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Movie Metropolis (309 KP) rated The Purge: Election Year (2016) in Movies
Jun 11, 2019
Deathly Dull
The Purge series has set itself as one of the front-runners in modern horror. The first film, starring Ethan Hawke, was a huge success, bringing with it one of the best stories seen in the genre for decades.
Its successor, Anarchy, was warmly received – namely for its greater focus on the night of crime itself, rather than the plight of one family. Naturally, another sequel was always going to be on the cards and Election Year continues the franchise. But does it continue the positive trend?
With only one returning cast member, Frank Grillo’s brooding Leo Barnes, The Purge: Election Year goes for a more political approach than its horror-rooted predecessors and director James DeMonaco was brave in altering the formula. He gets through it – but only by the skin of his teeth.
As a young girl, Senator Charlie Roan (Elizabeth Mitchell) survived the annual night of lawlessness that took the lives of her family members. As a presidential candidate, Roan is determined to end the yearly tradition of blood lust once and for all. When her opponents hatch a deadly scheme, the senator finds herself trapped on the streets of Washington, D.C., just as the latest Purge gets underway. Now, it’s up to Leo Barnes (Frank Grillo), her head of security, to keep her alive during the next 12 hours of mayhem.
The first major stumbling block Election Year faces is its lack of originality. Yes, the basic formula goes for a more political tone but the story itself is a near carbon copy of its predecessor. It’s unfortunate that once again, despite the plight of fans, the production studio continues to overlook the most fascinating part of the Purge, its inception.
Once again we are forced to sit through the hack and slash killings, only this time the acting isn’t as good and the majority of scares are signposted from the off. The ones that aren’t; well they’re in the trailer. It’s such a shame that a series with such promise has resorted to rehashing the same “tricks” to sell tickets.
The cast gel together well but the acting is below par and the dialogue is at times, dreadful with the same three expletives doing the rounds from character to character. Frank Grillo is underused with Elizabeth Mitchell’s preachy politician mistakenly put in the foreground. By far the most interesting person throughout the course of the film is Mykelti Williamson’s deli owner Joe, but he is lumbered with shockingly bad catchphrases.
The cinematography is very plain and the city setting isn’t utilised well at all. Washington should’ve been an exceptional place to helm a film about a night of legalised murder, but instead the audience is confined to its dimly-lit backstreets and alleys.
Overall, The Purge: Election Year is a step in the wrong direction for a series that showed such promise. Creating a film that, despite its intriguing political intentions, is exactly the same as its predecessor is sheer laziness and I don’t like to use this word when reviewing films, but it’s just completely and utterly boring.
https://moviemetropolis.net/2016/08/26/deathly-dull-the-purge-election-year-review/
Its successor, Anarchy, was warmly received – namely for its greater focus on the night of crime itself, rather than the plight of one family. Naturally, another sequel was always going to be on the cards and Election Year continues the franchise. But does it continue the positive trend?
With only one returning cast member, Frank Grillo’s brooding Leo Barnes, The Purge: Election Year goes for a more political approach than its horror-rooted predecessors and director James DeMonaco was brave in altering the formula. He gets through it – but only by the skin of his teeth.
As a young girl, Senator Charlie Roan (Elizabeth Mitchell) survived the annual night of lawlessness that took the lives of her family members. As a presidential candidate, Roan is determined to end the yearly tradition of blood lust once and for all. When her opponents hatch a deadly scheme, the senator finds herself trapped on the streets of Washington, D.C., just as the latest Purge gets underway. Now, it’s up to Leo Barnes (Frank Grillo), her head of security, to keep her alive during the next 12 hours of mayhem.
The first major stumbling block Election Year faces is its lack of originality. Yes, the basic formula goes for a more political tone but the story itself is a near carbon copy of its predecessor. It’s unfortunate that once again, despite the plight of fans, the production studio continues to overlook the most fascinating part of the Purge, its inception.
Once again we are forced to sit through the hack and slash killings, only this time the acting isn’t as good and the majority of scares are signposted from the off. The ones that aren’t; well they’re in the trailer. It’s such a shame that a series with such promise has resorted to rehashing the same “tricks” to sell tickets.
The cast gel together well but the acting is below par and the dialogue is at times, dreadful with the same three expletives doing the rounds from character to character. Frank Grillo is underused with Elizabeth Mitchell’s preachy politician mistakenly put in the foreground. By far the most interesting person throughout the course of the film is Mykelti Williamson’s deli owner Joe, but he is lumbered with shockingly bad catchphrases.
The cinematography is very plain and the city setting isn’t utilised well at all. Washington should’ve been an exceptional place to helm a film about a night of legalised murder, but instead the audience is confined to its dimly-lit backstreets and alleys.
Overall, The Purge: Election Year is a step in the wrong direction for a series that showed such promise. Creating a film that, despite its intriguing political intentions, is exactly the same as its predecessor is sheer laziness and I don’t like to use this word when reviewing films, but it’s just completely and utterly boring.
https://moviemetropolis.net/2016/08/26/deathly-dull-the-purge-election-year-review/
The Comeback Kid by John Mulaney
7.0
Rate It
Album
John Mulaney is an American comedian, writer, and actor best known for his standup specials and work...
