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Chambers Dictionary of Great Quotations
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With over 25,000 quotations from over 4,000 sources, The Chambers Dictionary of Great Quotations is...
Heather Cranmer (2721 KP) created a post
Oct 22, 2022
Cyn Armistead (14 KP) rated More Holmes for the Holidays in Books
Mar 1, 2018
[a:Martin H. Greenberg|6436872|Martin H. Greenberg|http://www.goodreads.com/assets/nophoto/nophoto-M-50x66.jpg] and company have provided a fine collection of Sherlockian holiday stories that fit in quite well with the traditional set.
"The Christmas Gift" by Anne Perry is a nice little piece about a stolen Stradivarius and a couple who want to marry against the wishes of the young lady's father. There is an excellent red herring, one of the few in this anthology.
In "The Four Wise Men" by Peter Lovesey, Watson must answer a call to duty from his former commanding officer in the Army, in order to help guard a medieval treasure in a Christmas pageant. The game is soon afoot, and Sherlock's powers of observation are as keen as ever.
Barbara Paul's "Eleemosynary, My Dear Watson" gives Holmes a jewel theft and a kidnapping to solve, which he does in his inimitable way. One clue seemed slightly too obvious to me, but it may not to other readers.
In "The Adventure of the Greatest Gift" by Loren D. Estleman, Holmes receives a wax cylinder containing a recording of a song popular in America. He takes it as a warning of a crime which could lead to war between Britain and France, and of course he leaps into action. This is Mycroft Holmes' only appearance in the volume.
There's plenty of misdirection in "The Case of the Rajah's Emerald" by Carolyn Wheat. Somehow, though, I suspected one of the great revelations in this one from the beginning, but I couldn't tell you exactly why. It didn't ruin the story for me, and there was still a surprise at the end.
On the other hand, Edward D. Hoch's "The Christmas Conspiracy" managed to take me completely unawares. I couldn't fathom why the crime would be committed or by whom, despite having a major clue dropped by one character. Very well done!
"The Music of Christmas" by L.B. Greenwood telegraphed the identity of the criminal from the start, but was well worth reading. One of the characters also tugged at the heartstrings.
Bill Crider's "The Adventure of the Christmas Bear" is largely memorable because of the appearance of Oscar Wilde as a character.
"The Adventure of the Naturalist's Stock Pin" by Jon L. Breen gives us Charles Darwin as Holmes' client. The mystery is less Sherlockian than some of the others, but I didn't mind reading it.
Daniel Stashower's "The Adventure of the Second Violet" was an interesting twist on a well-known Christmas story. I cannot say more without spoiling it, but he has a nice touch.
"The Human Mystery" by Tanith Lee is as dark as I expect from her, and was a depressing ending to the collection. It was, however, very well-written.
The anthology left me hungry for more Holmes, and wishing that I weren't between seasons of BBC's Sherlock or that I had another collection of stories on hand. That's the sign of a success, I think.
"The Christmas Gift" by Anne Perry is a nice little piece about a stolen Stradivarius and a couple who want to marry against the wishes of the young lady's father. There is an excellent red herring, one of the few in this anthology.
In "The Four Wise Men" by Peter Lovesey, Watson must answer a call to duty from his former commanding officer in the Army, in order to help guard a medieval treasure in a Christmas pageant. The game is soon afoot, and Sherlock's powers of observation are as keen as ever.
Barbara Paul's "Eleemosynary, My Dear Watson" gives Holmes a jewel theft and a kidnapping to solve, which he does in his inimitable way. One clue seemed slightly too obvious to me, but it may not to other readers.
In "The Adventure of the Greatest Gift" by Loren D. Estleman, Holmes receives a wax cylinder containing a recording of a song popular in America. He takes it as a warning of a crime which could lead to war between Britain and France, and of course he leaps into action. This is Mycroft Holmes' only appearance in the volume.
There's plenty of misdirection in "The Case of the Rajah's Emerald" by Carolyn Wheat. Somehow, though, I suspected one of the great revelations in this one from the beginning, but I couldn't tell you exactly why. It didn't ruin the story for me, and there was still a surprise at the end.
