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Kirk Bage (1775 KP) rated Light of My Life (2019) in Movies
Jan 22, 2021
It is difficult to talk about Casey Affleck in a positive light as a movie-maker without mentioning the heightened media storm that surrounded him in 2017, at the time of #metoo and his own moment of personal glory in winning the Best Actor Oscar for his excellent performance in Manchester By the Sea. The Oscar was deserved, as was the criticism. The latter affecting the sweetness of the former entirely, and perhaps explaining why a recent Academy Award winner would be so quiet for the next 3 years.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
James P. Sumner (65 KP) rated Rambo: Last Blood (2019) in Movies
Sep 19, 2019
Hopefully this truly is Last Blood.
In Sylvester Stallone's fifth and (hopefully) final outing as one-man army John Rambo, we find the eponymous hero enjoying the quiet life on the Texas ranch he returned to at the end of "Rambo (2008)".
The character is still as reflective and composed as ever, with hints and flashbacks to his ongoing struggle with PTSD following his experiences in Vietnam. He trains horses on the ranch and acts as surrogate father to his college-bound niece, played by the relatively-unknown and absolutely stunning Yvette Monreal. He also has an unfathomably complex network of tunnels dug beneath his property, which could never have been done by one man, even in the 11 years that have past since the last movie.
The first ten minutes set the scene and familiarizes the audience with characters old and new. Having watched all four previous films in preparation for this one, it's quite sad to see how much the essence of Rambo as a person has changed. The first three all followed the same theme - a reluctant warrior with a muted self-loathing of the terrible abilities he has been blessed with, begrudgingly fighting someone else's war because he can't stop himself from doing what he thinks is right. The fourth one took the series in a different yet understandable direction - he's getting older, he's retired from the world, and he's minding his own business when trouble happens to find him. Then, the old Rambo we saw in "Rambo: First Blood - Part II (1985)" comes out and lays waste to everyone. But in this latest film, you barely recognize the character compared to the previous entries. He doesn't look or feel like the Rambo we've known over the years, which means this film struggles to look and feel like a Rambo film.
The next five minutes establishes the upcoming plot of the movie (such as it is), which is transparent and predictable. It then morphs into "Taken (2008)" on steroids! It takes a nice diversion at first, showing Rambo take on an entire Mexican people-trafficking ring, only to get the living hell beaten out of him. What you might think would happen in real life, but you kind of expected Rambo to go all "Rambo" on them, so when he doesn't, it's almost a pleasant surprise.
However, normal business soon resumes. Another tussle with some of the Mexican bad guys sets up the final act, which is Rambo vs. Every Mexican Criminal Ever - clips of which you will have seen in the trailer.
This is where the film lets itself down, if I'm honest. You would expect the finale to be the big payoff, but it actually ruins what would otherwise have been a half-decent film. It would be silly of me to criticize a Rambo film for being unrealistic. That being said, there's pushing the boundaries of belief, and then there's just lazy writing!
The final act begins. Five trucks of bad guys show up. Around 20-25 armed men are shown approaching Rambo's location. It's no spoiler to say he probably kills about 50 in total. Not sure where all the disposable enemies came from, but he didn't seem to mind.
Then there's the five-minute montage of him booby-trapping his ranch prior to the bad guys showing up. Something he did without any actual evidence they would come for him - just an assumption that somewhere there's a group of people who probably want to try and kill him, so best to be prepared. The whole scene feels like what would happen if "Deadpool (2016)" and "Home Alone (1990)" had a baby. Don't get me wrong, it was mindless, cringe-inducing, blood-soaked fun, but a lot of it felt unnecessarily complicated.
And then there's the violence itself. I love an action movie that drowns in crimson as much as the next person, but a lot of the violence felt like it was there for the sake of it. Like the producers said, 'We've got the 18-certificate, so let's make use of it.' I'm sure there's a deep-rooted psychological argument to be made for it. Like it's intentionally over the top to serve as a metaphor for the horrors Rambo suffered in Vietnam or something. Personally, I don't think this film is capable of being that deep and meaningful.
I really, really wanted this film to be good. I enjoyed the others and I wanted to enjoy this one. And I did, to an extent, I guess. But the whole film felt pointless. I understand the thinking that the series needed a proper and fitting end to the character's arc. But, if I'm being honest, you could've said the last film did that. It actually provides a better ending to the character than this one. The way he returned from Burma and is last seen approaching the family ranch after 30+ years away... you could've ended it there and left it to the audience's imaginations as to how he lived out the rest of his life. But money talks, and unfortunately, it ruined an otherwise successful and enjoyable franchise that had simply ran its course. A prime example of not knowing when to quit, this sentiment is echoed by Stallone's aging appearance, which takes away what credibility this character had left.
A real shame, but sadly, this isn't a film that's worth watching, unless you're a true die-hard fan of the character, in which case you'll want to watch it just because, but you'll be left disappointed.
The character is still as reflective and composed as ever, with hints and flashbacks to his ongoing struggle with PTSD following his experiences in Vietnam. He trains horses on the ranch and acts as surrogate father to his college-bound niece, played by the relatively-unknown and absolutely stunning Yvette Monreal. He also has an unfathomably complex network of tunnels dug beneath his property, which could never have been done by one man, even in the 11 years that have past since the last movie.