Daniel Boyd (1066 KP) rated Never Mind The Bollocks, Here's The Sex Pistols by The Sex Pistols in Music
Nov 2, 2017
The ultimate reset switch on the musical chart machine
This album changed everything and brought rock ‘n roll music back down to ground level where it belongs. It perfectly captured the mindset of a generation and it was the turning point that was so badly needed at that point in musical history. These four lads were saying exactly what they meant and we could hear their pain and frustration through Lydon’s voice as he screamed down the microphone at us. This album is gripping from start to finish and full of strikingly relevant lyrics even today. Without Never Mind The Bollocks, you can forget Oasis or Nirvana or Green Day or any punk band to come after ’77 for that matter. This album had to happen as it totally changed the course of rock ‘n roll history for the better and gave us all what we wanted again. This band is as important to rock ‘n roll music and British culture as the Beatles or the Rolling Stones and they only ever released the one album, that is how important this record is. This album affected the style of an entire generation, it affected the politicians and it gave the how the majority of the country was feeling a united voice. The Tory government and the Royal Family may be scum, but it is hard to argue the fact that they have inspired some of the best music over the last 50 years. This album defines what it means to be young and pissed off and overlooked by the older generations who hold the power. It is an attack launched at anyone who has ever looked down their nose at anyone else. It is the quintessential lesson in how to compose a legendary rock n’ roll album and it reminded the world that you don’t need a bunch of overcomplicated instrumentals or 16 minute long interludes to make a great record, all you need is a few instruments, some raw talent and a determination to tell people how it really is. The Pistols wear their hearts on their sleeve in this record, both through their instruments and their lyrics, there is so much feeling and passion and genuine dissatisfaction on this record, yet it is also so careless and spur of the moment and that combination results in one of the greatest albums of the last half century in my opinion.
If American Idiot is a slap on the wrist of the government and a nudge to change things, Never Mind The Bollocks is the Pistols grabbing the man by the throat and squeezing until he is forced to listen to them. In the years prior to this record coming out, the charts were dominated by songs that were being played on a minimum of 15 different instruments per song. There hadn’t been a record composed solely of a guitar, a drumkit, a bass and a vocal in far too long and The Sex Pistols hit the reset button on rock ‘n roll music going forward. This record had to happen, without it bands like Oasis and Nirvana would never have came to be, or if they did they would sound vastly different to what they do today. This record has an undeniable feeling to it that no other record does, it is fury, frustration, desperation and sadness all at once and for me, there is nothing else in musical history that quite captures that feeling in the same way. This is simply four bored lads with pure raw talent telling us exactly how they feel and making sure not to leave out any of the gory details. Every riff on this album is a violent wake up call, every drum beat feels like a well deserved punch to the face and with Lydon’s voice and lyrics topping it all off, it is a beautifully ugly piece of pop culture that is relevant even today. The Pistols take on everybody in this album, from the Queen, to politics, to record labels and all of it is so well composed and yet so spur of the moment simultaneously. It’s like Lydon is spitting at you but in perfect time and in the most unique way that has ever been put to record. The band had a flair that lit Britain on fire, especially the middle classes, this record got banned out of fear that it would cause the man on the street to rise up and see through the bullshit that politicians and the government try to spin us day in and day out. Every song points out what is wrong with the country and its ethics and policies and it defines the reasons that the public are fed up of it. The whole thing flows so well and even though it takes just under 40 minutes to listen to the entire album from start to finish, it goes by in a flash and leaves such a strong impression that causes you to be left thinking about what you have just heard for hours afterwards. This is a fleeting moment in modern history captured in the most brief, yet poignant way and without it the very culture of Britain would be entirely different. This album is so important, not just for it’s anti establishment themes or its musical reasons, but because it actually altered the course of history beyond just the musical ecosystem. There was never an album before Never The Bollocks that sounded anything like it and there hasn’t been one since and sadly, there probably never will be. The last great rock n’ roll band that the world really took notice of were Oasis and since then there has been nothing significant enough to capture the world’s attention. If you ask me what we need right now is another band like the Sex Pistols to swagger up and take the spotlight away from the dance/pop garbage that is dominating today’s charts. We need a band that can reset the musical machine and show the youth of today that all you need to make it is raw talent, a few instruments and a sprinkle of determination and the world can be yours. I am hopeful it will eventually happen, it has to and in my mind it is inevitable and is more a question of when rather than a question of if. That album is what will resurrect rock n’ roll music and bring it back to the forefront and the group that manages it will be the band that defines their respective generation. Since Oasis split the crown has been up for the taking and all we need is a band with enough balls and talent and who actually have something to say, to reach out and grab it.
