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BankofMarquis (1832 KP) rated Green Book (2018) in Movies
Dec 14, 2018
One of the best of 2018
When the dust is settled on 2018, you can be rest assured that GREEN BOOK will be listed as one of my top films of the year.
Yes, it's that good.
"Based on a true story", GREEN BOOK stars Viggo Mortenson (Aragon in the LOTR films) as "Tony Lip" a bouncer at the Copacabana in the early 1960's who is tapped by African American concert pianist Dr. Don Shirley (Academy Award winner Mahershala Ali) to be his driver/escort/security on a tour of a very prejudicial Southern part of the United States in the early 1960's. Both Tony and Dr. Don look down their noses at the other one, but during the course of this film, the two develop mutual respect and a friendship that lasted until the both passed away in 2013.
That is, in essence, the entire plot of this film. But it is not the destination, but rather, the journey that is the core of this film - and what a journey it is.
We, the audience, probably spend 70% of the film in a car with the 2 stars of this film, so they better be interesting to look at and listen to (for nothing much else happens) and both characters - and both actors- are up to the task.
Ali won a Best Supporting Actor Oscar for his brief turn in Barry Jenkins MOONLIGHT - and he is even better here as Dr. Don Shirley, an elitist virtuoso piano player, with strong pride and hidden secrets of his own. Ali brings a humanity and vulnerability to this character that acts as a softening of the hard shell of this character that allows us, the audience, a glimpse into this character's heart. This person could easily have been a one-note caricature, but in Ali's hands, it is much, much more.
The biggest surprise to me is two-time Oscar Nominee Mortenson as "Tony Lip". While the character starts as a typical early 1960's Italian-mob type, Mortenson brings humor, humanity and (yes) heart to a matter-of-fact character and continues to evolve the rough edges of Tony as Tony, himself, develops throughout the course of the film. I have always "liked but not loved" Mortenson, but, I LOVE HIM in this film and will be rooting for him come Oscars time.
The other big surprise of this film is the strong, subtle and human way that Director Peter Farrelly brings events to the screen. Prior to this, Farrelly (along with his brother Bobby) Directed such over-the-top comedies as THERE'S SOMETHING ABOUT MARY and KINGPIN, so I was a bit concerned that the Direction would be over-the-top. But...it wasn't...and I wouldn't be surprised if Farelly's name is called when Oscar nominations are announced.
I was charmed and moved by these characters - and this story - and was glad to spend 2 hours with them.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Yes, it's that good.
"Based on a true story", GREEN BOOK stars Viggo Mortenson (Aragon in the LOTR films) as "Tony Lip" a bouncer at the Copacabana in the early 1960's who is tapped by African American concert pianist Dr. Don Shirley (Academy Award winner Mahershala Ali) to be his driver/escort/security on a tour of a very prejudicial Southern part of the United States in the early 1960's. Both Tony and Dr. Don look down their noses at the other one, but during the course of this film, the two develop mutual respect and a friendship that lasted until the both passed away in 2013.
That is, in essence, the entire plot of this film. But it is not the destination, but rather, the journey that is the core of this film - and what a journey it is.
We, the audience, probably spend 70% of the film in a car with the 2 stars of this film, so they better be interesting to look at and listen to (for nothing much else happens) and both characters - and both actors- are up to the task.
Ali won a Best Supporting Actor Oscar for his brief turn in Barry Jenkins MOONLIGHT - and he is even better here as Dr. Don Shirley, an elitist virtuoso piano player, with strong pride and hidden secrets of his own. Ali brings a humanity and vulnerability to this character that acts as a softening of the hard shell of this character that allows us, the audience, a glimpse into this character's heart. This person could easily have been a one-note caricature, but in Ali's hands, it is much, much more.
The biggest surprise to me is two-time Oscar Nominee Mortenson as "Tony Lip". While the character starts as a typical early 1960's Italian-mob type, Mortenson brings humor, humanity and (yes) heart to a matter-of-fact character and continues to evolve the rough edges of Tony as Tony, himself, develops throughout the course of the film. I have always "liked but not loved" Mortenson, but, I LOVE HIM in this film and will be rooting for him come Oscars time.
The other big surprise of this film is the strong, subtle and human way that Director Peter Farrelly brings events to the screen. Prior to this, Farrelly (along with his brother Bobby) Directed such over-the-top comedies as THERE'S SOMETHING ABOUT MARY and KINGPIN, so I was a bit concerned that the Direction would be over-the-top. But...it wasn't...and I wouldn't be surprised if Farelly's name is called when Oscar nominations are announced.