The first ten minutes set the scene and familiarizes the audience with characters old and new. Having watched all four previous films in preparation for this one, it's quite sad to see how much the essence of Rambo as a person has changed. The first three all followed the same theme - a reluctant warrior with a muted self-loathing of the terrible abilities he has been blessed with, begrudgingly fighting someone else's war because he can't stop himself from doing what he thinks is right. The fourth one took the series in a different yet understandable direction - he's getting older, he's retired from the world, and he's minding his own business when trouble happens to find him. Then, the old Rambo we saw in "Rambo: First Blood - Part II (1985)" comes out and lays waste to everyone. But in this latest film, you barely recognize the character compared to the previous entries. He doesn't look or feel like the Rambo we've known over the years, which means this film struggles to look and feel like a Rambo film.
The next five minutes establishes the upcoming plot of the movie (such as it is), which is transparent and predictable. It then morphs into "Taken (2008)" on steroids! It takes a nice diversion at first, showing Rambo take on an entire Mexican people-trafficking ring, only to get the living hell beaten out of him. What you might think would happen in real life, but you kind of expected Rambo to go all "Rambo" on them, so when he doesn't, it's almost a pleasant surprise.
However, normal business soon resumes. Another tussle with some of the Mexican bad guys sets up the final act, which is Rambo vs. Every Mexican Criminal Ever - clips of which you will have seen in the trailer.
This is where the film lets itself down, if I'm honest. You would expect the finale to be the big payoff, but it actually ruins what would otherwise have been a half-decent film. It would be silly of me to criticize a Rambo film for being unrealistic. That being said, there's pushing the boundaries of belief, and then there's just lazy writing!
The final act begins. Five trucks of bad guys show up. Around 20-25 armed men are shown approaching Rambo's location. It's no spoiler to say he probably kills about 50 in total. Not sure where all the disposable enemies came from, but he didn't seem to mind.
Then there's the five-minute montage of him booby-trapping his ranch prior to the bad guys showing up. Something he did without any actual evidence they would come for him - just an assumption that somewhere there's a group of people who probably want to try and kill him, so best to be prepared. The whole scene feels like what would happen if "Deadpool (2016)" and "Home Alone (1990)" had a baby. Don't get me wrong, it was mindless, cringe-inducing, blood-soaked fun, but a lot of it felt unnecessarily complicated.
And then there's the violence itself. I love an action movie that drowns in crimson as much as the next person, but a lot of the violence felt like it was there for the sake of it. Like the producers said, 'We've got the 18-certificate, so let's make use of it.' I'm sure there's a deep-rooted psychological argument to be made for it. Like it's intentionally over the top to serve as a metaphor for the horrors Rambo suffered in Vietnam or something. Personally, I don't think this film is capable of being that deep and meaningful.
I really, really wanted this film to be good. I enjoyed the others and I wanted to enjoy this one. And I did, to an extent, I guess. But the whole film felt pointless. I understand the thinking that the series needed a proper and fitting end to the character's arc. But, if I'm being honest, you could've said the last film did that. It actually provides a better ending to the character than this one. The way he returned from Burma and is last seen approaching the family ranch after 30+ years away... you could've ended it there and left it to the audience's imaginations as to how he lived out the rest of his life. But money talks, and unfortunately, it ruined an otherwise successful and enjoyable franchise that had simply ran its course. A prime example of not knowing when to quit, this sentiment is echoed by Stallone's aging appearance, which takes away what credibility this character had left.
A real shame, but sadly, this isn't a film that's worth watching, unless you're a true die-hard fan of the character, in which case you'll want to watch it just because, but you'll be left disappointed.
b.Young (97 KP) rated Win (The Atlantis Grail Book 3) in Books
May 21, 2018
Romance (3 more)
Action
The Atlantis Grail Games
Awesome storyline
My favorite in the series so far
Contains spoilers, click to show
I originally downloaded Book 1, Qualify, on my Kindle because it was offered for free. I immediately purchased Book 2 (Compete) and Book 3 (Win) after getting through the third chapter! I knew this was going to be a series to follow because Vera Nazarian's writing has an amazing way of drawing you into the story.
After Qualify, I was completely invested in the fate of Gwen Lark and needed to know what happened, so I continued with Compete. While Compete did not have the same action and urgency as Qualify, it was still an outstanding sequel and made me want to continue the The Atlantis Grail Series.
To be honest, Compete left me right where I wanted to be! Everything I had hoped for Gwen was happening and I had no choice but to continue the story (yes, I am a person who gets emotionally attached to certain fictional characters and therefore live my fantasy life vicariously through them).
Now, on to Win. Oh. My. Lord! Be still my heart, because Aeson has admitted his feelings for Gwen and they are going to get married!!! Yes, regular Earth-girl and winner of an all expense paid trip to Atlantis gets to marry the friggen Crown Prince of Atlantida!!!
Nevermind that Aeson's dad, the Imperator of Atlantida, does not like this one little bit, because what Gwen and Aeson have is real true love and it is so sweet and tender and... I must stop here before I gush all over this review since shit is about to get very real for them (at the hands of the Imperator, of course).
Flashback to that mindnumbing and heartbreaking decision Gwen made in Book 2 to niether become a Civilian or Cadet and instead enter the Atlantis Grail to become a Citizen so she could save her parents and her brother George from the impeding doom of the Asteriod hurtling through space with the purpose of destroying Earth. Well, it just so happens that because she is now the Imperial Bride-to-be, she will be awarded Citizenship when she marries Aeson and thusly inherit the ability to save the rest of her family without having to compete in the horrible and terrifying Atlantis Grail Games. I was literally jumping in my seat and squealing when I learned this!
All that worry and training for the entire year travelling in space to Atlantis was put to a rest and all seemed just hunky-dory. Until....