If American Idiot is a slap on the wrist of the government and a nudge to change things, Never Mind The Bollocks is the Pistols grabbing the man by the throat and squeezing until he is forced to listen to them. In the years prior to this record coming out, the charts were dominated by songs that were being played on a minimum of 15 different instruments per song. There hadn’t been a record composed solely of a guitar, a drumkit, a bass and a vocal in far too long and The Sex Pistols hit the reset button on rock ‘n roll music going forward. This record had to happen, without it bands like Oasis and Nirvana would never have came to be, or if they did they would sound vastly different to what they do today. This record has an undeniable feeling to it that no other record does, it is fury, frustration, desperation and sadness all at once and for me, there is nothing else in musical history that quite captures that feeling in the same way. This is simply four bored lads with pure raw talent telling us exactly how they feel and making sure not to leave out any of the gory details. Every riff on this album is a violent wake up call, every drum beat feels like a well deserved punch to the face and with Lydon’s voice and lyrics topping it all off, it is a beautifully ugly piece of pop culture that is relevant even today. The Pistols take on everybody in this album, from the Queen, to politics, to record labels and all of it is so well composed and yet so spur of the moment simultaneously. It’s like Lydon is spitting at you but in perfect time and in the most unique way that has ever been put to record. The band had a flair that lit Britain on fire, especially the middle classes, this record got banned out of fear that it would cause the man on the street to rise up and see through the bullshit that politicians and the government try to spin us day in and day out. Every song points out what is wrong with the country and its ethics and policies and it defines the reasons that the public are fed up of it. The whole thing flows so well and even though it takes just under 40 minutes to listen to the entire album from start to finish, it goes by in a flash and leaves such a strong impression that causes you to be left thinking about what you have just heard for hours afterwards. This is a fleeting moment in modern history captured in the most brief, yet poignant way and without it the very culture of Britain would be entirely different. This album is so important, not just for it’s anti establishment themes or its musical reasons, but because it actually altered the course of history beyond just the musical ecosystem. There was never an album before Never The Bollocks that sounded anything like it and there hasn’t been one since and sadly, there probably never will be. The last great rock n’ roll band that the world really took notice of were Oasis and since then there has been nothing significant enough to capture the world’s attention. If you ask me what we need right now is another band like the Sex Pistols to swagger up and take the spotlight away from the dance/pop garbage that is dominating today’s charts. We need a band that can reset the musical machine and show the youth of today that all you need to make it is raw talent, a few instruments and a sprinkle of determination and the world can be yours. I am hopeful it will eventually happen, it has to and in my mind it is inevitable and is more a question of when rather than a question of if. That album is what will resurrect rock n’ roll music and bring it back to the forefront and the group that manages it will be the band that defines their respective generation. Since Oasis split the crown has been up for the taking and all we need is a band with enough balls and talent and who actually have something to say, to reach out and grab it.
Purple Phoenix Games (2266 KP) rated Horrified: Universal Monsters Strategy Board Game in Tabletop Games
Aug 6, 2021
I was a child a long time ago. Okay, not THAT long ago, but I remember being frightened of a great many thing on TV: Michael Jackson’s “Thriller” music video, the TV show “V,” and so many others. I still to this day have not watched an entire old school Universal Studios Monster movie. However, I used to live in California for part of my childhood and my family had season passes to Universal Studios and we would go quite a lot, so I have always been familiar with the monsters. So when I saw a game was being crafted featuring these lovable, but in a nostalgic way, creatures I knew I just had to have it.
Horrified is a pickup and deliver, action points, cooperative game with dice and miniatures utilizing a variable setup. In it players take on the role of a hero in a monster movie – but not just A monster movie, but SEVERAL monsters will be haunting the town! It is the heroes’ goal to defeat the monsters before the Terror Marker reaches maximum or the heroes run out of time and the monsters take over the town.
To setup, place the board on the table and draw 12 Item tokens from the bag. Place these Items on the board in the specified location printed on the Item. Depending on how many players (for this review I will be using the Solo rules in the rule book) place the Terror Marker appropriately on the board – the photo above was taken before I realized that it starts on three in the Solo game. Choose the monsters to be faced and place their mats near the board. The rulebook states where the monster minis will start the game. Place the Frenzy token on the lowest Frenzy-numbered monster. Shuffle the Monster and Perk decks of cards separately and deal each player one Perk card. Each player chooses or is randomly dealt a character badge and places the standee in the appropriate location on the board. The game may now begin!
Players will be taking turns traveling the town, picking up Items, attempting to defeat the monsters per their defeat instructions on their mats, delivering villagers that randomly appear to their safe locations, and keeping the Terror Marker in the acceptable range. Each character has a certain number of actions that can be taken on their turns, but any Perk cards used are spent as a bonus action on the hero’s turn. The hero actions are: Move (one space along the lit pathways, even with a villager in tow), Guide (a villager one space away from the hero), Pick Up (Items from locations), Share (Items from player to player – not needed in a Solo game), Special Action (if the character being played has one on their badge), Advance (complete a task on the Monster mat to move one step closer to defeat), and Defeat (once all the tasks are complete and the player has enough Items to defeat the Monster at the same location). Once a hero has used up all their Action Points per their badge, it will be the Monster phase.
Monster phases begin with a draw from the Monster deck. Upon the card will be a number printed on the top which instructs players as to how many Items to draw and place from the bag. Next, players will read the text on the card and complete any instructions. Finally, the Monsters will strike. At the bottom of the card will be printed several icons pertaining to Monsters individually and also the Monster who happens to currently be Frenzied. These icons instruct players to move certain Monsters and if they share a space with a hero or villager, to roll the attack dice. One hit from a Monster defeats either a villager or hero (unless the hero discards any Item to block the attack). If a hero or villager is defeated, the Terror Marker moves up a space toward ultimate doom. Play then is passed to the players again. The game continues in this fashion until one of the game end conditions is met and the heroe(s) win or the Monsters succeed in their hostile haunted takeover.
Components. I’d like to start with the art. I love it. The art has a very 1930s Hollywood style and is simply beautiful. The colors are vibrant, where color is used, and the board is stunning. All of the cardboard components are top notch quality, and the Monster minis are fab. Obviously it would be great for all the heroes and villagers to have minis as well, but there is text printed on those standees that just can’t translate to a miniature. All in all, the components here are wonderful and high quality.
