Feature Markers, and three random Art Supplies Cards. The game may now begin!
On a turn players will be rolling the Bob die and carrying out its action. These actions are playing a paint card from hand onto their palette, drawing one Art Supplies Card from the deck to their hand, performing one free Action prior to the Action phase, or resolving the Bob die face. The Bob die face requires players to reveal a new Chill Card and resolve its immediate effects, or effects that will remain in play until a new Chill Card is revealed. Secondly, the Bobeeple will move to the next printed stopping point on the panel.
Once the die has been rolled and resolved, the active player will be able to take any three actions available in any order: Draw an Art Supplies Card (from the deck or from the offer), Sweep the Art Supplies Card (discard all face-up cards and reveal four new ones), Apply Paint to Your Palette (by placing it on your palette from your hand of cards), Wash Your Palette (by discarding cards from one of the palette areas to clear it), Earn a Technique Card (by discarding two like-cards from the hand of cards in order to score more VP for painting features in the future), or Paint a Feature (by discarding the required brush from the player’s hand of cards and the correct matching paints already applied to their palette).
Once complete, the next player will take their turn of rolling the die and completing three actions. Should players paint a feature on the panel before Bob moves to that spot on the panel the player(s) will gain extra bonus Chill points. Players may still paint features for points if Bob already has as well, they just will not receive the bonus Bob points. Turns will continue in this fashion until the moment one player has reached ultimate Chill and won the game.
Components. This game has a fair amount of components and I am happy to say they are all great! The cardboard components (palettes, score board) are good. The cards are all lovely linen-finished. The other player components are fine as well. The painting panels are excellent and feature actual Bob Ross masterpieces, and there are 15 double-sided panels in the box! The coolest component is certainly the easel though. It seems to be a somewhat real and functional easel (not that you would really want to paint on it) and it amps up the table appeal when setup and in play. I love the components and I am so glad that Big G Creative made a Bob Ross game with beautiful components. Anything less would be sacrilege.
It probably comes as no surprise that I love this game. I have always loved watching Bob Ross from when I was a child even up through my adulthood and I am relieved to be able to still watch him in action via Netflix. The game, though, is rather surprising. I certainly wasn’t expecting to like this as much as I do and was quite shocked to find out that there was actual substance in a Bob Ross game. Especially when it was stationed next to “games” like Who Wants to Be a Millionaire, Throw Throw Burrito, and the like. I enjoy the nostalgia in seeing my favorite colors in my hands like Phthalo Blue, Cadmium Orange, and Sap Green.
I don’t know if I would really consider this a gateway game, though I believe it really depends on the gamers with whom you are playing. There will be many times when you are concentrating on collecting the colors needed to finish a feature before Bob only to frustratingly never see that color on offer nor in the cards you draw and then the painting has to be refreshed because people can’t seem to stop rolling Bob on the die. However, if you play with people who can literally chill when things don’t go their way, this is a gem. Purple Phoenix Games gives Bob Ross: Art of Chill a 21 / 24. The only thing missing here is a way to, “beat the devil out of it,” and it would make my heart sing.
Bob Ross: Art of Chill is a set collection, hand management, card drafting game that has its players attempting to complete masterful paintings before the master does in order to collect bonus “chill points” to win the game. Whomever manages to reach ultimate chill status will be victorious and can return to feeding Peapod, their rascally pocket squirrel.
To setup, place the easel and one of the shuffled painting panels upon it. Place the other panels (paintings) nearby. Place the main scoreboard nearby as well and place the shuffled Chill Cards on its space upon the board. The Technique Cards deck and the Art Supplies Card decks will be shuffled separately and placed below the board with four cards from each deck revealed as an offer. Place the Bob Mover (Bobeeple) on the easel in the first location printed on the panel. Each player will receive a palette, the scoring cube of their color to be placed on the scoreboard, the three Feature Markers, and three random Art Supplies Cards. The game may now begin!
On a turn players will be rolling the Bob die and carrying out its action. These actions are playing a paint card from hand onto their palette, drawing one Art Supplies Card from the deck to their hand, performing one free Action prior to the Action phase, or resolving the Bob die face. The Bob die face requires players to reveal a new Chill Card and resolve its immediate effects, or effects that will remain in play until a new Chill Card is revealed. Secondly, the Bobeeple will move to the next printed stopping point on the panel.
Once the die has been rolled and resolved, the active player will be able to take any three actions available in any order: Draw an Art Supplies Card (from the deck or from the offer), Sweep the Art Supplies Card (discard all face-up cards and reveal four new ones), Apply Paint to Your Palette (by placing it on your palette from your hand of cards), Wash Your Palette (by discarding cards from one of the palette areas to clear it), Earn a Technique Card (by discarding two like-cards from the hand of cards in order to score more VP for painting features in the future), or Paint a Feature (by discarding the required brush from the player’s hand of cards and the correct matching paints already applied to their palette).
Once complete, the next player will take their turn of rolling the die and completing three actions. Should players paint a feature on the panel before Bob moves to that spot on the panel the player(s) will gain extra bonus Chill points. Players may still paint features for points if Bob already has as well, they just will not receive the bonus Bob points. Turns will continue in this fashion until the moment one player has reached ultimate Chill and won the game.
Components. This game has a fair amount of components and I am happy to say they are all great! The cardboard components (palettes, score board) are good. The cards are all lovely linen-finished. The other player components are fine as well. The painting panels are excellent and feature actual Bob Ross masterpieces, and there are 15 double-sided panels in the box! The coolest component is certainly the easel though. It seems to be a somewhat real and functional easel (not that you would really want to paint on it) and it amps up the table appeal when setup and in play. I love the components and I am so glad that Big G Creative made a Bob Ross game with beautiful components. Anything less would be sacrilege.
It probably comes as no surprise that I love this game. I have always loved watching Bob Ross from when I was a child even up through my adulthood and I am relieved to be able to still watch him in action via Netflix. The game, though, is rather surprising. I certainly wasn’t expecting to like this as much as I do and was quite shocked to find out that there was actual substance in a Bob Ross game. Especially when it was stationed next to “games” like Who Wants to Be a Millionaire, Throw Throw Burrito, and the like. I enjoy the nostalgia in seeing my favorite colors in my hands like Phthalo Blue, Cadmium Orange, and Sap Green.
I don’t know if I would really consider this a gateway game, though I believe it really depends on the gamers with whom you are playing. There will be many times when you are concentrating on collecting the colors needed to finish a feature before Bob only to frustratingly never see that color on offer nor in the cards you draw and then the painting has to be refreshed because people can’t seem to stop rolling Bob on the die. However, if you play with people who can literally chill when things don’t go their way, this is a gem. Purple Phoenix Games gives Bob Ross: Art of Chill a 21 / 24. The only thing missing here is a way to, “beat the devil out of it,” and it would make my heart sing.