The Imperial Court Assembly that is held to recognize Gwen as Aeson's choice of Imperial Consort and Bride. Everything goes as planned until the Imperator decides to bestow an unrefusable gift unto Gwen: the "opportunity" to compete in the Atlantis Grail Games. This was such a blow to my heart and I wanted to hold Gwen and tell her it was never going to happen and she could just marry her Prince and have many children and live happily ever after. Alas, that would not have made for a very interesting story, so we must concede to the Imperator's whim and suffer with Aeson as Gwen competes in the stupid Atlantis Grail for her life all because the Imperator is not happy Aeson did not choose Lady Tiri, a proper Atlantean Royal.
Things get intense from this point on as Gwen only has 28 days to train and become a warrior capable of NOT dying in the Games. Thankfully, she has the support of her Bridegroom and the crew of the Astra Diamon to help her with this nearly impossible challenge.
After the 28 days of intense training, it is finally time for Gwen to say her goodbyes and focus on staying alive through all 4 stages of the deadly Grail Games.
During the Games, she is met with unique challenges and ordeals that left me reading into the wee hours of the night to make sure Gwen survived. I seriously could not put this book down I was so worried for Gwen and Aeson.
The Grail Games were more intense and horrible than Katniss Everdeen ever had to endure and although I was confident Gwen would make it through alive, I was unsure just how much of her would make it out at the end.
I cannot wait for Book 4, Survive! I saw an update yesterday from the author mentioning that over 26,000 words had been completed for the book! It cannot come soon enough!
After Qualify, I was completely invested in the fate of Gwen Lark and needed to know what happened, so I continued with Compete. While Compete did not have the same action and urgency as Qualify, it was still an outstanding sequel and made me want to continue the The Atlantis Grail Series.
To be honest, Compete left me right where I wanted to be! Everything I had hoped for Gwen was happening and I had no choice but to continue the story (yes, I am a person who gets emotionally attached to certain fictional characters and therefore live my fantasy life vicariously through them).
Now, on to Win. Oh. My. Lord! Be still my heart, because Aeson has admitted his feelings for Gwen and they are going to get married!!! Yes, regular Earth-girl and winner of an all expense paid trip to Atlantis gets to marry the friggen Crown Prince of Atlantida!!!
Nevermind that Aeson's dad, the Imperator of Atlantida, does not like this one little bit, because what Gwen and Aeson have is real true love and it is so sweet and tender and... I must stop here before I gush all over this review since shit is about to get very real for them (at the hands of the Imperator, of course).
Flashback to that mindnumbing and heartbreaking decision Gwen made in Book 2 to niether become a Civilian or Cadet and instead enter the Atlantis Grail to become a Citizen so she could save her parents and her brother George from the impeding doom of the Asteriod hurtling through space with the purpose of destroying Earth. Well, it just so happens that because she is now the Imperial Bride-to-be, she will be awarded Citizenship when she marries Aeson and thusly inherit the ability to save the rest of her family without having to compete in the horrible and terrifying Atlantis Grail Games. I was literally jumping in my seat and squealing when I learned this!
All that worry and training for the entire year travelling in space to Atlantis was put to a rest and all seemed just hunky-dory. Until....
The Imperial Court Assembly that is held to recognize Gwen as Aeson's choice of Imperial Consort and Bride. Everything goes as planned until the Imperator decides to bestow an unrefusable gift unto Gwen: the "opportunity" to compete in the Atlantis Grail Games. This was such a blow to my heart and I wanted to hold Gwen and tell her it was never going to happen and she could just marry her Prince and have many children and live happily ever after. Alas, that would not have made for a very interesting story, so we must concede to the Imperator's whim and suffer with Aeson as Gwen competes in the stupid Atlantis Grail for her life all because the Imperator is not happy Aeson did not choose Lady Tiri, a proper Atlantean Royal.
Things get intense from this point on as Gwen only has 28 days to train and become a warrior capable of NOT dying in the Games. Thankfully, she has the support of her Bridegroom and the crew of the Astra Diamon to help her with this nearly impossible challenge.
After the 28 days of intense training, it is finally time for Gwen to say her goodbyes and focus on staying alive through all 4 stages of the deadly Grail Games.
During the Games, she is met with unique challenges and ordeals that left me reading into the wee hours of the night to make sure Gwen survived. I seriously could not put this book down I was so worried for Gwen and Aeson.
The Grail Games were more intense and horrible than Katniss Everdeen ever had to endure and although I was confident Gwen would make it through alive, I was unsure just how much of her would make it out at the end.
I cannot wait for Book 4, Survive! I saw an update yesterday from the author mentioning that over 26,000 words had been completed for the book! It cannot come soon enough!
Darren (1599 KP) rated Amadeus (1984) in Movies
Jun 20, 2019
Story: Amadeus starts as an elderly Antonio Salieri (Abraham) admitting that he killed Mozart, leading to him getting taken to the insane asylum. Salieri recounts his story of his small town beginnings dreaming of being a composer and after a moment of fate he ends up in a position where he can learn music leading to him job as head conductor to the king of Austria. Mozart (Hulce) is the world renowned composer that has taken the notice of all around him with Salieri dreaming of one day being as good as Mozart.
We see how Mozart constantly ends up out shinning Salieri with his music leading to the rivalry between the two, with Salieri serious look on life and Mozart’s flamboyant style of just getting through each moment. Salieri moves into the position of being the connection to the Emperor to get his unique work out there but he is really just building him up for failure trying to break him down with criticize of his work.
