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Lyndsey Gollogly (2893 KP) rated Pretty Dead (Elise Sandburg #3) in Books
Aug 2, 2021
118 of 250
Kindle
Pretty Dead ( Elise Sandburg book 3)
By Anne Frasier
Once read a review will be written via Smashbomb and link posted in comments
A serial killer stalks the streets of Savannah...
Homicide detective Elise Sandburg and her partner, profiler David Gould, are all too familiar with the terrible costs of chasing evil. Despite their wounded psyches, the detectives delve into the deranged killer’s twisted mind, determined to unravel the clues in the taunts he leaves behind.
A city gripped by fear...
When his daughter becomes the killer’s next victim, a grief-stricken mayor comes down hard on the police, demanding that they catch the psychopath—now. Feeling the pressure, department officials enlist the aid of both Elise’s estranged father and an FBI profiler who has unresolved business with David.
A cunning and elusive madman...
In a heart-pounding race to stop the next homicide, the detectives uncover their own role in the madman’s deadly game. Will they outsmart the killer before another horrific murder takes place in their beautiful city? Or have Elise and David finally met their match?
I thought it was fab! I love this duo and Anne’s writing style. I did have the murderer pegged from the beginning but even so it was such an entertaining read. Can’t believe there are only 4 books in this series so only 1 more to go.
Kindle
Pretty Dead ( Elise Sandburg book 3)
By Anne Frasier
Once read a review will be written via Smashbomb and link posted in comments
A serial killer stalks the streets of Savannah...
Homicide detective Elise Sandburg and her partner, profiler David Gould, are all too familiar with the terrible costs of chasing evil. Despite their wounded psyches, the detectives delve into the deranged killer’s twisted mind, determined to unravel the clues in the taunts he leaves behind.
A city gripped by fear...
When his daughter becomes the killer’s next victim, a grief-stricken mayor comes down hard on the police, demanding that they catch the psychopath—now. Feeling the pressure, department officials enlist the aid of both Elise’s estranged father and an FBI profiler who has unresolved business with David.
A cunning and elusive madman...
In a heart-pounding race to stop the next homicide, the detectives uncover their own role in the madman’s deadly game. Will they outsmart the killer before another horrific murder takes place in their beautiful city? Or have Elise and David finally met their match?
I thought it was fab! I love this duo and Anne’s writing style. I did have the murderer pegged from the beginning but even so it was such an entertaining read. Can’t believe there are only 4 books in this series so only 1 more to go.
Phillip McSween (751 KP) rated Cinderella Man (2005) in Movies
Jan 15, 2018
Classic
Cinderella Man is one of those films where I ask myself, "Why in the world has it taken me thirteen years to watch this?" It could be the fact that I've never had a strong love for films based on true stories or that I'm all binged out on boxing movies. Whatever the case may be, I'm glad Movies 365 has brought this film into my life and now into my heart.
There's so much to like about the movie, I'm not even sure where to start. Maybe Paul Giamati giving the performance of his life as trainer Joe Gould? Talk about playing a fabulous role. He's brash and straightforward, yet full of heart. He's not a fighter, but will go toe-to-toe with anyone to protect the people he cares about. Outshining him, however, is a stellar lead performance by legend Russell Crowe playing man of the hour James Braddock. Crowe makes you feel this guy, makes you love him. In one of the early scenes where Braddock gives his entire breakfast to his starving daughter before leaving for a strenuous day of work, you quickly realize that this is a guy you want to get behind and root for.
In the same vein, kudos to Ron Howard for using the source material to flesh out the stakes. The story could have just as easily been about a man trying to get back into boxing, but he made it about a man trying to feed his family and survive. It's painful to watch at times, but necessary. If you're not the least bit inspired after viewing this film, I don't know what will do it for you.
Howard also succeeds with excellent pace management. Seamless cuts between fights keep the action fresh and the viewer engaged. You don't get a whole lot of time to catch your breath. The cinematics are shot in a way that's gritty and real, beyond fitting for the Great Depression era when the film takes place.
Other than me almost going hoarse from screaming at the screen so much, I can't find many flaws with the film (hiccups, nothing major). I challenge you not to love this film about an aging boxer that just wants to keep his family alive. I give Cinderella Man a 95.
There's so much to like about the movie, I'm not even sure where to start. Maybe Paul Giamati giving the performance of his life as trainer Joe Gould? Talk about playing a fabulous role. He's brash and straightforward, yet full of heart. He's not a fighter, but will go toe-to-toe with anyone to protect the people he cares about. Outshining him, however, is a stellar lead performance by legend Russell Crowe playing man of the hour James Braddock. Crowe makes you feel this guy, makes you love him. In one of the early scenes where Braddock gives his entire breakfast to his starving daughter before leaving for a strenuous day of work, you quickly realize that this is a guy you want to get behind and root for.
In the same vein, kudos to Ron Howard for using the source material to flesh out the stakes. The story could have just as easily been about a man trying to get back into boxing, but he made it about a man trying to feed his family and survive. It's painful to watch at times, but necessary. If you're not the least bit inspired after viewing this film, I don't know what will do it for you.
Howard also succeeds with excellent pace management. Seamless cuts between fights keep the action fresh and the viewer engaged. You don't get a whole lot of time to catch your breath. The cinematics are shot in a way that's gritty and real, beyond fitting for the Great Depression era when the film takes place.
Other than me almost going hoarse from screaming at the screen so much, I can't find many flaws with the film (hiccups, nothing major). I challenge you not to love this film about an aging boxer that just wants to keep his family alive. I give Cinderella Man a 95.