I was charmed and moved by these characters - and this story - and was glad to spend 2 hours with them.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Darren (1599 KP) rated Hudson Hawk (1991) in Movies
Jul 25, 2019
Story: Hudson Hawk starts when Hudson (Willis) is released from prison, only to be drawn into committing one more burglary with his partner in crime Tommy Five-Tone (Aiello). The next day Hudson learns that not everything was as simple as just stealing a horse figure.
Hudson learns that the piece that he steals is involved in the world dominations and follow a strange amount of events, finds himself working for Darwin Mayflower (Grant), stealing the great works of Da Vinci.
Thoughts on Hudson Hawk
Characters – Hudson Hawk is a cat burglar that even after getting released from prison ends up back in the world of crime, only after stealing the first piece of art, he ends up needing to battle a world domination plan which takes him to the most famous art galleries in the world. he is wise-cracking that often on makes his own holes deeper without trying to. Tommy Five-Tone is the best friend of Hudson and does work with him on the crimes, he is often the butt of most of the jokes going on through the film. Anna Baragli is a nun that is undercover trying to stop the Da Vinci crystals coming together, she pushes off the flirts from Hudson who doesn’t learn her true place until too late. George Kaplan is the head of the CIA team tracking down Hudson, he knows each move he makes and will follow him to every location the job takes him too.
Performances – Bruce Willis really struggles with anything comical and this shows just how badly he handles this material, Danny Aiello does ok with the supporting comic moments. Andie MacDowell looks lost in this role for the most part, with only James Coburn seemingly knowing his place in the film.
Story – The story follows a cat burglar that gets given a job which soon sees him travel the world forced into helping criminals try to claim world dominance. The story here does feel very messy, it might well surprise where things go, but they do end up feeling completely random and make you feel like you are watching a sketch show rather than a coherent story. this is just a story that becomes difficult to watch and will end up making you lose interest quickly in the film.
Action/Crime/Comedy – The action plays into the comedy, we have silly moments throughout the film which try to get laughs and fail to achieve this, we do enter a crime world that does feel like it will just be robbery before getting out of hand.
Settings – The film does use the locations of the famous galleries from around the world for the main locations, with each needing to used for the latest robbery.
Scene of the Movie – The first robbery.
That Moment That Annoyed Me – The comedy is a big miss throughout the film.
Final Thoughts – This is a sloppy comedy that misses more often than it hits, it feels like a drag to watch and completely miss-cast movie.
Overall: Sloppy throughout.
Hudson learns that the piece that he steals is involved in the world dominations and follow a strange amount of events, finds himself working for Darwin Mayflower (Grant), stealing the great works of Da Vinci.
Thoughts on Hudson Hawk
Characters – Hudson Hawk is a cat burglar that even after getting released from prison ends up back in the world of crime, only after stealing the first piece of art, he ends up needing to battle a world domination plan which takes him to the most famous art galleries in the world. he is wise-cracking that often on makes his own holes deeper without trying to. Tommy Five-Tone is the best friend of Hudson and does work with him on the crimes, he is often the butt of most of the jokes going on through the film. Anna Baragli is a nun that is undercover trying to stop the Da Vinci crystals coming together, she pushes off the flirts from Hudson who doesn’t learn her true place until too late. George Kaplan is the head of the CIA team tracking down Hudson, he knows each move he makes and will follow him to every location the job takes him too.
Performances – Bruce Willis really struggles with anything comical and this shows just how badly he handles this material, Danny Aiello does ok with the supporting comic moments. Andie MacDowell looks lost in this role for the most part, with only James Coburn seemingly knowing his place in the film.
Story – The story follows a cat burglar that gets given a job which soon sees him travel the world forced into helping criminals try to claim world dominance. The story here does feel very messy, it might well surprise where things go, but they do end up feeling completely random and make you feel like you are watching a sketch show rather than a coherent story. this is just a story that becomes difficult to watch and will end up making you lose interest quickly in the film.
Action/Crime/Comedy – The action plays into the comedy, we have silly moments throughout the film which try to get laughs and fail to achieve this, we do enter a crime world that does feel like it will just be robbery before getting out of hand.
Settings – The film does use the locations of the famous galleries from around the world for the main locations, with each needing to used for the latest robbery.
Scene of the Movie – The first robbery.
That Moment That Annoyed Me – The comedy is a big miss throughout the film.
Final Thoughts – This is a sloppy comedy that misses more often than it hits, it feels like a drag to watch and completely miss-cast movie.
Overall: Sloppy throughout.