REPORT THIS AD
Amadeus gives us a brilliant look at one of the greatest musical minds in the history of man. We know the basic idea of what happened to him but now we get to see it through the eyes of one of his closest friends even if he is filled with envy for him. What starts as envy is filled with respect and seeing how a talented person can get used by all the people close to him which will drive him into his bad ways. Overall this really is a brilliant drama that is told in a way we can just enjoy.
Actor Review
F Murray Abraham: Antonio Salieri admits that he killed Mozart, but now he is confessing to how he believes he was responsible for the death from inside an insane asylum. We watch how he got his dreams of working with music and constantly found himself lacking the complete flair and natural ability of Mozart leading to jealous and planning to bring him down slowly. F Murray gives us a brilliant and well deserved Oscar winning performance in this role.seleir
Tom Hulce: Wolfgang Amadeus Mozart is the flamboyant and brilliant composer who lives life on the edge spending every penny he ever received for his work, he pushes the boundaries to what is accepted even if his work is loved. He gains inspiration from his personal stories which will gain him enemies from his own confident in the government. Tom gives a performance that could easily have won him an Oscar too.morzart
Elizabeth Berridge: Constanze Mozart is the wife of Wolfgang, she supports him in all the work he does but just wants him to actually get paid for the work so they can look after the family, even after she lives him she feels guilty. Elizabeth does a good job in this role.
Roy Dotrice: Leopold Mozart is the overbearing father who pushed Amadeus into this career path making him the puppet when he was younger as he was leading him to become the biggest name in music of his time. After his death we learn about the control he had over Amadeus. Roy is good in this supporting role.
Support Cast: Amadeus has a well performed supporting cast that each hold their own in the characters they are playing.
Director Review: Milos Forman – Milos gives us one of the best biographical films of all time.
Biographical: Amadeus shows the troubles of the great man and how it was his eventual downfall.
Music: Amadeus uses all the music of the great man and how it would have look on stage for the fans witnessing it all.
Settings: Amadeus recreates all the settings that would have been used during the time the film is set.
Suggestion: Amadeus is one that could have been watched by anyone to learn about a part of history. (Watch)
Best Part: The performances are brilliant.
Worst Part: If you are not a fan of classical music you will struggle.
Believability: Yes
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 8 Oscars including Best Picture, Best Actor, Director and Writing also nominated for a further 3.
Box Office: $51 Million
Budget: $18 Million
Runtime: 2 Hours 40 Minutes
Tagline: Everything you’ve heard is true.
Trivia: When the movie won Best Picture at The 57th Annual Academy Awards (1985), Sir Laurence Olivier was presenting the award. He went up to the podium, opened the envelope and said “Amadeus.” The problem was he forgot to read the nominees first.
Overall: Brilliant drama about one of the greatest musicians of all time
https://moviesreview101.com/2016/01/06/amadeus-1984/
We see how Mozart constantly ends up out shinning Salieri with his music leading to the rivalry between the two, with Salieri serious look on life and Mozart’s flamboyant style of just getting through each moment. Salieri moves into the position of being the connection to the Emperor to get his unique work out there but he is really just building him up for failure trying to break him down with criticize of his work.
REPORT THIS AD
Amadeus gives us a brilliant look at one of the greatest musical minds in the history of man. We know the basic idea of what happened to him but now we get to see it through the eyes of one of his closest friends even if he is filled with envy for him. What starts as envy is filled with respect and seeing how a talented person can get used by all the people close to him which will drive him into his bad ways. Overall this really is a brilliant drama that is told in a way we can just enjoy.
Actor Review
F Murray Abraham: Antonio Salieri admits that he killed Mozart, but now he is confessing to how he believes he was responsible for the death from inside an insane asylum. We watch how he got his dreams of working with music and constantly found himself lacking the complete flair and natural ability of Mozart leading to jealous and planning to bring him down slowly. F Murray gives us a brilliant and well deserved Oscar winning performance in this role.seleir
Tom Hulce: Wolfgang Amadeus Mozart is the flamboyant and brilliant composer who lives life on the edge spending every penny he ever received for his work, he pushes the boundaries to what is accepted even if his work is loved. He gains inspiration from his personal stories which will gain him enemies from his own confident in the government. Tom gives a performance that could easily have won him an Oscar too.morzart
Elizabeth Berridge: Constanze Mozart is the wife of Wolfgang, she supports him in all the work he does but just wants him to actually get paid for the work so they can look after the family, even after she lives him she feels guilty. Elizabeth does a good job in this role.
Roy Dotrice: Leopold Mozart is the overbearing father who pushed Amadeus into this career path making him the puppet when he was younger as he was leading him to become the biggest name in music of his time. After his death we learn about the control he had over Amadeus. Roy is good in this supporting role.
Support Cast: Amadeus has a well performed supporting cast that each hold their own in the characters they are playing.
Director Review: Milos Forman – Milos gives us one of the best biographical films of all time.
Biographical: Amadeus shows the troubles of the great man and how it was his eventual downfall.
Music: Amadeus uses all the music of the great man and how it would have look on stage for the fans witnessing it all.
Settings: Amadeus recreates all the settings that would have been used during the time the film is set.
Suggestion: Amadeus is one that could have been watched by anyone to learn about a part of history. (Watch)
Best Part: The performances are brilliant.
Worst Part: If you are not a fan of classical music you will struggle.
Believability: Yes
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: Won 8 Oscars including Best Picture, Best Actor, Director and Writing also nominated for a further 3.
Box Office: $51 Million
Budget: $18 Million
Runtime: 2 Hours 40 Minutes
Tagline: Everything you’ve heard is true.