The gameplay is also wonderful and high quality. The solo game from which these photos are taken I randomly drew the Mayor character and decided to hit the town with Dracula, The Creature from the Black Lagoon, and The Invisible Man. That’s a Standard game in the rules. The Mayor is great because she is able to take five actions on her turn (plus Perks), but she has no special abilities. That is both a blessing and a curse and wonderfully balanced. I would say I finished the game needing just one or two more Monster cards to draw before all three baddies were defeated. But, that’s the difficulty of having three Monsters showing. With just two Monsters I would have won handily, but maybe would not have enjoyed it as much and written it off as too easy. Luckily I always learn games on normal standard difficulty first.
Traipsing around town picking up Items and ushering villagers to their safe spaces sounds relaxing, but when the Monsters are on your trail and ready to Strike it adds a layer of anxiety that is just delicious. I admit I probably spent too much time trying to save every villager and that’s partly why I failed at this one game. Also I miscalculated how many extra Items to have on hand when attempting to Advance the Monster tasks. Couple those with my strategy to concentrate on defeating one Monster at a time and, well, that’s a losing strategy it seems.
The gameplay is so much fun, and the components are so wonderful to play with, it’s really no surprise I enjoy this game as much as I do. I have purposely left out some rules for readers to enjoy discovering themselves, but this is a tight game with pressure from different fronts to complete objectives. It’s the kind of game where even with a loss you find yourself wanting to try again right away. And that’s a sing of an excellent game. Purple Phoenix Games gives this very high ratings, even as a solo experience. If you need more horror-style adventure games in your collection, please check out Horrified. It’s not really that scary to play, but you will certainly be haunted by your choices you make throughout the game.
Horrified is a pickup and deliver, action points, cooperative game with dice and miniatures utilizing a variable setup. In it players take on the role of a hero in a monster movie – but not just A monster movie, but SEVERAL monsters will be haunting the town! It is the heroes’ goal to defeat the monsters before the Terror Marker reaches maximum or the heroes run out of time and the monsters take over the town.
To setup, place the board on the table and draw 12 Item tokens from the bag. Place these Items on the board in the specified location printed on the Item. Depending on how many players (for this review I will be using the Solo rules in the rule book) place the Terror Marker appropriately on the board – the photo above was taken before I realized that it starts on three in the Solo game. Choose the monsters to be faced and place their mats near the board. The rulebook states where the monster minis will start the game. Place the Frenzy token on the lowest Frenzy-numbered monster. Shuffle the Monster and Perk decks of cards separately and deal each player one Perk card. Each player chooses or is randomly dealt a character badge and places the standee in the appropriate location on the board. The game may now begin!
Players will be taking turns traveling the town, picking up Items, attempting to defeat the monsters per their defeat instructions on their mats, delivering villagers that randomly appear to their safe locations, and keeping the Terror Marker in the acceptable range. Each character has a certain number of actions that can be taken on their turns, but any Perk cards used are spent as a bonus action on the hero’s turn. The hero actions are: Move (one space along the lit pathways, even with a villager in tow), Guide (a villager one space away from the hero), Pick Up (Items from locations), Share (Items from player to player – not needed in a Solo game), Special Action (if the character being played has one on their badge), Advance (complete a task on the Monster mat to move one step closer to defeat), and Defeat (once all the tasks are complete and the player has enough Items to defeat the Monster at the same location). Once a hero has used up all their Action Points per their badge, it will be the Monster phase.
Monster phases begin with a draw from the Monster deck. Upon the card will be a number printed on the top which instructs players as to how many Items to draw and place from the bag. Next, players will read the text on the card and complete any instructions. Finally, the Monsters will strike. At the bottom of the card will be printed several icons pertaining to Monsters individually and also the Monster who happens to currently be Frenzied. These icons instruct players to move certain Monsters and if they share a space with a hero or villager, to roll the attack dice. One hit from a Monster defeats either a villager or hero (unless the hero discards any Item to block the attack). If a hero or villager is defeated, the Terror Marker moves up a space toward ultimate doom. Play then is passed to the players again. The game continues in this fashion until one of the game end conditions is met and the heroe(s) win or the Monsters succeed in their hostile haunted takeover.
Components. I’d like to start with the art. I love it. The art has a very 1930s Hollywood style and is simply beautiful. The colors are vibrant, where color is used, and the board is stunning. All of the cardboard components are top notch quality, and the Monster minis are fab. Obviously it would be great for all the heroes and villagers to have minis as well, but there is text printed on those standees that just can’t translate to a miniature. All in all, the components here are wonderful and high quality.
The gameplay is also wonderful and high quality. The solo game from which these photos are taken I randomly drew the Mayor character and decided to hit the town with Dracula, The Creature from the Black Lagoon, and The Invisible Man. That’s a Standard game in the rules. The Mayor is great because she is able to take five actions on her turn (plus Perks), but she has no special abilities. That is both a blessing and a curse and wonderfully balanced. I would say I finished the game needing just one or two more Monster cards to draw before all three baddies were defeated. But, that’s the difficulty of having three Monsters showing. With just two Monsters I would have won handily, but maybe would not have enjoyed it as much and written it off as too easy. Luckily I always learn games on normal standard difficulty first.
