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Merissa (11612 KP) rated The Selkie's Coat (Waves of Fate #1) in Books
Apr 20, 2020
The Selkie's Coat is the first book in the Waves of Fate series and we start off with a seal (obviously!) shifter and a human omega. In this omegaverse, shifters are common knowledge, human omega's are rare, and new things are being learnt all the time.
Gregory is amazed to find his fated mate when he is so young - only 100 plus years - and is determined to do the right thing and give his human mate a chance to learn about what a fated mate is. This goes against what his inner animal wants to do and causes strife between the two of them. Daniel hadn't known a human omega could even mate with a shifter so the whole thing came as a surprise to him. He is fascinated by Gregory, even more so when he gets a glimpse of his seal speaking through Gregory's human body. Understandably, though, his feelings swing like a pendulum as he doesn't understand just what is going on.
This is a lovely slow-burn romance with a sweet Alpha and a headstrong Omega. Sometimes I wanted to whomp Daniel upside the head as he seemed to swing so much and vent his frustrations on the wrong person. Don't get me wrong, I liked Daniel but sweet Gregory was the one I fell for.
One thing I loved straight away in this book is the amount of shifters here - and it's not always cats or wolves! Scenting their mate is a big thing in most paranormal books but in this one, because Gregory is a water shifter, for him it's the sound of Daniel's voice. I loved that!!! The oh-so-simple idea that different shifters have different ways of knowing their mates. đ
I don't know who's story is coming next but I can't wait for Winston and Henri's! If you love Omegavers stories and like a sweet, slow-burner then I have no hesitation in recommending this one!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Gregory is amazed to find his fated mate when he is so young - only 100 plus years - and is determined to do the right thing and give his human mate a chance to learn about what a fated mate is. This goes against what his inner animal wants to do and causes strife between the two of them. Daniel hadn't known a human omega could even mate with a shifter so the whole thing came as a surprise to him. He is fascinated by Gregory, even more so when he gets a glimpse of his seal speaking through Gregory's human body. Understandably, though, his feelings swing like a pendulum as he doesn't understand just what is going on.
This is a lovely slow-burn romance with a sweet Alpha and a headstrong Omega. Sometimes I wanted to whomp Daniel upside the head as he seemed to swing so much and vent his frustrations on the wrong person. Don't get me wrong, I liked Daniel but sweet Gregory was the one I fell for.
One thing I loved straight away in this book is the amount of shifters here - and it's not always cats or wolves! Scenting their mate is a big thing in most paranormal books but in this one, because Gregory is a water shifter, for him it's the sound of Daniel's voice. I loved that!!! The oh-so-simple idea that different shifters have different ways of knowing their mates. đ
I don't know who's story is coming next but I can't wait for Winston and Henri's! If you love Omegavers stories and like a sweet, slow-burner then I have no hesitation in recommending this one!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Charlie Cobra Reviews (1840 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jul 7, 2020
Prepare For War
John Wick: Chapter 3 - Parabellum is a 2019 neo-noir action film directed by Chad Stahelski and written by Derek Kolstad, Shay Hatten, Chris Collins, and Marc Abrams. The movie is based on a story by Derek Kolstad and produced by Thunder Road Pictures, 87Eleven Productions and distributed by Summit Entertainment. It stars Keanu Reeves, Halle Berry, Laurence Fishburne, Ian McShane and Marc Dacascos.
After an unsanctioned killing at the New York City Continental, John Wick is now a marked man on the run. He is declared "excommunicado" and a $14 million dollar bounty placed on his head. Meanwhile, an adjudicator with the "High Table" meets with both Winston (Ian McShane), manager of the Continental, and the King of the Bowery (Laurence Fishburne), leader of a group of vagrant assassins. The adjudicator gives an ultimatum to both, give up their offices in seven days or face the consequences for aiding John Wick.
This movie does not disappoint. I cannot stress that enough. It's an adrenaline ride from beginning to end. The action scenes are just masterfully choreographed and the special effects make each kill more brutal than the last. It feels like they raised the bar with the violence and gore in this one. The introduction of Halle Berry's character and her dogs were a welcome addition and made this film unique when compared to the previous two. Also the adjudicator was a really good character and i liked the way she played into the plot throughout the whole movie. Marc Dacascos was probably my favorite character in this movie. I liked his character's personality a lot and how his faction had a big part in the film. He was actually pretty funny in certain scenes and i liked it, but I can see how some people would be critical of the lightheartedness in such a grim movie. If it wasn't for some villains giving John a chance when they shouldn't, and the fact that the 3rd act couldn't hold up with the first two, I couldn't find a lot to complain about in this film. It was freaking awesome. I give it a 8/10 and I give it my "must see seal of approval".