Gareth von Kallenbach (980 KP) rated Cinderella Man (2005) in Movies
Aug 14, 2019
In the late 1920’s Jim Braddock was a boxer with a future. After many wins, he was poised to take his place as one of the greatest boxers of his time. Things took a bad turn for Jim in 1929 when he first lost a 15 round decision to Tommy Loughran, and then lost everything in the Stock Market Crash.
In the new film Cinderella Man Academy Award winner Russell Crowe stars as Jim Braddock in one of the most satisfying films in recent memory. Down and almost out, Braddock struggles to provide for his wife Mae (Renee Zellweger), and his three children. A series of hand injuries has forced Jim to resort to fighting in pick up fights, as he is unable to find work as a laborer.
Things go from bad to worse for Jim when he breaks a bone in his hand and is unable to provide entertainment for those in a local boxing match which results in the suspension of his boxing license. With his electricity turned off in the dead of winter, and his children coughing from the effects of the cold, Jim is forced to hide his injury and seek work as a day laborer to get by.
As Jim and Mae debate sending the kids to her sister in order to better provide for them, a ray of hope arises when Jim’s old manger Joe Gould (Paul Giamatti), says he has arranged a fight with a $250 payday.
Since Jim’s hand has healed, he takes the fight seeing it as a chance to get caught up on his bills. Fate steps in when in a shocking turnaround; Jim wins the fight via knock out, and captures the imagination of the local sports community. Before long, Jim is racking up win after win and improving his lot in life as he prepares for an unexpected title shot against the devastating and unbeaten Max Baer (Craig Bierko).
The fact that Baer has killed two men in the ring is a cause of great stress for Jim and Mae as she worries for the safety of her husband while Jim sees the fight as his chance to provide some financial security for his family.
Anyone who has seen the trailer can be sure that the big fight will take place, and that the underdog will find himself in a battle against overwhelming odds, but what makes Cinderella Man such a captivating film is the captivating human drama that propels the film. There have been many boxing films ranging from “Rocky” to “Raging Bull”, that have depicted the graphic action of the ring, but few have reached the depths of human drama that this film does. Jim is not looking for glory, he is simply looking to provide for his family the best way that he is able be it in the ring or hauling cargo at the docks.
Crowe is riveting as he is able to convey his characters plight to the audience without making it seem forced or heavy handed. Where Crowe truly shines is his ability to mix the emotional sequences of the film with the athletic and action filled ring sequences and not lose any of his character. Far too often actors fail to convince in one aspect when they try to mix drama and action, but Crowe easily transitions between the demands of the role proving again that he is the most gifted actor in Hollywood. The steady direction of Ron Howard keeps the film moving at a crisp pace, without allowing the story to become mired in sentiment.
The only real issue I had with the film is that the talented Zellweger is not given enough to do, as beyond doting for and worry about her family, she is not given much to do aside from stand by while the action occurs around her.
That being said Cinderella Man, is a triumph of film making, and should be a forced to contend with come Oscar season.
In the new film Cinderella Man Academy Award winner Russell Crowe stars as Jim Braddock in one of the most satisfying films in recent memory. Down and almost out, Braddock struggles to provide for his wife Mae (Renee Zellweger), and his three children. A series of hand injuries has forced Jim to resort to fighting in pick up fights, as he is unable to find work as a laborer.
Things go from bad to worse for Jim when he breaks a bone in his hand and is unable to provide entertainment for those in a local boxing match which results in the suspension of his boxing license. With his electricity turned off in the dead of winter, and his children coughing from the effects of the cold, Jim is forced to hide his injury and seek work as a day laborer to get by.
As Jim and Mae debate sending the kids to her sister in order to better provide for them, a ray of hope arises when Jim’s old manger Joe Gould (Paul Giamatti), says he has arranged a fight with a $250 payday.
Since Jim’s hand has healed, he takes the fight seeing it as a chance to get caught up on his bills. Fate steps in when in a shocking turnaround; Jim wins the fight via knock out, and captures the imagination of the local sports community. Before long, Jim is racking up win after win and improving his lot in life as he prepares for an unexpected title shot against the devastating and unbeaten Max Baer (Craig Bierko).
The fact that Baer has killed two men in the ring is a cause of great stress for Jim and Mae as she worries for the safety of her husband while Jim sees the fight as his chance to provide some financial security for his family.
Anyone who has seen the trailer can be sure that the big fight will take place, and that the underdog will find himself in a battle against overwhelming odds, but what makes Cinderella Man such a captivating film is the captivating human drama that propels the film. There have been many boxing films ranging from “Rocky” to “Raging Bull”, that have depicted the graphic action of the ring, but few have reached the depths of human drama that this film does. Jim is not looking for glory, he is simply looking to provide for his family the best way that he is able be it in the ring or hauling cargo at the docks.
Crowe is riveting as he is able to convey his characters plight to the audience without making it seem forced or heavy handed. Where Crowe truly shines is his ability to mix the emotional sequences of the film with the athletic and action filled ring sequences and not lose any of his character. Far too often actors fail to convince in one aspect when they try to mix drama and action, but Crowe easily transitions between the demands of the role proving again that he is the most gifted actor in Hollywood. The steady direction of Ron Howard keeps the film moving at a crisp pace, without allowing the story to become mired in sentiment.
The only real issue I had with the film is that the talented Zellweger is not given enough to do, as beyond doting for and worry about her family, she is not given much to do aside from stand by while the action occurs around her.
That being said Cinderella Man, is a triumph of film making, and should be a forced to contend with come Oscar season.
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/