Traipsing around town picking up Items and ushering villagers to their safe spaces sounds relaxing, but when the Monsters are on your trail and ready to Strike it adds a layer of anxiety that is just delicious. I admit I probably spent too much time trying to save every villager and that’s partly why I failed at this one game. Also I miscalculated how many extra Items to have on hand when attempting to Advance the Monster tasks. Couple those with my strategy to concentrate on defeating one Monster at a time and, well, that’s a losing strategy it seems.
The gameplay is so much fun, and the components are so wonderful to play with, it’s really no surprise I enjoy this game as much as I do. I have purposely left out some rules for readers to enjoy discovering themselves, but this is a tight game with pressure from different fronts to complete objectives. It’s the kind of game where even with a loss you find yourself wanting to try again right away. And that’s a sing of an excellent game. Purple Phoenix Games gives this very high ratings, even as a solo experience. If you need more horror-style adventure games in your collection, please check out Horrified. It’s not really that scary to play, but you will certainly be haunted by your choices you make throughout the game.
Bob Mann (459 KP) rated The Roads Not Taken (2020) in Movies
Sep 15, 2020
Javier Bardem and Elle Fanning act their socks off (1 more)
Robbie Ryan cinematography is Oscar worthy
Pain and not a lot of Glory.
If you like your movies action packed you are going to dislike this movie. If you like light and uplifting stories you are going to positively loathe this one! For everyone else, "The Roads Not Taken" is a very thought-provoking piece of film-making from writer/director Sally Potter that I have a lot of respect for. Even more so, since I learned that the film is based on the director's time caring for her now deceased brother Nic, diagnosed with early onset dementia in 2010.
It's not a promising premise. "The Roads Not Taken" concerns a New Yorker with dementia being taking to the dentist and the opticians. Gripped yet? Nope... didn't think so. But stay with me here.
Elle Fanning plays Molly, daughter of the almost catatonic Leo (Javier Bardem) who is receiving a lot of support to stay in his own home. As his daughter assists him on his trip to his medical appointments, he is only about 10% 'there'. Glassy-eyed and almost incomprehensible, his utterances are often taken to refer to his present experiences. But actually, he's 90% somewhere else, revisiting two key episodes in his past life and reacting in the real world to what's happening in his dreams.
As he relives 'the roads not taken' we can piece together the elements of a life that's lived and - perhaps - lay out some elements that might have contributed to his mental decline in later life.
Before we plunge into the doom and gloom of the story, there was one moment of levity for me in the opening titles. I commented in my review of "The Farewell" that the company 'dog-tags' at the start of the film reminded me of a famous Family Guy comic moment. But this is kindergarten level compared to this movie. I assume Sally Potter must have tapped her complete phone contacts list to raise the funding for this one! Since I counted FOURTEEN different production companies referenced! Is this a record?
As you enter later life, it's common for many of us to suffer a significant source of stress. Sometimes - if you're lucky - four sources of stress. The reason? You stop worrying about your kids as much and start worrying about your aged parents and in-laws. Like heating up a frog in water, it's often imperceptible how much stress you are actually carrying with that until the last of the relatives 'shuffles off this mortal coil'. Within the grief, there's also a source of guilty relief in there somewhere. Such is the maelstrom that young Molly is in - with knobs on - given the disability of Leo. As a professional in her 20's, she is also having the juggle this responsibility with progressing her career.
It's a bit early in this turbulent year to talk of Oscar nominations. But for me, there are three standout performances in this movie:
1) Javier Bardem: what an acting masterclass! As with Daniel Day-Lewis's win in 1990 for "My Left Foot", the Academy loves a disability-based performance. I haven't seen much Oscar-buzz about this performance, but I'd personally throw his hat into the ring, for at least my long-list;
2) Elle Fanning: this young lady has been in movies since the age of 2, but rose to stardom with "Super 8". She's building a formidable filmography behind her. Here she matches Bardem shot-for-shot in the acting stakes: a caring daughter being emotionally torn apart; always needing to be in two places at the same time (as nicely positioned by the cryptic ending). A first Oscar-nomination perhaps?
3) Robbie Ryan: with an Oscar-nom previously for "The Favourite", could another one follow for this? For this is a beautiful film to look at, despite its downbeat story. There are some drop-dead gorgeous shots. One in particular is where a sun-lit Fanning has a "Marilyn Monroe subway skirt moment" at a window (with her hair being blown, I should add). Glorious. And all of the Mexican/Greek scenes (all Spain I believe) are deliciously lit and coloured.
"The Roads Not Taken" is an intelligent watch for sure, and reminiscent to me of Almodovar's "Pain and Glory": another artist's life lived again in flashback. If anything, this one is more unstructured in setting out a box of jigsaw pieces that you need to piece together through the unreliable narrator's random memories. ("Ooh, look - here's a bit with Laura Linney on it... ah, that goes there"; "So that's who Selma Hayek is"; etc.) But, as with a jigsaw, staying the course and putting the last pieces in is a very satisfying experience.
There's also a really feelgood scene in a taxi rank that restores your faith in the underlying goodness of people.... and a rant by a "Trump-voter" that gives you quite the opposite view!
Where I found some frustration was in the lack of backstory for Molly. She seems to be painted rather two-dimensionally. Yes - young with job, but of her personal life we see nothing. Adding another dimension (a young family for example) would have added yet another set of stresses to the mix. Leo's flashbacks are also focused on just two time periods. More wide-ranging reminiscences might have broadened the drama.