Sophia (Bookwyrming Thoughts) (530 KP) rated Unhinged (Splintered #2) in Books
Jan 23, 2020
<i>Unhinged</i>, the second book in the <i>Splintered</i> trilogy, is <b>set an entire year after the events in <i><a title="Splintered by A.G. Howard" href="https://bookwyrmingthoughts.com/review-splintered-by-ag-howard/"; target="_blank" rel="noopener">Splintered</a></i></b>. With the curse broken, Alyssa finally hopes to have as much of a normal life as possible, despite the fact nothing is actually the same.
I personally thought that <b><i>Splintered</i> was better off a stand-alone</b> when A.G. Howard first takes us to her dark version of Wonderland. <b>The ending definitely could have taken two turns</b> – the book could have expanded into multiple books, or it could have been left alone.
With <i>Unhinged</i>, <b>I just didn't feel as passionate as I was with the first book.</b> Though Alyssa believes she has left Wonderland behind, Morpheus and Wonderland eventually come back to haunt her through dreams and violent paintings – something bad is going on and Wonderland needs Alyssa back now that she's taken her place as the Red Queen. <b>The sequel isn't as adventurous or dark – it just felt like something I would normally see in a novel.</b>
I don't even know how to phrase it – <b><i>Unhinged</i> focuses a lot in the human world; Alyssa's conflicted feelings between Morpheus and Jeb, and where she actually belongs.</b> I hoped the book would bring us back to Wonderland, but <b>I don't even think we even entered Wonderland – it came to Alyssa and it just wasn't as exotic or enchanting or amazing as it was back in book one.</b> Am I sounding whiny now?
That's not including Morpheus and Jeb. <b>Much as I like Morpheus and his sassiness, I just don't like him for the life of me. I <em>still</em> don't like Jeb</b> [for the life of me]. If I really had to choose between the two, I would probably pick Morpheus simply because he just seems to have more personality than Jeb. (Have I mentioned Morpheus has sass?) <b>All Morpheus seems to really care about is Red and how to finally get her out of his wings.</b> Alyssa is just... convenient enough to be used and he ends up falling in love with her in the process of "using" her.
Now I don't know if that's true. I'm sure he actually cares about her greatly considering their history, and I'm sure Jeb cares about her as well, even though he is overprotective and it probably seems endearing. They don't fight as much as they did back in <i>Splintered</i>, but I just don't feel anything for the corners of the love triangle. I just don't. <b>I feel completely indifferent about <i>Unhinged</i> altogether and I'll read the last book simply for the feeling of closure.</b>
<a href="https://bookwyrmingthoughts.com/review-unhinged-by-ag-howard/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
I personally thought that <b><i>Splintered</i> was better off a stand-alone</b> when A.G. Howard first takes us to her dark version of Wonderland. <b>The ending definitely could have taken two turns</b> – the book could have expanded into multiple books, or it could have been left alone.
With <i>Unhinged</i>, <b>I just didn't feel as passionate as I was with the first book.</b> Though Alyssa believes she has left Wonderland behind, Morpheus and Wonderland eventually come back to haunt her through dreams and violent paintings – something bad is going on and Wonderland needs Alyssa back now that she's taken her place as the Red Queen. <b>The sequel isn't as adventurous or dark – it just felt like something I would normally see in a novel.</b>
I don't even know how to phrase it – <b><i>Unhinged</i> focuses a lot in the human world; Alyssa's conflicted feelings between Morpheus and Jeb, and where she actually belongs.</b> I hoped the book would bring us back to Wonderland, but <b>I don't even think we even entered Wonderland – it came to Alyssa and it just wasn't as exotic or enchanting or amazing as it was back in book one.</b> Am I sounding whiny now?
That's not including Morpheus and Jeb. <b>Much as I like Morpheus and his sassiness, I just don't like him for the life of me. I <em>still</em> don't like Jeb</b> [for the life of me]. If I really had to choose between the two, I would probably pick Morpheus simply because he just seems to have more personality than Jeb. (Have I mentioned Morpheus has sass?) <b>All Morpheus seems to really care about is Red and how to finally get her out of his wings.</b> Alyssa is just... convenient enough to be used and he ends up falling in love with her in the process of "using" her.
Now I don't know if that's true. I'm sure he actually cares about her greatly considering their history, and I'm sure Jeb cares about her as well, even though he is overprotective and it probably seems endearing. They don't fight as much as they did back in <i>Splintered</i>, but I just don't feel anything for the corners of the love triangle. I just don't. <b>I feel completely indifferent about <i>Unhinged</i> altogether and I'll read the last book simply for the feeling of closure.</b>
<a href="https://bookwyrmingthoughts.com/review-unhinged-by-ag-howard/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Night Reader Reviews (683 KP) rated Testosterone in Books
Jan 9, 2020
Testosterone by Danough OBrien & Liz Cowley was a work very different from anything I have ever read before. While I did give it a lower review I believe that the topic makes it worth a read it its own right. The fact that one thing that seems so small could destroy our entire world is amazing, yet the events that happen is the book I believe to be true. There were a few little surprises during the book that a reader might miss if they are not fully paying attention. I will not be forgetting this book anytime soon and will be keeping an eye out for the movie that it deserves.