After an unsanctioned killing at the New York City Continental, John Wick is now a marked man on the run. He is declared "excommunicado" and a $14 million dollar bounty placed on his head. Meanwhile, an adjudicator with the "High Table" meets with both Winston (Ian McShane), manager of the Continental, and the King of the Bowery (Laurence Fishburne), leader of a group of vagrant assassins. The adjudicator gives an ultimatum to both, give up their offices in seven days or face the consequences for aiding John Wick.
This movie does not disappoint. I cannot stress that enough. It's an adrenaline ride from beginning to end. The action scenes are just masterfully choreographed and the special effects make each kill more brutal than the last. It feels like they raised the bar with the violence and gore in this one. The introduction of Halle Berry's character and her dogs were a welcome addition and made this film unique when compared to the previous two. Also the adjudicator was a really good character and i liked the way she played into the plot throughout the whole movie. Marc Dacascos was probably my favorite character in this movie. I liked his character's personality a lot and how his faction had a big part in the film. He was actually pretty funny in certain scenes and i liked it, but I can see how some people would be critical of the lightheartedness in such a grim movie. If it wasn't for some villains giving John a chance when they shouldn't, and the fact that the 3rd act couldn't hold up with the first two, I couldn't find a lot to complain about in this film. It was freaking awesome. I give it a 8/10 and I give it my "must see seal of approval".
Gareth von Kallenbach (965 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jun 19, 2019
âJohn Wick Chapter 3: Parabellumâ literally hits the ground running as the film opens with the title star (Keanu Reeves) and his faithful dog running desperately through the rain soaked streets of New York. Wick is set to have every major player after him and 14 million dollar bounty in less than an hour and he is desperate to find a way out of his situation.
Picking up moments from the end of the last film, Wick is persona non grata due to his decision to conduct business on the grounds of the Continental which while providing services and sanctuary to those in his profession; is strictly forbidden.
As he gets closer to the appointed hour; the streets fill with assassins looking to take down the legend and this drives Wick to desperately call in a Marker with a figure from his past (Anjelica Houston) in order to get passage from the city.
Wick hopes that by meeting with the head of the Table he can get the bounty removed and stop running for his life. This of course requires him to deal with figures from his past such as Sofia (Halle Berry) who would sooner shoot him rather than help him due to the enormous risks associated with helping him in any way.
Of course the bodies pile up along the way as Wick dispatches countless foes in creative and brutal fashion showing his reputation is still very well earned.
The film also has a very clever secondary story that involves Winston (Ian McShane) being forced to atone for his willingness to give Wick a one hour head start at the end of the last film and this of course will bring things full circle as Wick must decide what is most important to him as he tries to find a way out of his deadly situation.
Toss in a master assassin (Mark Dacascos) and his army of rogues after Wick and the film never lets up once. It is an epic thrill ride and a symphony of bullets, blades, blood, and bodies and Reeves and the cast have never been better. While most series have run out of steam by the third film, this series has never been more enjoyable and I cannot wait to see what comes next.
http://sknr.net/2019/05/10/john-wick-chapter-3-parabellum/
Picking up moments from the end of the last film, Wick is persona non grata due to his decision to conduct business on the grounds of the Continental which while providing services and sanctuary to those in his profession; is strictly forbidden.
As he gets closer to the appointed hour; the streets fill with assassins looking to take down the legend and this drives Wick to desperately call in a Marker with a figure from his past (Anjelica Houston) in order to get passage from the city.
Wick hopes that by meeting with the head of the Table he can get the bounty removed and stop running for his life. This of course requires him to deal with figures from his past such as Sofia (Halle Berry) who would sooner shoot him rather than help him due to the enormous risks associated with helping him in any way.
Of course the bodies pile up along the way as Wick dispatches countless foes in creative and brutal fashion showing his reputation is still very well earned.
The film also has a very clever secondary story that involves Winston (Ian McShane) being forced to atone for his willingness to give Wick a one hour head start at the end of the last film and this of course will bring things full circle as Wick must decide what is most important to him as he tries to find a way out of his deadly situation.
Toss in a master assassin (Mark Dacascos) and his army of rogues after Wick and the film never lets up once. It is an epic thrill ride and a symphony of bullets, blades, blood, and bodies and Reeves and the cast have never been better. While most series have run out of steam by the third film, this series has never been more enjoyable and I cannot wait to see what comes next.
http://sknr.net/2019/05/10/john-wick-chapter-3-parabellum/
BankofMarquis (1832 KP) rated The Incredibles 2 (2018) in Movies
Jun 20, 2018
Not just a good "kids" movie, but a good "movie" movie
INCREDIBLES 2 is one of the best movies that has been released, thus far, in 2018.