But I personally found "The Roads Not Taken" intensely moving. I'm not sure I could say I "enjoyed" it, but it is a worthy watch and has left me with thought-provoking images to chew on.
(For the full graphical review, please check out the One Mann's Movies here https://bob-the-movie-man.com/2020/09/15/the-roads-not-taken-2020-pain-and-very-little-glory/.)
It's not a promising premise. "The Roads Not Taken" concerns a New Yorker with dementia being taking to the dentist and the opticians. Gripped yet? Nope... didn't think so. But stay with me here.
Elle Fanning plays Molly, daughter of the almost catatonic Leo (Javier Bardem) who is receiving a lot of support to stay in his own home. As his daughter assists him on his trip to his medical appointments, he is only about 10% 'there'. Glassy-eyed and almost incomprehensible, his utterances are often taken to refer to his present experiences. But actually, he's 90% somewhere else, revisiting two key episodes in his past life and reacting in the real world to what's happening in his dreams.
As he relives 'the roads not taken' we can piece together the elements of a life that's lived and - perhaps - lay out some elements that might have contributed to his mental decline in later life.
Before we plunge into the doom and gloom of the story, there was one moment of levity for me in the opening titles. I commented in my review of "The Farewell" that the company 'dog-tags' at the start of the film reminded me of a famous Family Guy comic moment. But this is kindergarten level compared to this movie. I assume Sally Potter must have tapped her complete phone contacts list to raise the funding for this one! Since I counted FOURTEEN different production companies referenced! Is this a record?
As you enter later life, it's common for many of us to suffer a significant source of stress. Sometimes - if you're lucky - four sources of stress. The reason? You stop worrying about your kids as much and start worrying about your aged parents and in-laws. Like heating up a frog in water, it's often imperceptible how much stress you are actually carrying with that until the last of the relatives 'shuffles off this mortal coil'. Within the grief, there's also a source of guilty relief in there somewhere. Such is the maelstrom that young Molly is in - with knobs on - given the disability of Leo. As a professional in her 20's, she is also having the juggle this responsibility with progressing her career.
It's a bit early in this turbulent year to talk of Oscar nominations. But for me, there are three standout performances in this movie:
1) Javier Bardem: what an acting masterclass! As with Daniel Day-Lewis's win in 1990 for "My Left Foot", the Academy loves a disability-based performance. I haven't seen much Oscar-buzz about this performance, but I'd personally throw his hat into the ring, for at least my long-list;
2) Elle Fanning: this young lady has been in movies since the age of 2, but rose to stardom with "Super 8". She's building a formidable filmography behind her. Here she matches Bardem shot-for-shot in the acting stakes: a caring daughter being emotionally torn apart; always needing to be in two places at the same time (as nicely positioned by the cryptic ending). A first Oscar-nomination perhaps?
3) Robbie Ryan: with an Oscar-nom previously for "The Favourite", could another one follow for this? For this is a beautiful film to look at, despite its downbeat story. There are some drop-dead gorgeous shots. One in particular is where a sun-lit Fanning has a "Marilyn Monroe subway skirt moment" at a window (with her hair being blown, I should add). Glorious. And all of the Mexican/Greek scenes (all Spain I believe) are deliciously lit and coloured.
"The Roads Not Taken" is an intelligent watch for sure, and reminiscent to me of Almodovar's "Pain and Glory": another artist's life lived again in flashback. If anything, this one is more unstructured in setting out a box of jigsaw pieces that you need to piece together through the unreliable narrator's random memories. ("Ooh, look - here's a bit with Laura Linney on it... ah, that goes there"; "So that's who Selma Hayek is"; etc.) But, as with a jigsaw, staying the course and putting the last pieces in is a very satisfying experience.
There's also a really feelgood scene in a taxi rank that restores your faith in the underlying goodness of people.... and a rant by a "Trump-voter" that gives you quite the opposite view!
Where I found some frustration was in the lack of backstory for Molly. She seems to be painted rather two-dimensionally. Yes - young with job, but of her personal life we see nothing. Adding another dimension (a young family for example) would have added yet another set of stresses to the mix. Leo's flashbacks are also focused on just two time periods. More wide-ranging reminiscences might have broadened the drama.
But I personally found "The Roads Not Taken" intensely moving. I'm not sure I could say I "enjoyed" it, but it is a worthy watch and has left me with thought-provoking images to chew on.
(For the full graphical review, please check out the One Mann's Movies here https://bob-the-movie-man.com/2020/09/15/the-roads-not-taken-2020-pain-and-very-little-glory/.)
RəX Regent (349 KP) rated Network (1976) in Movies
Feb 19, 2019
“I’m mad as hell and I’m not gonna take it anymore!”
…the lasting legacy of Peter Finch’s rants, which began with a breakdown and became the ratings winner in the 1970’s Network driven news media. This is of course, fiction but the commentary on the changing and more corporate driven American media industry of the the time is not without merit.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Sassy Brit (97 KP) rated Burning Ridge in Books
Jun 5, 2019
Burning Ridge by Margaret Mizushima is a fast-paced and engrossing police procedural. It features Matti Cobb and her K-9 German Shepherd partner Robo, which makes these stories appealing to not only those who enjoy mysteries, but also to animal lovers.