On the other hand, Edward D. Hoch's "The Christmas Conspiracy" managed to take me completely unawares. I couldn't fathom why the crime would be committed or by whom, despite having a major clue dropped by one character. Very well done!
"The Music of Christmas" by L.B. Greenwood telegraphed the identity of the criminal from the start, but was well worth reading. One of the characters also tugged at the heartstrings.
Bill Crider's "The Adventure of the Christmas Bear" is largely memorable because of the appearance of Oscar Wilde as a character.
"The Adventure of the Naturalist's Stock Pin" by Jon L. Breen gives us Charles Darwin as Holmes' client. The mystery is less Sherlockian than some of the others, but I didn't mind reading it.
Daniel Stashower's "The Adventure of the Second Violet" was an interesting twist on a well-known Christmas story. I cannot say more without spoiling it, but he has a nice touch.
"The Human Mystery" by Tanith Lee is as dark as I expect from her, and was a depressing ending to the collection. It was, however, very well-written.
The anthology left me hungry for more Holmes, and wishing that I weren't between seasons of BBC's Sherlock or that I had another collection of stories on hand. That's the sign of a success, I think.
BankofMarquis (1832 KP) rated Richard Jewell (2019) in Movies
Feb 2, 2020
Mellow paced - nothing special
89 year old Director/Actor Clint Eastwood has mellowed with age. He seems at peace with himself and prefers to work at a pace that he sets. His latest Directing effort - RICHARD JEWELL - has that sort of mellowness. It takes it time to tell it's story with no real urgency to it.
It could have used some life to be injected in it.
Based on the true events of the pipe bombing in Centennial Park in Atlanta during the 1996 Summer Olympics, RICHARD JEWELL tells the story of...well...Richard Jewell - the Security Guard who was hailed as a hero for warning people about the bomb, saving many lives, while also being listed as the #1 suspect in the bombing.
Director Eastwood and Writer Billy Ray do not spend much time making the audience guess at to whether or not they think that Jewell committed the crime (he did not - the real bomber was caught in 2006), rather they spend their time showing a person who's being railroaded by the FBI and who's life is caught up in the scramble by the press to "get the story." Again...this would be more interesting if Director Eastwood would show some sort of urgency to the proceedings, but this film is paced on an even keel from start to finish, and I never got caught up, emotionally, in the events that were transpiring in front of me.
Paul Walter Hauser (Shawn Eckhardt in I, TONYA) does a "fine enough" job as the titular character - but it isn't anything special and since the viewer is spending almost every scene with him "fine enough" isn't good enough. Adding to my disappointment are the portrayals by John Hamm (as an FBI Agent) and Olivia Wilde (as a Newspaper Reporter). Both of these performances border on caricature (especially Wilde's performance). I'm disappointed in Eastwood for letting this happen.
Injecting "some" life into this film is Kathy Bates - who was nominated for an Academy Award for Best Supporting Actress for her portrayal of Richard Jewell's mother - and she delivers better than the others...but not "Oscar Worthy". She does nail her "Oscar moment", but I don't think the script gives her much else to do.
The brightest spot in this film - by far - is the portrayal of Richard Jewell's lawyer, Watson Bryant, by Sam Rockwell and the performance of Nina Ariande as Bryant's Secretary/Girlfriend. If anyone should have been nominated for an Oscar for their performance in this film, it is Rockwell - his is the best one in the film and Ariande plays off him wonderfully well. I sat up a little taller in my seat whenever these two had a scene together.
But that's about it. It's a pretty "meh" movie - professionally made and paced deliberately and mellowly - like Clint Eastwood. But not like an Oscar contending film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
It could have used some life to be injected in it.
Based on the true events of the pipe bombing in Centennial Park in Atlanta during the 1996 Summer Olympics, RICHARD JEWELL tells the story of...well...Richard Jewell - the Security Guard who was hailed as a hero for warning people about the bomb, saving many lives, while also being listed as the #1 suspect in the bombing.
Director Eastwood and Writer Billy Ray do not spend much time making the audience guess at to whether or not they think that Jewell committed the crime (he did not - the real bomber was caught in 2006), rather they spend their time showing a person who's being railroaded by the FBI and who's life is caught up in the scramble by the press to "get the story." Again...this would be more interesting if Director Eastwood would show some sort of urgency to the proceedings, but this film is paced on an even keel from start to finish, and I never got caught up, emotionally, in the events that were transpiring in front of me.