Now...there is some debate as to whether that is praise of this film, or a damnation of the lackluster year (thus far) in film.
But...let's start with praising this film. Coming into Cinemas 14 years after the original film, this sequel picks up the story where the first INCREDIBLES film left off (the beauty of cartoon films - the actors don't age) and starts right off with a fun action sequence that, then, sets up the rest of the story.
Brad Bird (THE IRON GIANT) returns as the Director and Writer of this film (he also wrote and directed the first Incredibles film) and his deft touch shows through usage of humor, character, plot and action - all nicely blended to keep the film rolling along. He also was able to get wonderful performances from his talented voice cast.
Holly Hunter and Craig T. Nelson reprise their roles as "Mr & Mrs. Incredible" and hearing them banter back and forth - and seeing these two characters back on the screen - was like pulling on a pair of comfortable shoes. It was good to see/hear them again. Samuel L. Jackson is perfectly cast as their best friend/Allie Frozone and Brad Bird himself is wonderfully funny as Edna. Joining these two is Bob Odekenirk and Katherine Keener as brother and sister Winston and Evelyn Deavor - the duo that hires the Incredibles. Both are terrifically talented character performers and slid right into the swing of things here. Eli Fucile continues the "baby-talk" of Jack-Jack Incredible and Huck Milner takes over the role of Dash Incredible - both are good.
But it is the work of Sarah Vowell as angsty teen Violet Incredible that stood out for me. I had no idea who performed this character - and had vague recollections of Violet from the first film - but she is front and center and was so extremely entertainingly real as the teenage daughter that I had to look up who is the voice. To my surprise, this teenager was voiced (yet, again) by a now almost 50 year old radio journalist, critic, reporter and editor (best know for her work on NPR's THIS AMERICAN LIFE). I had no clue that I wasn't listening to a teenage girl - she is that good, and that believable. And I should know, I HAVE a teenage daughter!
While the first INCREDIBLES is my #1 Pixar film, I'll have to sit on this one for awhile to see where this one lands - pretty high up the list, I'm sure. I could quibble on a few things - the motivations of the "bad guy" is paper thin and the humor relies just a bit too much on the Jack-Jack character, but all-in-all this is a top notch Pixar film - and a top notch SuperHero film. Proving that a good Pixar movie isn't just a good "kid" movie, but a good "movie" movie as well.
Letter Grade: A-
8 (out of 10) stars - and you take that to the BankofMarquis
Now...there is some debate as to whether that is praise of this film, or a damnation of the lackluster year (thus far) in film.
But...let's start with praising this film. Coming into Cinemas 14 years after the original film, this sequel picks up the story where the first INCREDIBLES film left off (the beauty of cartoon films - the actors don't age) and starts right off with a fun action sequence that, then, sets up the rest of the story.
Brad Bird (THE IRON GIANT) returns as the Director and Writer of this film (he also wrote and directed the first Incredibles film) and his deft touch shows through usage of humor, character, plot and action - all nicely blended to keep the film rolling along. He also was able to get wonderful performances from his talented voice cast.
Holly Hunter and Craig T. Nelson reprise their roles as "Mr & Mrs. Incredible" and hearing them banter back and forth - and seeing these two characters back on the screen - was like pulling on a pair of comfortable shoes. It was good to see/hear them again. Samuel L. Jackson is perfectly cast as their best friend/Allie Frozone and Brad Bird himself is wonderfully funny as Edna. Joining these two is Bob Odekenirk and Katherine Keener as brother and sister Winston and Evelyn Deavor - the duo that hires the Incredibles. Both are terrifically talented character performers and slid right into the swing of things here. Eli Fucile continues the "baby-talk" of Jack-Jack Incredible and Huck Milner takes over the role of Dash Incredible - both are good.
But it is the work of Sarah Vowell as angsty teen Violet Incredible that stood out for me. I had no idea who performed this character - and had vague recollections of Violet from the first film - but she is front and center and was so extremely entertainingly real as the teenage daughter that I had to look up who is the voice. To my surprise, this teenager was voiced (yet, again) by a now almost 50 year old radio journalist, critic, reporter and editor (best know for her work on NPR's THIS AMERICAN LIFE). I had no clue that I wasn't listening to a teenage girl - she is that good, and that believable. And I should know, I HAVE a teenage daughter!