Multiple objects crash into Earth with no warning as they were undetectable by our radar, and land in various bodies of water. At the crash sites, there are no remains to be found except for a mist that covers the planet temporarily. When the mist clears it becomes apparent that something devastating has happened to all the mammals on the planet. The males no longer produce testosterone. This means no more sex drive in males, in fact, they no longer even have the ability to have sex. The worst part is that there is no more viable sperm.
The lack of testosterone in the males could mean the end of the human race as no more children can be born naturally. Then it is discovered that all of this was an alien attack meant to weaken the human population on the planet over time. In a last ditch effort to save the human race all the world leaders team up to create Havens. These Havens must be kept secret form most of the population and the alien drones watching the planet. While the outside world falls into turmoil as it ages with no young to replace those passing away. Selected people are still having children through artificial insemination and preparing for war with an unknown enemy in secret. How long can these secret Havens stay a secret and when will the attack come, if at all?
What I liked best was the subject matter itself. I have never encountered an end of the world book where aliens first attack humans on a biological level. The concept was refreshing. I did, however, find the book to be dry at times. Years passed during the story but the only way to tell was because the author directly states how much time passed. The story just did not move very well at all.
Target readers for this book are mature young adults and older. Topics of artificial insemination and infertility may make this book inappropriate for younger readers. The reading level itself is not that difficult. I rate this book 2 out of 4. While the concept and subject matter was different and interesting the way it was presented was not. This is one of the few times that I would like to see it as a movie because I believe a movie version would be better.
https://nightreaderreviews.blogspot.com/
Multiple objects crash into Earth with no warning as they were undetectable by our radar, and land in various bodies of water. At the crash sites, there are no remains to be found except for a mist that covers the planet temporarily. When the mist clears it becomes apparent that something devastating has happened to all the mammals on the planet. The males no longer produce testosterone. This means no more sex drive in males, in fact, they no longer even have the ability to have sex. The worst part is that there is no more viable sperm.
The lack of testosterone in the males could mean the end of the human race as no more children can be born naturally. Then it is discovered that all of this was an alien attack meant to weaken the human population on the planet over time. In a last ditch effort to save the human race all the world leaders team up to create Havens. These Havens must be kept secret form most of the population and the alien drones watching the planet. While the outside world falls into turmoil as it ages with no young to replace those passing away. Selected people are still having children through artificial insemination and preparing for war with an unknown enemy in secret. How long can these secret Havens stay a secret and when will the attack come, if at all?
What I liked best was the subject matter itself. I have never encountered an end of the world book where aliens first attack humans on a biological level. The concept was refreshing. I did, however, find the book to be dry at times. Years passed during the story but the only way to tell was because the author directly states how much time passed. The story just did not move very well at all.
Target readers for this book are mature young adults and older. Topics of artificial insemination and infertility may make this book inappropriate for younger readers. The reading level itself is not that difficult. I rate this book 2 out of 4. While the concept and subject matter was different and interesting the way it was presented was not. This is one of the few times that I would like to see it as a movie because I believe a movie version would be better.
https://nightreaderreviews.blogspot.com/
Andy K (10823 KP) rated Stoker (2013) in Movies
Oct 5, 2019
Chan-wook Park, the director of Oldboy and Thirst brings audiences his unique visual style and unsettling themes in his first English speaking film.
After the death of the family's patriarch, his surviving wife and teenage daughter handle the grief in very different ways. Wife Evelyn cries at the funeral, then doesn't seem to be too morose after the appearance of her former brother-in-law, Charles. Daughter India thinks about times her and her father had together when she was a child. They seemed to have much more of a bond in hanging with one another hunting small game. Evelyn seems jealous of their relationship until brother Charlie arrives in her gazes full time.
Charlie just seems a bit to nice and proper and trying to fit in with his new female friends. Something not quite right about him. This is also noticed by the family's live in housekeeper and an aunt that drops by the house sometime after the funeral. Mysteriously, both women go missing sometime after.
India has her own issues at school dealing herself with bullies and an aggressive boy who tries to rape her. She deals with them herself, and with help from others. She seems very pleased with herself and remembers fondly what she has done.