Paul Walter Hauser (Shawn Eckhardt in I, TONYA) does a "fine enough" job as the titular character - but it isn't anything special and since the viewer is spending almost every scene with him "fine enough" isn't good enough. Adding to my disappointment are the portrayals by John Hamm (as an FBI Agent) and Olivia Wilde (as a Newspaper Reporter). Both of these performances border on caricature (especially Wilde's performance). I'm disappointed in Eastwood for letting this happen.
Injecting "some" life into this film is Kathy Bates - who was nominated for an Academy Award for Best Supporting Actress for her portrayal of Richard Jewell's mother - and she delivers better than the others...but not "Oscar Worthy". She does nail her "Oscar moment", but I don't think the script gives her much else to do.
The brightest spot in this film - by far - is the portrayal of Richard Jewell's lawyer, Watson Bryant, by Sam Rockwell and the performance of Nina Ariande as Bryant's Secretary/Girlfriend. If anyone should have been nominated for an Oscar for their performance in this film, it is Rockwell - his is the best one in the film and Ariande plays off him wonderfully well. I sat up a little taller in my seat whenever these two had a scene together.
But that's about it. It's a pretty "meh" movie - professionally made and paced deliberately and mellowly - like Clint Eastwood. But not like an Oscar contending film.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
The Mammoth Book of Great British Humour
Book
A doorstopper of a collection of the very best of both contemporary and classic British wit and...
Lebensweisheiten - Weisheiten, weise Sprüche und kluge Zitate
Lifestyle and Education
App
✸ ✸ ✸ Das ORIGINAL der erfolgreichen Nr.1-APP - JETZT FÜR NUR 89 CENT !!! ✸ ✸ ✸ ✸...
Mayhawke (97 KP) rated Wilde Lake in Books
Feb 13, 2018
A gripping thriller chronicling the awful collision of events past and present for a newly inaugurated District Attorney
Thank you to Andrew at Faber & Faber for the ARC.
OK - so my first admission here is that, although I read a lot of crime I have somehow managed to remain completely oblivious to the (quite large!) body of work from Ms. Lippman!
That said the, fact that there exists such a body to give evidence to her long experience as a writer goes someway to explaining the smooth skill with which the story of newly-appointed State's Attorney, Lu Brandt, is unpackaged and delivered to the reader.
The story is told in a combination of first- and third-person relating current and past events. I found this a slightly odd and unsettling, though effective, way to use the voice of the narrator, and I was constantly bothered by who was narrating in the third-person sequences.
Lu Brandt, scion of a former and legendary State's Attorney , grew up in the experimental new town of Columbia, in a house on the edge of Wilde Lake. For me she is one of the most realistic characters I have ever read, and I felt a strong empathy for the child Lu in the historic sequences, though she was far smarter than I ever was!
Her mother's death early in Lu's life, her father's immersion in his job and the age gap between Lu and her older brother left the precocious Lu with the feeling of always being an outsider in her own life, yet one with a unique and largely over-looked position from which to view the events of all their lives. In childhood this externalism simply confused her: as an adult she misconstrues it as casual and unintentional neglect - nothing she can't overcome or forgive with an adult's perspective.
The plotline is simple: The first case to land on Lu's desk in her new job is a mundane but nasty murder. Directing the police to be more thorough than her predecessor demanded Lu finds occasional links back to her earlier life in Colombia. At first these seem like nothing more than the kind of inter-connection of lives that is to be expected in small town, but the further she digs the closer to home the connections appear to come, and her earlier childhood observations begin to take on a more menacing cast.
This is not an original format or even a particularly uncommon story but it is in the details and the delivery that Lippman's skill is brought to bear. The steady rhythm with which the facts and fictions, truth and lies are laid before the reader; the characters, who are developed from bright-eyed high-schoolers, through college and into more cynical middle-age; the events that carry those same characters to that darker stage of their lives - all of these aspects of the story are delivered with a style and depth that make this one of the most thoroughly engaging books I have read this year.