Trivia: When the movie won Best Picture at The 57th Annual Academy Awards (1985), Sir Laurence Olivier was presenting the award. He went up to the podium, opened the envelope and said “Amadeus.” The problem was he forgot to read the nominees first.
Overall: Brilliant drama about one of the greatest musicians of all time
https://moviesreview101.com/2016/01/06/amadeus-1984/
BookwormMama14 (18 KP) rated The Reluctant Duchess (Ladies of the Manor, #2) in Books
Jan 2, 2019
I have been looking forward to The Reluctant Duchess since the moment I finished book one, The Lost Heiress! As the mystery of the Fire Eyes continues, we will follow Lady Rowena on her journey of faith and love.
About the Book
By the year 1912, Lady Rowena has suffered much and is determined to flee the terrors of her life in the Highlands of Scotland. Yet she reluctant to submit to the schemes designed for her escape. In a rather unconventional way, Brice Myerston, the Duke of Nottingham, sweeps in and saves her from a daunting future. With the Duke, Lady Rowena has the chance of a new life, new love and a new hope that she never thought possible. (Please tell me I am not the only one who started humming the Star Wars theme song just now.) Yet she is plagued with nightmares of the past. Afraid that she will never be worthy, convinced that no one could care about her. Rowena also discovers that Brice is involved with a treasure that brings sorrow wherever it goes. Will Brice be able to help her see the true worth and the beauty that lies within her? Will she find her confidence, her voice and maybe fall in love along the way? Can they overcome the "curse" of the Fire Eyes, together?
"Be whoever you want to be, and be it with confidence."
- The Reluctant Duchess (page 156)
My Thoughts
While I have no personal understanding of the exact situation that Lady Rowena experiences, I know full well the horror of emotional trauma. I avoid talking about our experience in my reviews because, books are my escape. I didn't want the stress, the
trauma, to slip into my posts. But after reading this book, I felt that I needed to share just a little bit. We have been through a lot with our son (medically) since he was born two years ago. He underwent a lifesaving Bone Marrow Transplant (non cancerous diagnosis) at 9 weeks old and everything that goes along with that: being isolated because he is immune suppressed, constant doctor visits, being hospitalized with even the slightest hint of a fever and so much more. Thankfully we are now at the tail end of our journey. He made it through his first cold and was not hospitalized! (Although he had a quick visit to the E.R. per his protocol.) But the effects of the last two years remain. For me, the thought of having to spend the night in the hospital with my son has brought on severe anxiety. Going shopping alone is a real challenge for me as well. While this may seem trivial to some, it is very real for me. What Rowena undergoes, and what I have experienced ( although different triggers) can be explained as PTSD. Because of this, I feel it only fair to give a heads up that separate from Rowena's experience, there is a heart wrenching circumstance near the end of the book that involves a child. I was caught quite off guard with it and know that can be a sensitive subject. This book was a very hard read for me emotionally. It is not a comedy, however I did laugh out loud a couple of times. Love, faith, hope and joy can be found in The Reluctant Duchess as well. I love Brice's faith, that he is actively listening to God in every situation. He acts on the voice he hears, and even though he may misinterpret the words on occasion, he does not let the condensation of his peers sway his faith. Overall, I really enjoyed this second book in Ladies of the Manor. Because it helped me to see myself in a new light. Roseanna captured the essence of the story beautifully. I absolutely LOVE her use of accents throughout the dialogue. All through the story we are reminded of the truth: Where LIGHT is, darkness cannot abide. Do not let the fear of the past distort your view of the future. I understand first hand the effects that can linger after a traumatic experience. But please, do not suffer in silence. Reach out to those who love you. And find hope for the future.
Brice ducked his head a bit, caught her gaze.
"And if you really want to spite them, do you know what you should do?"
He leaned closer, pitched his voice low.
"Thrive. Be happy."
- The Reluctant Duchess (page 156)
I received a free print copy of The Reluctant Duchess from Bethany House Publishers, through Celebrate Lit, in exchange for my honest review. All opinions expressed are mine alone.
About the Book
By the year 1912, Lady Rowena has suffered much and is determined to flee the terrors of her life in the Highlands of Scotland. Yet she reluctant to submit to the schemes designed for her escape. In a rather unconventional way, Brice Myerston, the Duke of Nottingham, sweeps in and saves her from a daunting future. With the Duke, Lady Rowena has the chance of a new life, new love and a new hope that she never thought possible. (Please tell me I am not the only one who started humming the Star Wars theme song just now.) Yet she is plagued with nightmares of the past. Afraid that she will never be worthy, convinced that no one could care about her. Rowena also discovers that Brice is involved with a treasure that brings sorrow wherever it goes. Will Brice be able to help her see the true worth and the beauty that lies within her? Will she find her confidence, her voice and maybe fall in love along the way? Can they overcome the "curse" of the Fire Eyes, together?
"Be whoever you want to be, and be it with confidence."