Events then become very disturbing, family members start to show their true feelings for each and motives are explained and revealed for a memorable and unique third act.
Director Park's visual style of interesting camera angles, memorable images and close up photography here as well; however, muted compared to his usual over-the-top style of his Asian films. Disturbing images followed by exterior shots or interesting camera transitional moments are one I love to see if film and there are several of them in this piece.
The unraveling of the mystery and of the character motivations and the continually changing family dynamic are certainly the most interesting aspect of the story. Not sure if I completely understand some of the subtle thematic elements or how they relate to the overall message the film is trying to convey, but that is not a negative.
The ending is shocking and unexpected and not sure if I understand that either, but it ties the story up and makes the audience wonder what will happen to the characters after the credits roll.
Mia Wasikowska stood out to me as very good in this film. Her nuanced and emotional roller coaster of a character was done with conviction. You may remember her from the Alice in Wonderland Tim Burton reboots; however, she is much more wicked this time around.
Not sure if everyone would enjoy as it may seem boring or confusing to some. I did read several 1 and 3 star reviews along with many 9 and 10 star reviews which seem to be the type of movie I am watching lately. Those types of movies are divisive and I like to see which side I am on.
Watch for yourself and tell me what you think.
After the death of the family's patriarch, his surviving wife and teenage daughter handle the grief in very different ways. Wife Evelyn cries at the funeral, then doesn't seem to be too morose after the appearance of her former brother-in-law, Charles. Daughter India thinks about times her and her father had together when she was a child. They seemed to have much more of a bond in hanging with one another hunting small game. Evelyn seems jealous of their relationship until brother Charlie arrives in her gazes full time.
Charlie just seems a bit to nice and proper and trying to fit in with his new female friends. Something not quite right about him. This is also noticed by the family's live in housekeeper and an aunt that drops by the house sometime after the funeral. Mysteriously, both women go missing sometime after.
India has her own issues at school dealing herself with bullies and an aggressive boy who tries to rape her. She deals with them herself, and with help from others. She seems very pleased with herself and remembers fondly what she has done.
Events then become very disturbing, family members start to show their true feelings for each and motives are explained and revealed for a memorable and unique third act.
Director Park's visual style of interesting camera angles, memorable images and close up photography here as well; however, muted compared to his usual over-the-top style of his Asian films. Disturbing images followed by exterior shots or interesting camera transitional moments are one I love to see if film and there are several of them in this piece.
The unraveling of the mystery and of the character motivations and the continually changing family dynamic are certainly the most interesting aspect of the story. Not sure if I completely understand some of the subtle thematic elements or how they relate to the overall message the film is trying to convey, but that is not a negative.
The ending is shocking and unexpected and not sure if I understand that either, but it ties the story up and makes the audience wonder what will happen to the characters after the credits roll.
Mia Wasikowska stood out to me as very good in this film. Her nuanced and emotional roller coaster of a character was done with conviction. You may remember her from the Alice in Wonderland Tim Burton reboots; however, she is much more wicked this time around.
Not sure if everyone would enjoy as it may seem boring or confusing to some. I did read several 1 and 3 star reviews along with many 9 and 10 star reviews which seem to be the type of movie I am watching lately. Those types of movies are divisive and I like to see which side I am on.
Watch for yourself and tell me what you think.
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Debbiereadsbook (1554 KP) rated Ravens and Ruin (Brodyr Alarch #5) in Books
Oct 8, 2025
Best one so far!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is book 5 in the Brodyr Alarch series. It's not necessary to read the previous books, nor the prequel, but I think it will give you a much better picture about these people and the world they live in.
Ewan is the youngest brother cursed, he serves as Harri's general. Crossing paths with Lowri, a healer of the old ways, sets off a chain of events that neither saw coming.
As I was reading this, I could see, really SEE the things Ms Sheppard writes about. Descriptions of people and places, that sort of thing. The skill has been great in other books I gave books 1-3 5 stars but slipped to 4 for book 4) but in THIS book?? The skill shines, bright and hot and throughout the whole book.
Ewan and Lowri are perfect for each other. Ewan can see Lowri's skill as a warrior as well as a healer. She is head strong and is not afraid to question Ewan.
Lowri can see what's beneath Ewan's outer prickly shell. She lets him have his brooding moments, and his time talking to the stones, but she stands beside him, quietly giving him her strength.
There is a line in the book I highlighted. I never highlight anything! It captures Ewan and Lowri's relationship perfectly.
The fire between them never burned high, but it never died.