Having done her homework, the author spoke with and shadowed those that train dogs. “I have a friend who retired from training tracking dogs. She allowed me to watch her train for tracking and evidence detection. I was inspired by her to write about a female canine handler. In fact, she had a dog named Robo, which I based the story dog Robo on. He could do so many things: Patrol, apprehend, track, and even pick up on gun powder to find hidden shells and casings.”
8171DUdQgiL._AC_UL115_Ridge
The plot has veterinarian Cole Walker and his two young daughters enjoying their trail ride in the Colorado mountains until they find a man’s charred boot with a decomposing foot in it. Called in to search for the rest of the body Matti and Robo find him. It is then Mattie realizes there is a personal link to her own troubled past.
This book explores her disturbed childhood, having been placed in foster homes since the age of six. Her father was convicted of abusing her mother who later abandoned her and her brother. This is why she and Cole are taking the relationship slow although it is obvious they love each other.
Because her husband is a vet, Mizushima knows something about the profession. “I always wanted to write a vet as a protagonist. Similar to my husband, Cole is a mixed practice vet, which means he treats large and small animals. He has to overcome some personal problems after his wife left him and his daughters. Both he and Mattie are hesitant to connect because of their baggage with abandonment issues. This is why I wrote, ‘And as much as she wanted to, she had trouble allowing him past the wall she built to protect her feelings.’ He is a work driven, a type-A personality, but soft-hearted. She is kind, athletic, spunky, a loner, independent, and vulnerable.”
What makes this novel special is the relationship between the partners. Robo is not written as some Superdog, but with realistic traits. Mattie and Robo are a dedicated team who have a strong bond professionally and personally. He is truly her best friend, and when she goes missing Robo uses his search and rescue skills to find her.
Having lived in Colorado all her life, Mizushima is able to create a realistic setting. She seems to draw from current events since there have been so many wildfires this season. In the novel, she uses it to enhance the action where the fire becomes an antagonist. “I grew in a small town on a ranch. I used the mountains because there is a sense of suspense and danger. This is why I wrote in the book quote, ‘Blazing orang lit the ridge above her, rapidly feeding on timber and eating its way downward. Balls of fire leapt from tree to tree, the dry needles wicking flames into branches and sap, setting off booming explosions in the treetops.’”
This is a gripping tale that has a message of hope. With Robo at her side Mattie is trying to overcome her childhood demons and learn to tear down the wall she has built, allowing Cole and his daughters into her life.
Having done her homework, the author spoke with and shadowed those that train dogs. “I have a friend who retired from training tracking dogs. She allowed me to watch her train for tracking and evidence detection. I was inspired by her to write about a female canine handler. In fact, she had a dog named Robo, which I based the story dog Robo on. He could do so many things: Patrol, apprehend, track, and even pick up on gun powder to find hidden shells and casings.”
8171DUdQgiL._AC_UL115_Ridge
The plot has veterinarian Cole Walker and his two young daughters enjoying their trail ride in the Colorado mountains until they find a man’s charred boot with a decomposing foot in it. Called in to search for the rest of the body Matti and Robo find him. It is then Mattie realizes there is a personal link to her own troubled past.
This book explores her disturbed childhood, having been placed in foster homes since the age of six. Her father was convicted of abusing her mother who later abandoned her and her brother. This is why she and Cole are taking the relationship slow although it is obvious they love each other.
Because her husband is a vet, Mizushima knows something about the profession. “I always wanted to write a vet as a protagonist. Similar to my husband, Cole is a mixed practice vet, which means he treats large and small animals. He has to overcome some personal problems after his wife left him and his daughters. Both he and Mattie are hesitant to connect because of their baggage with abandonment issues. This is why I wrote, ‘And as much as she wanted to, she had trouble allowing him past the wall she built to protect her feelings.’ He is a work driven, a type-A personality, but soft-hearted. She is kind, athletic, spunky, a loner, independent, and vulnerable.”
What makes this novel special is the relationship between the partners. Robo is not written as some Superdog, but with realistic traits. Mattie and Robo are a dedicated team who have a strong bond professionally and personally. He is truly her best friend, and when she goes missing Robo uses his search and rescue skills to find her.
Having lived in Colorado all her life, Mizushima is able to create a realistic setting. She seems to draw from current events since there have been so many wildfires this season. In the novel, she uses it to enhance the action where the fire becomes an antagonist. “I grew in a small town on a ranch. I used the mountains because there is a sense of suspense and danger. This is why I wrote in the book quote, ‘Blazing orang lit the ridge above her, rapidly feeding on timber and eating its way downward. Balls of fire leapt from tree to tree, the dry needles wicking flames into branches and sap, setting off booming explosions in the treetops.’”
This is a gripping tale that has a message of hope. With Robo at her side Mattie is trying to overcome her childhood demons and learn to tear down the wall she has built, allowing Cole and his daughters into her life.
Movie Metropolis (309 KP) rated It (2017) in Movies
Jun 10, 2019
Make sure you take a pillow
Horror buffs and Stephen King fans everywhere have been waiting for this moment since 2009. It is of course, a modern adaptation of the author’s novel, IT.
Plagued with production problems from the get-go, I see a pattern emerging here, IT has been in the hands of multiple directors with numerous actors in the running to play that iconic clown. I am of course, talking about Pennywise.