- The Reluctant Duchess (page 156)
My Thoughts
While I have no personal understanding of the exact situation that Lady Rowena experiences, I know full well the horror of emotional trauma. I avoid talking about our experience in my reviews because, books are my escape. I didn't want the stress, the
trauma, to slip into my posts. But after reading this book, I felt that I needed to share just a little bit. We have been through a lot with our son (medically) since he was born two years ago. He underwent a lifesaving Bone Marrow Transplant (non cancerous diagnosis) at 9 weeks old and everything that goes along with that: being isolated because he is immune suppressed, constant doctor visits, being hospitalized with even the slightest hint of a fever and so much more. Thankfully we are now at the tail end of our journey. He made it through his first cold and was not hospitalized! (Although he had a quick visit to the E.R. per his protocol.) But the effects of the last two years remain. For me, the thought of having to spend the night in the hospital with my son has brought on severe anxiety. Going shopping alone is a real challenge for me as well. While this may seem trivial to some, it is very real for me. What Rowena undergoes, and what I have experienced ( although different triggers) can be explained as PTSD. Because of this, I feel it only fair to give a heads up that separate from Rowena's experience, there is a heart wrenching circumstance near the end of the book that involves a child. I was caught quite off guard with it and know that can be a sensitive subject. This book was a very hard read for me emotionally. It is not a comedy, however I did laugh out loud a couple of times. Love, faith, hope and joy can be found in The Reluctant Duchess as well. I love Brice's faith, that he is actively listening to God in every situation. He acts on the voice he hears, and even though he may misinterpret the words on occasion, he does not let the condensation of his peers sway his faith. Overall, I really enjoyed this second book in Ladies of the Manor. Because it helped me to see myself in a new light. Roseanna captured the essence of the story beautifully. I absolutely LOVE her use of accents throughout the dialogue. All through the story we are reminded of the truth: Where LIGHT is, darkness cannot abide. Do not let the fear of the past distort your view of the future. I understand first hand the effects that can linger after a traumatic experience. But please, do not suffer in silence. Reach out to those who love you. And find hope for the future.
Brice ducked his head a bit, caught her gaze.
"And if you really want to spite them, do you know what you should do?"
He leaned closer, pitched his voice low.
"Thrive. Be happy."
- The Reluctant Duchess (page 156)
I received a free print copy of The Reluctant Duchess from Bethany House Publishers, through Celebrate Lit, in exchange for my honest review. All opinions expressed are mine alone.
Gareth von Kallenbach (980 KP) rated Pan (2015) in Movies
Aug 6, 2019
I had mixed emotions when I first saw the trailer for Pan. The story of Peter Pan was one of my all time favorites growing up. Then Steven Spielberg had to go and get Robin Williams and Dustin Hoffman together to bring us Hook, and it solidified the stories of Pan as the best thing since sliced bread for me. So here we have Joe Wright bringing the word put on paper by Jason Fuchs to real life. The story of how Peter came to Neverland; and just how did Captain James T. Hook become so fearful of crocodiles. I was worried, and so I shut it all out. I did not watch any more trailers, clips, or synopsis on the film. But, my curiosity got the best of me, and when we offered the press screening, I jumped at the opportunity to see it. And boy, I am glad I did.
Pan, in case you haven’t figured it out, tells the story of 12-year old orphan Peter (Levi Miller), who is abducted from his orphanage, along with many other little boy orphans, by pirates from Neverland. When they bring Peter to Neverland, he is forced to work in the mines, serving the evil pirate overlord, Black Beard (Hugh Jackman, no seriously. It totally doesn’t even look like him.). It’s not long before some very unusual things start happening to him, and he, along with James T. Hook (Garrett Hedlund), escape the mines to find the natives and Princess Tiger Lily (Rooney Mara), who helps Peter discover his destiny.
Loaded with stunning visuals and a great soundtrack (including some very recognizable songs in the form of pirate chants), Pan nails it in all the right ways. The visionaries who brought this world to life are amazing, and the creativity in every scene is astounding. It was especially charming that the people behind the film kept in mind that it is a family film. While there is some violence, it is an action movie after all, they applied some very interesting effects and theories to use in place of the gore and blood. I also enjoyed, as weird as this sounds, the brightness of the whole movie. They didn’t try to make the film a dark tale of gritty origins. The feel of the story has the same notes of brightness that I remember from the Disney film as a kid, to even Hook in my later years.
And the likenesses do not stop there. It was very fun, and a bit nostalgic, to catch the references and clues of what’s to come. You see things that influence the characters to become who we know and love. And true to the rumors/stories I heard of the background of the beloved Peter Pan tale, Captain Hook and Peter began their time together as friends. The film sets out to do what it was meant to do… tell the story of how Peter and Captain Hook became who they were. But, not all is revealed in this film. When the film is over, and you’ll wish it weren’t, our beloved hero and villain have a long way to go still. So look forward to more films to come.
The only gripe I had with this movie was the acting. And just one part in general. I felt most of the cast was excellent. Jackman portrayed a great, and zany by the standards of the Paniverse (hoping to coin a new term here people, #paniverse), pirate… czar?! I know I used overlord, but it’s hard to say what he is other than he is the captain of captains. Mara played Tiger Lily oh so very well, and Miller held his own right up there with the bigger names. But it was Hedlund I had issue with. His portrayal of James Hook was more reminiscent of Jack Nicholson with elongated words, and an almost creepy like vibe. It’s just not how I imagined him to act, and maybe that is just throwing my perception off. Though, my feeling and view of the portrayal was echoed by my guest at the screening, so there may be something to it. Luckily, my negative view of the acting was not enough to pull me out of the experience, and I was still able to enjoy the movie.
Bottom line. Go see this movie. Take your kids, your partners, your parents, your grandparents, your cousin’s, aunt’s son/daughter… oh wait. That’s you. The point is. It’s definitely worth seeing. The 3D effects were nothing ground breaking, but it would still be worth it to see it in 3D. And this will definitely be in my collection on day 1 of home release.