I found this one a bit darker in places, but not sure why, I just felt, much like Ewan and Lowri felt, the land was off. Not a bad thing, at all! You know me, and my book brain, it needs to get feelings out when it can actually voice them, and it feels this was darker.
Still, totally clean. I will stand by what I said in each of the others, I'm loving that they are. It's not about that in these books. It's about two people, facing the things that are thrown at them, in each and every way, together.
And the things that are thrown at Ewan and Lowri are less physical things and more emotional and testing their faith in the old gods.
Branwen, who is Lowri's god and Arianrhod, who looks over all the brothers, are the gods here.
There is just one brother left, Gerallt. He was the brother who kept a swan wing instead of an arm when their curse was lifted. I've been waiting for his story for so long, and I will wait patiently (or maybe not so patiently!) for his story. I am keen to get into his mind about why he kept it.
As with all these books, they are loosely based around The Brothers Grimm tales, and given a Welsh twist. This one is The White Snake. I don't know that story, so I cannot say how true or how far apart these tales are, but Ms Sheppard absolutely NAILED the telling of this story!
Best one so far!
5 full and shiny stars
*same worded review will appear elsewhere
This is book 5 in the Brodyr Alarch series. It's not necessary to read the previous books, nor the prequel, but I think it will give you a much better picture about these people and the world they live in.
Ewan is the youngest brother cursed, he serves as Harri's general. Crossing paths with Lowri, a healer of the old ways, sets off a chain of events that neither saw coming.
As I was reading this, I could see, really SEE the things Ms Sheppard writes about. Descriptions of people and places, that sort of thing. The skill has been great in other books I gave books 1-3 5 stars but slipped to 4 for book 4) but in THIS book?? The skill shines, bright and hot and throughout the whole book.
Ewan and Lowri are perfect for each other. Ewan can see Lowri's skill as a warrior as well as a healer. She is head strong and is not afraid to question Ewan.
Lowri can see what's beneath Ewan's outer prickly shell. She lets him have his brooding moments, and his time talking to the stones, but she stands beside him, quietly giving him her strength.
There is a line in the book I highlighted. I never highlight anything! It captures Ewan and Lowri's relationship perfectly.
The fire between them never burned high, but it never died.
I found this one a bit darker in places, but not sure why, I just felt, much like Ewan and Lowri felt, the land was off. Not a bad thing, at all! You know me, and my book brain, it needs to get feelings out when it can actually voice them, and it feels this was darker.
Still, totally clean. I will stand by what I said in each of the others, I'm loving that they are. It's not about that in these books. It's about two people, facing the things that are thrown at them, in each and every way, together.
And the things that are thrown at Ewan and Lowri are less physical things and more emotional and testing their faith in the old gods.
Branwen, who is Lowri's god and Arianrhod, who looks over all the brothers, are the gods here.
There is just one brother left, Gerallt. He was the brother who kept a swan wing instead of an arm when their curse was lifted. I've been waiting for his story for so long, and I will wait patiently (or maybe not so patiently!) for his story. I am keen to get into his mind about why he kept it.
As with all these books, they are loosely based around The Brothers Grimm tales, and given a Welsh twist. This one is The White Snake. I don't know that story, so I cannot say how true or how far apart these tales are, but Ms Sheppard absolutely NAILED the telling of this story!
Best one so far!
5 full and shiny stars
*same worded review will appear elsewhere
Bob Mann (459 KP) rated Roma (2018) in Movies
Sep 28, 2021
“Siempre estamos solas”
Alfonso Cuarón‘s “Roma” has been lauded with praise and award’s hype, and I must admit to have been a little bit snooty about it. A black-and-white Spanish language film with subtitles that – to be honest – looks a bit dreary: can it really be that good? Having now (finally) seen it on Netflix I can confirm that’s a big YES from my point of view. It’s a novelty of a glacially slow film that grips like a vice.
A primer on 70’s Mexican History.
This is a film about ordinary life set against tumultuous times. Set in the Colonia Roma district of Mexico City (if you were puzzled, as I was, where the title came from) it is an “Upstairs, Downstairs” tale of Cleo (Yalitza Aparicio), a maid and nanny to a middle class family in the early 70’s.
There are two intertwined stories here: Cleo’s personal story and that of the family background in which she works.
Cleo has a pleasant enough life working as partners in crime in the household with Adela (Nancy García García). Life is about getting the work done (well, more of less), keeping the four children happy – to who she is devoted – and scraping enough by to spend her downtime with her martial arts boyfriend Ramón (José Manuel Guerrero Mendoza).
Meanwhile the lady of the house Senora Sofia (Marina de Tavira) has an affluent and cosseted lifestyle amid her loving family.