This is a good representation of the book I would like all my ARC's and proofs to be.
OK - so my first admission here is that, although I read a lot of crime I have somehow managed to remain completely oblivious to the (quite large!) body of work from Ms. Lippman!
That said the, fact that there exists such a body to give evidence to her long experience as a writer goes someway to explaining the smooth skill with which the story of newly-appointed State's Attorney, Lu Brandt, is unpackaged and delivered to the reader.
The story is told in a combination of first- and third-person relating current and past events. I found this a slightly odd and unsettling, though effective, way to use the voice of the narrator, and I was constantly bothered by who was narrating in the third-person sequences.
Lu Brandt, scion of a former and legendary State's Attorney , grew up in the experimental new town of Columbia, in a house on the edge of Wilde Lake. For me she is one of the most realistic characters I have ever read, and I felt a strong empathy for the child Lu in the historic sequences, though she was far smarter than I ever was!
Her mother's death early in Lu's life, her father's immersion in his job and the age gap between Lu and her older brother left the precocious Lu with the feeling of always being an outsider in her own life, yet one with a unique and largely over-looked position from which to view the events of all their lives. In childhood this externalism simply confused her: as an adult she misconstrues it as casual and unintentional neglect - nothing she can't overcome or forgive with an adult's perspective.
The plotline is simple: The first case to land on Lu's desk in her new job is a mundane but nasty murder. Directing the police to be more thorough than her predecessor demanded Lu finds occasional links back to her earlier life in Colombia. At first these seem like nothing more than the kind of inter-connection of lives that is to be expected in small town, but the further she digs the closer to home the connections appear to come, and her earlier childhood observations begin to take on a more menacing cast.
This is not an original format or even a particularly uncommon story but it is in the details and the delivery that Lippman's skill is brought to bear. The steady rhythm with which the facts and fictions, truth and lies are laid before the reader; the characters, who are developed from bright-eyed high-schoolers, through college and into more cynical middle-age; the events that carry those same characters to that darker stage of their lives - all of these aspects of the story are delivered with a style and depth that make this one of the most thoroughly engaging books I have read this year.
This is a good representation of the book I would like all my ARC's and proofs to be.
Gareth von Kallenbach (980 KP) rated Rush (2013) in Movies
Aug 6, 2019
Today we bring you the latest from dircetor Ron Howard. A movie about what is considered to be one of the greatest rivalries in sports history and to this day, the greatest rivalry in the history of Formula 1 racing … the biographical action film RUSH. Released in the United States on September 20th RUSH tells the story behind the 1976 Formula 1 racing season and the intense rivalry between britsh racing champion James Hunt and austrain racing champion Niki Lauda. Staring Chis Hemsworth (Thor, Red Dawn) as Hunt and Daniel Bruhl (Inglourious Bastards, The Bourne Ultimatum) as Lauda, RUSH follows the two racing legends from their first confrontation at a Formula 3 race at England’s Crystal Palace circuit in 1970 to their accention to Formula 1 racing, to Lauda’s near-fatal carsh at the German Grand Prix and finally to the final race of the season, the Japanese Grand Prix.
What makes this movie different from other stories about the two rivals, is that it is told from the viewpoint of Niki Lauda. Written by legendary screenwritter Peter Morgan, Lauda had been approached many times by studios and writers for nearly 30 years wanting to make a movie from his point of view. Lauda had also been hesitent to make a movie for many years in part because of the death of James Hunt in 1993 at the age of 45 and felt that it wouldn’t have been ‘right’ to make a movie without his rival’s input. After meeting with dircetor Ron Howard, reading Peter Morgan’s screenplay, and with the blessing of James Hunt’s family Lauda finally agreed the movie should be made and i’m here to tell YOU my fellow movie-goers that the 30 years was worth the wait. With a supporting cast inclding Olivia Wilde, Alexandra Maria Lara, and Piefranscesco Favino it is apparent that the studios were serious about making this movie and making it right. Hemsworth and Bruhl definately deliver the goods portraying Hunt and Lauda and I will not be surprised if both of them recieve awards for their potrayals is the two leading characters in the movie. RUSH is different from alot of other movies because there is no REAL villian. It tells the story of two very different competitors in a sport where death is one small mistake away who couldn’t stand one another but at the sametime, when all is said and done they respected each other. It’s the story of two heros who pushed themselves to the limit .. sometimes losing themselves in the process and having to come to terms with the fact that they were not invinvcible.