Pan, in case you haven’t figured it out, tells the story of 12-year old orphan Peter (Levi Miller), who is abducted from his orphanage, along with many other little boy orphans, by pirates from Neverland. When they bring Peter to Neverland, he is forced to work in the mines, serving the evil pirate overlord, Black Beard (Hugh Jackman, no seriously. It totally doesn’t even look like him.). It’s not long before some very unusual things start happening to him, and he, along with James T. Hook (Garrett Hedlund), escape the mines to find the natives and Princess Tiger Lily (Rooney Mara), who helps Peter discover his destiny.
Loaded with stunning visuals and a great soundtrack (including some very recognizable songs in the form of pirate chants), Pan nails it in all the right ways. The visionaries who brought this world to life are amazing, and the creativity in every scene is astounding. It was especially charming that the people behind the film kept in mind that it is a family film. While there is some violence, it is an action movie after all, they applied some very interesting effects and theories to use in place of the gore and blood. I also enjoyed, as weird as this sounds, the brightness of the whole movie. They didn’t try to make the film a dark tale of gritty origins. The feel of the story has the same notes of brightness that I remember from the Disney film as a kid, to even Hook in my later years.
And the likenesses do not stop there. It was very fun, and a bit nostalgic, to catch the references and clues of what’s to come. You see things that influence the characters to become who we know and love. And true to the rumors/stories I heard of the background of the beloved Peter Pan tale, Captain Hook and Peter began their time together as friends. The film sets out to do what it was meant to do… tell the story of how Peter and Captain Hook became who they were. But, not all is revealed in this film. When the film is over, and you’ll wish it weren’t, our beloved hero and villain have a long way to go still. So look forward to more films to come.
The only gripe I had with this movie was the acting. And just one part in general. I felt most of the cast was excellent. Jackman portrayed a great, and zany by the standards of the Paniverse (hoping to coin a new term here people, #paniverse), pirate… czar?! I know I used overlord, but it’s hard to say what he is other than he is the captain of captains. Mara played Tiger Lily oh so very well, and Miller held his own right up there with the bigger names. But it was Hedlund I had issue with. His portrayal of James Hook was more reminiscent of Jack Nicholson with elongated words, and an almost creepy like vibe. It’s just not how I imagined him to act, and maybe that is just throwing my perception off. Though, my feeling and view of the portrayal was echoed by my guest at the screening, so there may be something to it. Luckily, my negative view of the acting was not enough to pull me out of the experience, and I was still able to enjoy the movie.
Bottom line. Go see this movie. Take your kids, your partners, your parents, your grandparents, your cousin’s, aunt’s son/daughter… oh wait. That’s you. The point is. It’s definitely worth seeing. The 3D effects were nothing ground breaking, but it would still be worth it to see it in 3D. And this will definitely be in my collection on day 1 of home release.
Bob Mann (459 KP) rated Green Book (2018) in Movies
Sep 28, 2021
“Vacation without Aggravation.”
The “Green Book” was a handbook (now, thankfully, out of print) for blacks travelling in the southern states of the US , who want to stay in or dine in places they will be welcomed rather than abused. It is of course 1962 and Bobby Kennedy as Attorney General has racial equality strongly in his firing line.
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
The ever-flexible (and here, after piling a lot of weight on, almost unrecognisable) Viggo Mortensen plays Tony ‘Lip’ Vallelonga – a racist Italian-American living in The Bronx and working as a bouncer at “The Copacabana” club. Oscar-winner Mahershala Ali plays Dr Don Shirley – a black virtuoso pianist of high acclaim. How this odd couple meet and interact on a journey from Titsburg (sic) to Birmingham is the heart of the film.
I’m actually loathe to say ANY more about the plot of this film. I saw this at a Cineworld “Secret Screening” and so went into the film completely blind about the content: which was just BRILLIANT! For this, for me, is as near a perfect road-movie as I am likely to see this or any other decade. To say it is a feelgood Christmas classic to approach “It’s a Wonderful Life” is not – I think – putting it too strongly.
Oh… dammit… I’ve already given away my rating haven’t I….?
The turns
The film has apparently had Oscar buzz since winning the Toronto Film Festival’s “People’s Choice” award, and the chemistry that builds up between Ali and Mortensen is just fantastic. While I’m a fan of Mortensen (“Captain Fantastic” was a minor classic), it is Ali’s performance as the gentle and mannered Shirley which impresses most, and would be my pick for the Oscar nomination if I had to choose between them.
Also truly impressive is ER’s Linda Cardllini as Tony’s wife Dolores: her reactions to “Tony’s” letters home are just exquisite. I wonder whether a Supporting Actress nomination might be deserved here also.
And what a script
The screenplay by Brian Hayes Currie, Peter Farrelly and Nick Vallelonga (Tony’s son…. yes, this is based on a true story), sizzles with fantastic one-liners and wordplay. It breathes life into the 1962 setting by not shying away from using what, today, are highly offensive racial slurs: these might offend some, but they are essential for a film that lampoons racist behaviour so wonderfully.
Above all, it’s a film with genuine heart. A story that lifts the spirit and paints onto the screen in technicolour glory the struggle (albeit you feel a rather sanitised one) that lifted America out of the dark ages in terms of equality.
It is perhaps this degree of “Oscar baitedness” – (if that’s not a word then it is now) – that might be its biggest weakness in garnering support among the voters at Oscar time. It is though perhaps worth bearing in mind that it was “Driving Miss Daisy” – an odd-couple inter-racial chauffeur-based movie – that won the Best Film Oscar for 1989!
Farrelly? What THAT Farrelly?