But times are about to change for all of the players, as events – not just the events of the ‘Mexican Dirty War’ of 1971 going on in the background – transpire to change all their lives forever.
A masterclass in framing.
It’s criminal that I wasn’t able to get to see this in the cinema. Since every frame of this movie is a masterpiece of detail. There is just so much going on that your eyes dart this way and that, and you could probably watch it five times and see more. Even the opening titles are mesmerising, as the cobbled floor becomes a screen and an airliner lazily flies across it.
Even major action sequences, that other directors would fill the screen with (“Do you KNOW how much this scene is costing for God’s sake??”), are seen as they would typically be seen in real life – second hand, from a place of hiding. This is typified by the depiction of the Corpus Christi Massacre of June ’71, where the military, and more controversially the elite El Halconazo (The Hawks) of the Mexican army, turned on a student protest. Most of the action is seen as glimpses through the windows by the characters during a shopping trip to the second floor of a department store. How this was enacted and directed is a mystery to me, but it works just brilliantly.
A masterclass in pacing and panning.
One of Cuarón’s trademarks is the long take (think “Children of Men”) and here he (literally!) goes to town with the technique. An incredibly impressive scene has Cleo and Adela running through the streets of the City to meet their lovers at the cinema. It’s a continuous pan that again defies belief in the brilliance of its execution.
Even the mundane act of Cleo tidying up the apartment is done with a glorious slow pan around the room. Some of this panning is done to set the mood for the film (“Get settled in… this is going to be a long haul”) but others manage to evoke a sense of rising dread, an example at the beach being a brilliant case in point.
The cinematography was supposed to have been done by the great Emmanuel Lubezki, but he was unavailable so Cuarón did it himself! And it’s quite brilliant. So, that’s a lesson learned then that will reduce the budget for next time!
A personal story.
Cuarón wrote the script. Of course he did… it’s his story! He’s the same age as I am, so was nine years old for the autobiographical events featured in the film (he is the kid who gets punished for eavesdropping). Numerous aspects of the film are from his own childhood, including the fact that his younger brother kept spookily coming out with things that he’d done in his past lives! It’s a painful true story of his upbringing and of the life of Liboria Rodríguez: “Libo” to whom the film is dedicated.
Where the script is delightful is in never destroying the mood with lengthy exposition. Both of the key stories evolve slowly and only gradually do you work out what’s really going on. This is grown-up cinema at its finest.
It’s also a love letter from Cuarón to the cinema of his youth, a passion that sparked his eventual career. We see a number of trips to the local fleapit, and in one cute scene we seen a clip from the Gregory Peck space epic “Marooned”: the film that inspired Cuarón’s own masterpiece “Gravity“.
A naturalistic cast.
Casting a large proportion of the cast from unknowns feels like a great risk, but its a risk that pays off handsomely, particularly in the case of Yalitza Aparicio, who is breathtakingly naturalistic. Cuarón withheld the script from his cast, so some of the “acting” is not acting at all – specifically a gruelling and heartrending scene featuring Cleo later in the film. That’s real and raw emotion on the screen.
Marina de Tavira, although an actress with a track record, is also mightily impressive as the beleaguered and troubled wife.
Final Thoughts.
This is a masterpiece, and thoroughly deserves the “Best Picture” awards it has been getting. It’s certainly my odds on favourite, as well as being my pick, for the Oscar on Sunday. Will it be for everyone? Probably not.
There are some scenes which feel slightly ostentatious. A forest fire scene is brilliantly done (“Put out the small fires kids”), but then a guy in a monster suit pulls off his head-wear and starts singing a long and mournful song. Sorry?
There will also be many I suspect who will find the leisurely pace of the film excruciating; “JUST GET ON WITH IT” I hear them yelling at the screen. But if you give it the time and let it soak in, then you WILL be moved and you WILL remember the film long after you’ve seen it.
I remain cross however that this was released through Netflix. This is a film that deserves a full and widespread cinema release in 70mm format. It’s like taking an iPhone snap of the Mona Lisa and putting the phone on display instead.
A primer on 70’s Mexican History.
This is a film about ordinary life set against tumultuous times. Set in the Colonia Roma district of Mexico City (if you were puzzled, as I was, where the title came from) it is an “Upstairs, Downstairs” tale of Cleo (Yalitza Aparicio), a maid and nanny to a middle class family in the early 70’s.
There are two intertwined stories here: Cleo’s personal story and that of the family background in which she works.
Cleo has a pleasant enough life working as partners in crime in the household with Adela (Nancy García García). Life is about getting the work done (well, more of less), keeping the four children happy – to who she is devoted – and scraping enough by to spend her downtime with her martial arts boyfriend Ramón (José Manuel Guerrero Mendoza).