I for one enjoyed the movie more than any other movie so far this year and I would highly recommend it to you all! Go and see it! Rotten Tomatoes gives it an 89% rating and i’m giving it 5 out of 5 stars! And with talk of the movie being nominated for awards ALREADY … How can you say ‘NO’ to recommendations like that!? It is rated R though so leave the kids at home.
What makes this movie different from other stories about the two rivals, is that it is told from the viewpoint of Niki Lauda. Written by legendary screenwritter Peter Morgan, Lauda had been approached many times by studios and writers for nearly 30 years wanting to make a movie from his point of view. Lauda had also been hesitent to make a movie for many years in part because of the death of James Hunt in 1993 at the age of 45 and felt that it wouldn’t have been ‘right’ to make a movie without his rival’s input. After meeting with dircetor Ron Howard, reading Peter Morgan’s screenplay, and with the blessing of James Hunt’s family Lauda finally agreed the movie should be made and i’m here to tell YOU my fellow movie-goers that the 30 years was worth the wait. With a supporting cast inclding Olivia Wilde, Alexandra Maria Lara, and Piefranscesco Favino it is apparent that the studios were serious about making this movie and making it right. Hemsworth and Bruhl definately deliver the goods portraying Hunt and Lauda and I will not be surprised if both of them recieve awards for their potrayals is the two leading characters in the movie. RUSH is different from alot of other movies because there is no REAL villian. It tells the story of two very different competitors in a sport where death is one small mistake away who couldn’t stand one another but at the sametime, when all is said and done they respected each other. It’s the story of two heros who pushed themselves to the limit .. sometimes losing themselves in the process and having to come to terms with the fact that they were not invinvcible.
I for one enjoyed the movie more than any other movie so far this year and I would highly recommend it to you all! Go and see it! Rotten Tomatoes gives it an 89% rating and i’m giving it 5 out of 5 stars! And with talk of the movie being nominated for awards ALREADY … How can you say ‘NO’ to recommendations like that!? It is rated R though so leave the kids at home.
Gareth von Kallenbach (980 KP) rated The Words (2012) in Movies
Aug 7, 2019
On paper, The Words is a film that is better suited as a literary novella. In print, we, as readers, are often granted insight to our characters thoughts and motivation that is frequently lost on film or delivered in a lackluster voiceover that most critics deem as lazy film making. Furthermore, the story within a story, within a story approach in film often leaves the audience with uninteresting shells of characters and can make a story forgettable at best.
Given these reasons, it is easy to see why many would choose to undertake a less ambitious story for their directorial debut. That group does not include co-writer-directors Brian Klugman and Lee Sternthal. This duo is actually successful at tackling this dangerous story-within-a-story film device by keeping it simple. Focusing on the main characters of each story and their motivation, while tying each together with some common themes like love, what it means to write something great, and how far the need for success will drive the characters.
The movie begins with highly successful author Clay Hammond (Dennis Quaid) conducting a reading of his latest novel The Words. Among his audience is literary grad student and adoring fan, Daniella (Olivia Wilde), who has aspirations of picking the brain of the man that authored her favorite stories and perhaps getting involved romantically. As Hammond begins to read his story we are introduced to the tale of starving writer Rory Jensen (Bradley Cooper) and his wife Dora (Zoe Saldana). The two are a young couple in love, trying to get on their feet while Rory struggles with multiple rejections of his novels, until he is finally forced to come to grips with his own limitations as an artist and a writer.
As he settles into life and a job as a mail clerk at a publishing firm, he finds a lost manuscript in a vintage leather briefcase that Dora had purchased for him during their honeymoon in Paris. That story turns out to be something that moves him to tears. It is the final thing in his realization that he will never be the great writer that he thought he was, the great writer that wrote this anonymous story. In an effort to feel and try to understand what it is like to create something great, Rory decides to retype the novel word for word on his laptop if only to admire the beautiful story that he had instantly fallen in love with. When Dora mistakenly reads the novel, she encourages him to submit it to a publisher. Before he can tell her the truth, his world is transformed into the life he had always imagined he would have for himself and Dora as the novel gains him both great literary and commercial success. And finally, now that his star has risen he can get his own novel published.