Fast forward to 2017, and with Mama Andy Muschietti taking over directorial duties and Bill Skarsgård hopping into that tight-fitting suit we finally have a finished product. But what is it like?Seven young outcasts in Derry, Maine, are about to face their worst nightmare — an ancient, shape-shifting evil that emerges from the sewer every 27 years to prey on the town’s children. Banding together over the course of one horrifying summer, the friends must overcome their own personal fears to battle the murderous, bloodthirsty clown known as Pennywise.
Let’s start off by saying this is much, much better than last month’s The Dark Tower. Stephen King adaptations can go one of two ways and it was feared that IT would follow in the aforementioned film’s footsteps. Thankfully, this isn’t the case.
IT is frankly, an incredible interpretation of King’s iconic novel filled with exceptional performances, stunning cinematography and an emotional heart not normally seen in the genre. It’s unlike anything you will have seen before.
Now, let’s talk about the elephant in the room, Pennywise. Tim Curry played the hell out of that character in the 1990 miniseries and it would be senseless for 27-year-old Bill Skarsgård to follow too closely in his footsteps. At 6ft 3”, Skarsgård is certainly an imposing presence and his Pennywise is much more menacing than Curry’s, but to compare them too much would be unfair to each.
Elsewhere, all the members of the Losers’ Club are brilliant. I have never seen this calibre of acting from such a young group. Jaeden Lieberher as Bill in particular is astonishing. The scenes in which they all work together without the threat of Pennywise are a treat and give the film an uncharacteristically poignant style.
Moreover, the shot choices that Muschietti uses are striking. He rightly stays away from confining the horror to dimly lit corridors and alleyways and whilst this does feature more towards the finale, Derry makes a fine location bathed for the most part in gorgeous sunlight.
Whilst not being completely faithful to King’s novel, Muschietti’s film features all of the iconic scenes that you would expect. The opening sequence from the book in which little Georgie is confronted by Pennywise in the storm drain is shockingly brutal and sets up the tone for the rest of the picture.
This is a truly frightening film, speckled with just enough gore to keep it realistic and whilst it’s true there are one-too-many jump scares, the brilliant source material stops them from feeling too cheap. In the back of your mind, you’re well aware that this is very similar to the book indeed.
Overall, IT is better than anyone could have hoped. It’s scary, deeply emotional, funny and beautifully filmed with an exquisite score by Benjamin Wallfisch. If you’re a horror fan you must watch. If you’re a film fan, you must watch – just take a pillow with you, for protection purposes of course.
https://moviemetropolis.net/2017/09/09/it-review-make-sure-you-take-a-pillow/
Plagued with production problems from the get-go, I see a pattern emerging here, IT has been in the hands of multiple directors with numerous actors in the running to play that iconic clown. I am of course, talking about Pennywise.
Fast forward to 2017, and with Mama Andy Muschietti taking over directorial duties and Bill Skarsgård hopping into that tight-fitting suit we finally have a finished product. But what is it like?Seven young outcasts in Derry, Maine, are about to face their worst nightmare — an ancient, shape-shifting evil that emerges from the sewer every 27 years to prey on the town’s children. Banding together over the course of one horrifying summer, the friends must overcome their own personal fears to battle the murderous, bloodthirsty clown known as Pennywise.
Let’s start off by saying this is much, much better than last month’s The Dark Tower. Stephen King adaptations can go one of two ways and it was feared that IT would follow in the aforementioned film’s footsteps. Thankfully, this isn’t the case.
IT is frankly, an incredible interpretation of King’s iconic novel filled with exceptional performances, stunning cinematography and an emotional heart not normally seen in the genre. It’s unlike anything you will have seen before.
Now, let’s talk about the elephant in the room, Pennywise. Tim Curry played the hell out of that character in the 1990 miniseries and it would be senseless for 27-year-old Bill Skarsgård to follow too closely in his footsteps. At 6ft 3”, Skarsgård is certainly an imposing presence and his Pennywise is much more menacing than Curry’s, but to compare them too much would be unfair to each.
Elsewhere, all the members of the Losers’ Club are brilliant. I have never seen this calibre of acting from such a young group. Jaeden Lieberher as Bill in particular is astonishing. The scenes in which they all work together without the threat of Pennywise are a treat and give the film an uncharacteristically poignant style.
Moreover, the shot choices that Muschietti uses are striking. He rightly stays away from confining the horror to dimly lit corridors and alleyways and whilst this does feature more towards the finale, Derry makes a fine location bathed for the most part in gorgeous sunlight.
Whilst not being completely faithful to King’s novel, Muschietti’s film features all of the iconic scenes that you would expect. The opening sequence from the book in which little Georgie is confronted by Pennywise in the storm drain is shockingly brutal and sets up the tone for the rest of the picture.
This is a truly frightening film, speckled with just enough gore to keep it realistic and whilst it’s true there are one-too-many jump scares, the brilliant source material stops them from feeling too cheap. In the back of your mind, you’re well aware that this is very similar to the book indeed.
Overall, IT is better than anyone could have hoped. It’s scary, deeply emotional, funny and beautifully filmed with an exquisite score by Benjamin Wallfisch. If you’re a horror fan you must watch. If you’re a film fan, you must watch – just take a pillow with you, for protection purposes of course.
https://moviemetropolis.net/2017/09/09/it-review-make-sure-you-take-a-pillow/
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