Meanwhile the lady of the house Senora Sofia (Marina de Tavira) has an affluent and cosseted lifestyle amid her loving family.
But times are about to change for all of the players, as events – not just the events of the ‘Mexican Dirty War’ of 1971 going on in the background – transpire to change all their lives forever.
A masterclass in framing.
It’s criminal that I wasn’t able to get to see this in the cinema. Since every frame of this movie is a masterpiece of detail. There is just so much going on that your eyes dart this way and that, and you could probably watch it five times and see more. Even the opening titles are mesmerising, as the cobbled floor becomes a screen and an airliner lazily flies across it.
Even major action sequences, that other directors would fill the screen with (“Do you KNOW how much this scene is costing for God’s sake??”), are seen as they would typically be seen in real life – second hand, from a place of hiding. This is typified by the depiction of the Corpus Christi Massacre of June ’71, where the military, and more controversially the elite El Halconazo (The Hawks) of the Mexican army, turned on a student protest. Most of the action is seen as glimpses through the windows by the characters during a shopping trip to the second floor of a department store. How this was enacted and directed is a mystery to me, but it works just brilliantly.
A masterclass in pacing and panning.
One of Cuarón’s trademarks is the long take (think “Children of Men”) and here he (literally!) goes to town with the technique. An incredibly impressive scene has Cleo and Adela running through the streets of the City to meet their lovers at the cinema. It’s a continuous pan that again defies belief in the brilliance of its execution.
Even the mundane act of Cleo tidying up the apartment is done with a glorious slow pan around the room. Some of this panning is done to set the mood for the film (“Get settled in… this is going to be a long haul”) but others manage to evoke a sense of rising dread, an example at the beach being a brilliant case in point.
The cinematography was supposed to have been done by the great Emmanuel Lubezki, but he was unavailable so Cuarón did it himself! And it’s quite brilliant. So, that’s a lesson learned then that will reduce the budget for next time!
A personal story.
Cuarón wrote the script. Of course he did… it’s his story! He’s the same age as I am, so was nine years old for the autobiographical events featured in the film (he is the kid who gets punished for eavesdropping). Numerous aspects of the film are from his own childhood, including the fact that his younger brother kept spookily coming out with things that he’d done in his past lives! It’s a painful true story of his upbringing and of the life of Liboria Rodríguez: “Libo” to whom the film is dedicated.
Where the script is delightful is in never destroying the mood with lengthy exposition. Both of the key stories evolve slowly and only gradually do you work out what’s really going on. This is grown-up cinema at its finest.
It’s also a love letter from Cuarón to the cinema of his youth, a passion that sparked his eventual career. We see a number of trips to the local fleapit, and in one cute scene we seen a clip from the Gregory Peck space epic “Marooned”: the film that inspired Cuarón’s own masterpiece “Gravity“.
A naturalistic cast.
Casting a large proportion of the cast from unknowns feels like a great risk, but its a risk that pays off handsomely, particularly in the case of Yalitza Aparicio, who is breathtakingly naturalistic. Cuarón withheld the script from his cast, so some of the “acting” is not acting at all – specifically a gruelling and heartrending scene featuring Cleo later in the film. That’s real and raw emotion on the screen.
Marina de Tavira, although an actress with a track record, is also mightily impressive as the beleaguered and troubled wife.
Final Thoughts.
This is a masterpiece, and thoroughly deserves the “Best Picture” awards it has been getting. It’s certainly my odds on favourite, as well as being my pick, for the Oscar on Sunday. Will it be for everyone? Probably not.
There are some scenes which feel slightly ostentatious. A forest fire scene is brilliantly done (“Put out the small fires kids”), but then a guy in a monster suit pulls off his head-wear and starts singing a long and mournful song. Sorry?
There will also be many I suspect who will find the leisurely pace of the film excruciating; “JUST GET ON WITH IT” I hear them yelling at the screen. But if you give it the time and let it soak in, then you WILL be moved and you WILL remember the film long after you’ve seen it.
I remain cross however that this was released through Netflix. This is a film that deserves a full and widespread cinema release in 70mm format. It’s like taking an iPhone snap of the Mona Lisa and putting the phone on display instead.
Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
Emma @ The Movies (1786 KP) rated Breakthrough (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
The fact that this film is based on a true story is incredible to think about. I haven't read the book that was written by the boy's mother or read about the actual incident and events online, I'm not sure I want to. I usually like finding out the differences to the actual stories but I wonder if in this instance it might make me change the way I feel about the film.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.