Enter Jeremy Irons as the old man who reveals himself to Rory as the true author of his story. The old man feels compelled to explain to Rory the tragic origin of the story that has become the young author’s success. Irons steals every second he is on screen as his delivery of the old man oozes with the intellectual style that has been his trademark over the years. Like Rory, we are helpless to do nothing but listen and get lost in the words of his story as if he was sitting next to us and telling the story in real life.
The old man reveals that the novel is the result of great love and pain that his younger self (Ben Barnes) and the love of his life Celia (Nora Arnezeder) endured. While I am not familiar with Barnes’ and Arnezeder’s work, their performance as the younger couple in Irons’ story had a genuine connection. And while this love story does not seem to be anything new when it comes to film, it served its purpose by strengthening the other stories, showing how a great story can be mused from someplace unexpected, even if only once.
With Rory now confronted with his deceitful success, he struggles to decide how to make things right and live with himself as a fraud. It’s at this point the film subtly suggest that Hammond’s story of Rory may actually be a disguised autobiography.
As Rory, Bradley Cooper gives perhaps his best performance to date. I feel that despite his poor and deceitful decision, at no point does he lose the audience. With the help of a strong and emotionally charged performance by Zoe Saldana, we experience Cooper’s honest plight and can understand the events that unfold around him. He is effective as a man who genuinely believes he does not deserve the success that he stole. Without a doubt, this will be a surprising role for those fans who only know Cooper from the humorous characters he plays in The Hangover and most recently Hit and Run. I hope this is the beginning of growth in his craft beyond the charming, confident character we have seen in Limitless and perhaps into a deeper emotional actor.
The weakest part of this film is the story of Clay Hammond and Daniella. Dennis Quaid is quite unlikable as Hammond. He is monotone in his readings and the prose of his story is mediocre at best. While the film drops hints that Hammond’s story of Rory is autobiographical it makes sense that Quaid’s character is played this way. He succeeds in helping create the notion that Hammond is unworthy of the success his character has enjoyed. But something about his performance is so unlikable that even when his character has a redeeming moment, it is lost on an audience that may not care enough about him for it to work.
To add to this dislike of Quaid, Olivia Wilde seems out of place as the character Daniella. It is not that her performance is bad, it is just that every time they showed her as the starry-eyed fan who is love struck for Hammond, she just seemed out of place. Additionally there did not seem to be any connection between Daniella and Hammond in the way the other characters’ connections helped strengthen their performances.
In the end, I enjoyed this movie more than I expected. Visually the Montreal backdrop does an excellent job as both New York and Paris. And the continual piano score helps blend the stories. The simple focus on the main characters helped maintain the three different stories and keep the overall pacing of the movie in order. In addition, the solid to exceptional performances also helped to keep the film focused and avoided the empty shell of characters that most movies of this nature create. That being said, this movie is not for everyone, but those looking for a change of pace from the summer blockbusters season should consider this film.
Given these reasons, it is easy to see why many would choose to undertake a less ambitious story for their directorial debut. That group does not include co-writer-directors Brian Klugman and Lee Sternthal. This duo is actually successful at tackling this dangerous story-within-a-story film device by keeping it simple. Focusing on the main characters of each story and their motivation, while tying each together with some common themes like love, what it means to write something great, and how far the need for success will drive the characters.
The movie begins with highly successful author Clay Hammond (Dennis Quaid) conducting a reading of his latest novel The Words. Among his audience is literary grad student and adoring fan, Daniella (Olivia Wilde), who has aspirations of picking the brain of the man that authored her favorite stories and perhaps getting involved romantically. As Hammond begins to read his story we are introduced to the tale of starving writer Rory Jensen (Bradley Cooper) and his wife Dora (Zoe Saldana). The two are a young couple in love, trying to get on their feet while Rory struggles with multiple rejections of his novels, until he is finally forced to come to grips with his own limitations as an artist and a writer.