This is a film of subtlety and nuance that makes it all the more surprising that the director is Peter Farrelly. Yes, he of the Farrelly brothers of such crass, unsubtle and hilarious films like “There’s Something about Mary” and “Dumb and Dumber” and such crass, unsubtle and totally awful films like “Me, Myself and Irene” and “Dumb and Dumber To”! It’s like asking Mr Bean to direct a performance of Swan Lake at the Royal Opera House! Yet, here it just plain works. The comedy injected into the film (and there are a number of times I laughed out loud) is perfectly balanced with the story.
Final thoughts
What I wanted to say here was:
“Go see this film. No, REALLY. It will leave you with a warm Christmas glow in your heart to last you through the holidays. Well, it should – it did me.”
However, although the States already had this for Thanksgiving, it looks as if the UK general release of this film is not set to happen until the 1st of February next year. Which is a great shame and a missed opportunity. (It’s as if they made a Christmas film like “Die Hard” and then released it in July! #sarcasm #yesiknowtheydid).
I really hope that’s a mistake and you guys can get to see it before then. When you can, go see it (No, REALLY!). Seldom have two hours flown by with such joy at the cinema. At this late stage in the year, my “Films of the Year” draft list is going to need another shake up!
Bob Mann (459 KP) rated Alone in Berlin (2017) in Movies
Sep 29, 2021
Small Rebellions.
Once again, World War II turns up another true story of quiet valour to turn into a motion picture. At a time when Trump is pontificating about so called “fake news”, here is a timely tale from history which centres on the battle against genuinely fake news: the Nazi propaganda machine.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
After losing their only son in the French campaign, Berliners Otto (Brendan Gleeson,”Harry Potter and the Goblet of Fire”) and Anna (Emma Thompson, “Saving Mr Banks“) turn against the regime and in repeated acts of rebellion Otto laboriously hand writes subversive postcards to leave in office blocks around Berlin.
Resistance is futile. Otto (Brendan Gleeson) and Anna (Emma Thompson) out on a new mission.
Out to catch him is local police investigator Escherich (Daniel Brühl) but in an age before CCTV that’s no easy task and with increasing SS pressure the stakes for Escherich steadily increase. For Otto and Anna, the stress is there but both are resigned to their fate: with their son stolen from them for an unjust cause they are an island of indifference in an unholy land. Both are ‘alone in Berlin’.
Daniel Brühl as police detective Escherich getting more than he bargained for from the SS.
After 70 years it still chills the blood to see German locations decked out in Nazi regalia, but one of the joys of this film is this rendering of life in wartime Berlin: starting with jubilation at German progress prior to D-Day and turning to despair and genuine danger as the tide turns towards 1945. In a pretty bleak film there are touches of black comedy now and then: Otto’s carpentry company is being encouraged “by the Fuhrer” to double and triple their output… of coffins.
A (very clean) Berlin, decked out with Nazi regalia.
More joy comes from the star turns of Gleeson and Thompson, both of who deliver on their emotionally challenging roles. Gleeson in particular makes a very believable German with a sour demeanor and a steely determination. But the star acting turn for me goes to the wonderful Daniel Brühl (“Rush“) as the tormented police detective, bullied into an ethical corner by the SS. The finale of the film – whilst not seeming quite believable – makes for a nicely unexpected twist.
The Nazi Womens’ League out on another fund-raising sweep, providing Thompson with one of her best scenes in the film with an Oberführer’s wife.
Based on a novel by Hans Fallada, the lead writing credits for the piece are shared between Achim von Borries and the director Vincent Perez – in a rare directorial outing for the Swiss actor. The script exudes a melancholic gloom and at times expresses beautifully both the grief and love shared by this older couple. But some of the dialogue needs more work and we don’t see enough of Thompson in the early part of the film where her motivations should be being developed. This rather comes down to a lack of focus by the director. While the primary story of the card distribution is slight, it is compelling and a detour into a sub-story about an old Jewish lodger living upstairs is unnecessary and detracts from the overall story arc. I would have far preferred if the running time had been a tight 90 minutes just focused on Otto’s mission. One final comment on the script: did I mishear that Anna claimed to have a 6 year old child during an air raid scene? I know Emma Thompson looks great for her age, but….
Otto and Elise Hampel – the real life characters on which the film’s Otto and Anna Quangel were based.
I can’t finish this without commending the beautiful piano score of Alexandre Desplat. From the first note I knew it was him – he has such a characteristic style – and his clever use of the score complements the film exquisitely. “Small” films like this tend to rather disappear into the woodwork for Oscar consideration, but here’s a soundtrack that I think should be considered: (but what do I know… when “Nocturnal Animals” wasn’t even nominated in one of the Oscar crimes of the century!).
In summary, I found this a thoughtful and thought-provoking film, that – despite some of the mean reviews I’ve seen – I thought was well crafted and with excellent production design by Jean-Vincent Puzos (“Amour”). It will be particularly appreciated by older audiences looking for an untold story from the war, and by all lovers of fine acting performances by the three leads.
Lee (2222 KP) rated Fisherman's Friends (2019) in Movies
Mar 18, 2019 (Updated Mar 18, 2019)
Formulaic, clichéd, enjoyable bit of fun
Hot on the heels of Fighting with my Family comes yet another true story that I feel I should have known more about beforehand, but didn't. Fisherman's Friends tells the story of a group of singing Cornish fishermen who, in 2010, managed to land themselves not only a top 10 album but an appearance on Glastonbury's pyramid stage! The plot follows a much more formulaic and clichéd approach than Fighting with my Family does though, not quite managing to come close to the high bar that set, but is enjoyable enough all the same.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.