While the first INCREDIBLES is my #1 Pixar film, I'll have to sit on this one for awhile to see where this one lands - pretty high up the list, I'm sure. I could quibble on a few things - the motivations of the "bad guy" is paper thin and the humor relies just a bit too much on the Jack-Jack character, but all-in-all this is a top notch Pixar film - and a top notch SuperHero film. Proving that a good Pixar movie isn't just a good "kid" movie, but a good "movie" movie as well.
Letter Grade: A-
8 (out of 10) stars - and you take that to the BankofMarquis
Bob Mann (459 KP) rated Darkest Hour (2017) in Movies
Sep 29, 2021
Not buggering it up.
As Doctor Who repeatedly points out, time is most definitely a tricksy thing. As I think Iâve commented on before, the events of 1940-45 are not in my lifetime but were sufficiently fresh to my parents that they were still actively talked about⌠so they still appear âcurrentâ to me. But I find it astonishing to realize that to a teen viewer this film is equivalent in timeframe to the sinking of the Titanic! #ancienthistory! So I suspect your connection to this film will be strongly affected by your age, and that was definitely reflected in the average age at my showing which must have been at least 60.
Itâs 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, âThe Second Best Exotic Marigold Hotelâ) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bĂŞte noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlainâs) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, âRogue Oneâ). With the Naziâs bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchillâs, and the countryâs, âdarkest hourâ.
Despite the woeful lack of historical knowledge among todayâs youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolanâs film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and Iâm not sure even I really appreciated that before. While this might have been a âthrillerâ if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchillâs firmly-held beliefs.
Gary Oldmanâs performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like âAir Force Oneâ and last yearâs (pretty poor) âThe Hitmanâs Bodyguardâ that it is easy to forget what a nuanced and flexible actor he is. Ever since that âNo, surely not!â moment of that first glimpse of the filmâs trailer, it has almost been impossible to âseeâ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see âThere you are!â.
The supportive wife â Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last yearâs âChurchillâ: true that that film was set three or four stressful years later, but Coxâs Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldmanâs Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring âChurchillâ though, the action is seen through the eyes of Churchillâs put-upon secretary, here played delightfully by Lily James (âDownton Abbeyâ, âBaby Driverâ) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnellâs Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchillâs secretary Elizabeth Layton.
Also in Oldmanâs shadow is the always marvelous Kristin Scott Thomas (âFour Weddings and a Funeralâ, âThe English Patientâ) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is âThe Theory of Everythingâ writer Anthony McCarten, and Iâd like to say its a great script but with most of the best lines (âa sheep in sheepâs clothingâ â LoL) coming from Winston himself itâs difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes â though not long by any means â the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (âAtonementâ, âPride and Prejudiceâ) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (âInside Llewyn Davisâ): a boy closes his telescope-fingers around Churchillâs plane; a bombâs eye-view of the beleaguered Brigadier Nicholson in Calais; and â very impressively â the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (âAnna Kareninaâ, âAtonementâ)).
And most-importantly Wright delivers what Christopher Nolan couldnât deliver in âDunkirkâ: a properly CGIâd vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride â very moving and effective I must say â but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via WestminsterâŚ. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If Iâm honest though, between âDarkest Hourâ, âChurchillâ and John Lithgowâs excellent portrayal in âThe Crownâ Iâm all over portrayals of the great man for a few years. Can we please move on now Hollywood?
Itâs 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, âThe Second Best Exotic Marigold Hotelâ) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bĂŞte noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlainâs) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, âRogue Oneâ). With the Naziâs bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchillâs, and the countryâs, âdarkest hourâ.
Despite the woeful lack of historical knowledge among todayâs youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolanâs film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and Iâm not sure even I really appreciated that before. While this might have been a âthrillerâ if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchillâs firmly-held beliefs.
Gary Oldmanâs performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like âAir Force Oneâ and last yearâs (pretty poor) âThe Hitmanâs Bodyguardâ that it is easy to forget what a nuanced and flexible actor he is. Ever since that âNo, surely not!â moment of that first glimpse of the filmâs trailer, it has almost been impossible to âseeâ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see âThere you are!â.
The supportive wife â Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last yearâs âChurchillâ: true that that film was set three or four stressful years later, but Coxâs Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldmanâs Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring âChurchillâ though, the action is seen through the eyes of Churchillâs put-upon secretary, here played delightfully by Lily James (âDownton Abbeyâ, âBaby Driverâ) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnellâs Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchillâs secretary Elizabeth Layton.