As he settles into life and a job as a mail clerk at a publishing firm, he finds a lost manuscript in a vintage leather briefcase that Dora had purchased for him during their honeymoon in Paris. That story turns out to be something that moves him to tears. It is the final thing in his realization that he will never be the great writer that he thought he was, the great writer that wrote this anonymous story. In an effort to feel and try to understand what it is like to create something great, Rory decides to retype the novel word for word on his laptop if only to admire the beautiful story that he had instantly fallen in love with. When Dora mistakenly reads the novel, she encourages him to submit it to a publisher. Before he can tell her the truth, his world is transformed into the life he had always imagined he would have for himself and Dora as the novel gains him both great literary and commercial success. And finally, now that his star has risen he can get his own novel published.
Enter Jeremy Irons as the old man who reveals himself to Rory as the true author of his story. The old man feels compelled to explain to Rory the tragic origin of the story that has become the young author’s success. Irons steals every second he is on screen as his delivery of the old man oozes with the intellectual style that has been his trademark over the years. Like Rory, we are helpless to do nothing but listen and get lost in the words of his story as if he was sitting next to us and telling the story in real life.
The old man reveals that the novel is the result of great love and pain that his younger self (Ben Barnes) and the love of his life Celia (Nora Arnezeder) endured. While I am not familiar with Barnes’ and Arnezeder’s work, their performance as the younger couple in Irons’ story had a genuine connection. And while this love story does not seem to be anything new when it comes to film, it served its purpose by strengthening the other stories, showing how a great story can be mused from someplace unexpected, even if only once.
With Rory now confronted with his deceitful success, he struggles to decide how to make things right and live with himself as a fraud. It’s at this point the film subtly suggest that Hammond’s story of Rory may actually be a disguised autobiography.
As Rory, Bradley Cooper gives perhaps his best performance to date. I feel that despite his poor and deceitful decision, at no point does he lose the audience. With the help of a strong and emotionally charged performance by Zoe Saldana, we experience Cooper’s honest plight and can understand the events that unfold around him. He is effective as a man who genuinely believes he does not deserve the success that he stole. Without a doubt, this will be a surprising role for those fans who only know Cooper from the humorous characters he plays in The Hangover and most recently Hit and Run. I hope this is the beginning of growth in his craft beyond the charming, confident character we have seen in Limitless and perhaps into a deeper emotional actor.
The weakest part of this film is the story of Clay Hammond and Daniella. Dennis Quaid is quite unlikable as Hammond. He is monotone in his readings and the prose of his story is mediocre at best. While the film drops hints that Hammond’s story of Rory is autobiographical it makes sense that Quaid’s character is played this way. He succeeds in helping create the notion that Hammond is unworthy of the success his character has enjoyed. But something about his performance is so unlikable that even when his character has a redeeming moment, it is lost on an audience that may not care enough about him for it to work.
To add to this dislike of Quaid, Olivia Wilde seems out of place as the character Daniella. It is not that her performance is bad, it is just that every time they showed her as the starry-eyed fan who is love struck for Hammond, she just seemed out of place. Additionally there did not seem to be any connection between Daniella and Hammond in the way the other characters’ connections helped strengthen their performances.
In the end, I enjoyed this movie more than I expected. Visually the Montreal backdrop does an excellent job as both New York and Paris. And the continual piano score helps blend the stories. The simple focus on the main characters helped maintain the three different stories and keep the overall pacing of the movie in order. In addition, the solid to exceptional performances also helped to keep the film focused and avoided the empty shell of characters that most movies of this nature create. That being said, this movie is not for everyone, but those looking for a change of pace from the summer blockbusters season should consider this film.
Gareth von Kallenbach (980 KP) rated The Incredible Burt Wonderstone (2013) in Movies
Jun 19, 2019
Back in the early 1980s, a young boy who found himself without friends and tormented by bullies was about to have an unexpected and life-changing experience. Alone on his birthday, the young boy opens his one gift from his mom and is delighted to find a magic kit and instructional video by reknowned magician Lance Holloway (Alan Arkin). His early attempts at magic gain him a new friend and the two become inseparable through their love and practice of magic.
Flash forward, and the two friends are now all the rage in the world of magic. Burt Wonderstone (Steve Carrell), and Anton Marvelton (Steve Buscemi), have packed their theater night after night with a dazzling mix of music, showmanship, and magic. Not only does this keep their boss (James Gandolfini) happy, but it allows Burt to enjoy all of the perks of being a Las Vegas headliner: fame, fortune, and women.
Ten years later it’s a different story for the two friends. While they still have a very popular show, creative differences between the two have arisen and Burt has become a very pompous and self-centered individual. He treats those around him with utter disdain and has driven off numerous assistants due to his behavior. The latest to join his group is Jane (Olivia Wilde), whom Burt sees as nothing more than a person to assist on stage to make him look good, and to succumb to his charms after the show. When a new street magician named (Jim Carrey), starts to become garner attention with his new and shocking routines, Burt and Anton’s routine is suddenly looking very stale in comparison. Anton devises a new trick to be played out in public that he hopes will propel the duo to a fresh and hip image, but sadly things go horribly wrong and the best friends have a bitter falling out. Literally.
Burt attempts to go on with the show alone, but his ego will not allow him to acknowledge the fact that Anton was a big part of the show and that the act depends on both of them. With his career suddenly over and with no money, Burt hits rock bottom and must find a way to regain his former glory. In doing so he will have to reinvent himself and undergo a magical transformation of his own.
The movie is an absolute delight and is so much more enjoyable and funnier than the trailers imply. Carrell has pulled off his best movie since “The 40 Year Old Virgin”, and infuses Burt with a likeability and sense of wonder despite his narcissism. Buscemi and Arkin are great in their supporting roles and Carrey seems to be enjoying every minute of playing the film’s bad guy as he gives a performance that while restrained when compared to some of his more over the top roles works very well with the ensemble cast.
The film is an unexpected find as it is a comedy that does not pander to base humor to get laughs and instead uses situational comedy and the characters to tell a charming story sprinkled with some solid laughs along the way, especially in the final moments of the film.
http://sknr.net/2013/03/15/the-incredible-burt-wonderstone/
Flash forward, and the two friends are now all the rage in the world of magic. Burt Wonderstone (Steve Carrell), and Anton Marvelton (Steve Buscemi), have packed their theater night after night with a dazzling mix of music, showmanship, and magic. Not only does this keep their boss (James Gandolfini) happy, but it allows Burt to enjoy all of the perks of being a Las Vegas headliner: fame, fortune, and women.
Ten years later it’s a different story for the two friends. While they still have a very popular show, creative differences between the two have arisen and Burt has become a very pompous and self-centered individual. He treats those around him with utter disdain and has driven off numerous assistants due to his behavior. The latest to join his group is Jane (Olivia Wilde), whom Burt sees as nothing more than a person to assist on stage to make him look good, and to succumb to his charms after the show. When a new street magician named (Jim Carrey), starts to become garner attention with his new and shocking routines, Burt and Anton’s routine is suddenly looking very stale in comparison. Anton devises a new trick to be played out in public that he hopes will propel the duo to a fresh and hip image, but sadly things go horribly wrong and the best friends have a bitter falling out. Literally.
Burt attempts to go on with the show alone, but his ego will not allow him to acknowledge the fact that Anton was a big part of the show and that the act depends on both of them. With his career suddenly over and with no money, Burt hits rock bottom and must find a way to regain his former glory. In doing so he will have to reinvent himself and undergo a magical transformation of his own.
The movie is an absolute delight and is so much more enjoyable and funnier than the trailers imply. Carrell has pulled off his best movie since “The 40 Year Old Virgin”, and infuses Burt with a likeability and sense of wonder despite his narcissism. Buscemi and Arkin are great in their supporting roles and Carrey seems to be enjoying every minute of playing the film’s bad guy as he gives a performance that while restrained when compared to some of his more over the top roles works very well with the ensemble cast.
The film is an unexpected find as it is a comedy that does not pander to base humor to get laughs and instead uses situational comedy and the characters to tell a charming story sprinkled with some solid laughs along the way, especially in the final moments of the film.
http://sknr.net/2013/03/15/the-incredible-burt-wonderstone/