Also in Oldmanâs shadow is the always marvelous Kristin Scott Thomas (âFour Weddings and a Funeralâ, âThe English Patientâ) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is âThe Theory of Everythingâ writer Anthony McCarten, and Iâd like to say its a great script but with most of the best lines (âa sheep in sheepâs clothingâ â LoL) coming from Winston himself itâs difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes â though not long by any means â the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (âAtonementâ, âPride and Prejudiceâ) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (âInside Llewyn Davisâ): a boy closes his telescope-fingers around Churchillâs plane; a bombâs eye-view of the beleaguered Brigadier Nicholson in Calais; and â very impressively â the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (âAnna Kareninaâ, âAtonementâ)).
And most-importantly Wright delivers what Christopher Nolan couldnât deliver in âDunkirkâ: a properly CGIâd vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride â very moving and effective I must say â but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via WestminsterâŚ. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If Iâm honest though, between âDarkest Hourâ, âChurchillâ and John Lithgowâs excellent portrayal in âThe Crownâ Iâm all over portrayals of the great man for a few years. Can we please move on now Hollywood?
BankofMarquis (1832 KP) rated Us (2019) in Movies
Mar 25, 2019
Jordan Peele does it again
2 years ago at this time, the comedian known as Jordan Peele was all the talk as his feature film Directorial debut, GET OUT was scaring mainstream audiences. This was quite the accomplishment for a first time African-American Director with a film that was, predominantly, cast with African American actors.
Director/Writer Peele is at it again with the horror film (predominantly filled with African-American actors )US - and audiences, I'm sure, are going to go back in to the theater hoping that they will get scared again. And they will, but they will also get something else - a truly unique film.
I see a lot of movies, so for me to be (1) scared and (2) completely surprised by what is going on in a film is a rarity, indeed. And Jordan Peele has done both of these things with US - he has scared and surprised me, and I mean this in a a good way.
US stars Lupito Nyong'o as Adelaide Wilson, a young mother who had a traumatic experience at the beach as a child. Now, as 30-ish mother of two who is visiting that same beach with her husband and 2 children, the traumatic experience comes rushing back. To tell anymore of the story would be to spoil it and to spoil this film for anyone would be a shame, for the fun in this film is trying to figure out what will happen next. Even when you think you know what's going to happen, something else happens instead and you are kept guessing throughout the film.
As far as the acting goes, Nyong'o shows that she can carry a film. I was beginning to fear that she would be one of those former Oscar winners (for 12 YEARS A SLAVE) who fade into obscurity, but this film puts her right back - front and center - on the map, a map that she deserves to be on. She carries this film - and she carries it well. Winston Duke (M'Baku in BLACK PANTHER) ably plays her husband, but is reserved (for the most part) as needed comic relief. I am always concerned when a heavy part of a film falls into the hands of unknown child actors, but Evan Alex (as their son) and - especially - Shahadi Wright Joseph (as their daughter) pull off the acting they need to do.
Credit for all this falls on Jordan Peele who's direction and script shows that GET OUT was no fluke. As I said before, this is a truly ORIGINAL film in plot and content and Peele keeps the action moving forward in interesting ways.
This is a film that needs to be seen more than once. I, for one, can't wait to go back into the theater and check out US again.
Letter Grade A- (but it might move to an A after a 2nd viewing)
8 out of 10 stars and you can take that to the Bank(ofMarquis)
Director/Writer Peele is at it again with the horror film (predominantly filled with African-American actors )US - and audiences, I'm sure, are going to go back in to the theater hoping that they will get scared again. And they will, but they will also get something else - a truly unique film.
I see a lot of movies, so for me to be (1) scared and (2) completely surprised by what is going on in a film is a rarity, indeed. And Jordan Peele has done both of these things with US - he has scared and surprised me, and I mean this in a a good way.
US stars Lupito Nyong'o as Adelaide Wilson, a young mother who had a traumatic experience at the beach as a child. Now, as 30-ish mother of two who is visiting that same beach with her husband and 2 children, the traumatic experience comes rushing back. To tell anymore of the story would be to spoil it and to spoil this film for anyone would be a shame, for the fun in this film is trying to figure out what will happen next. Even when you think you know what's going to happen, something else happens instead and you are kept guessing throughout the film.
As far as the acting goes, Nyong'o shows that she can carry a film. I was beginning to fear that she would be one of those former Oscar winners (for 12 YEARS A SLAVE) who fade into obscurity, but this film puts her right back - front and center - on the map, a map that she deserves to be on. She carries this film - and she carries it well. Winston Duke (M'Baku in BLACK PANTHER) ably plays her husband, but is reserved (for the most part) as needed comic relief. I am always concerned when a heavy part of a film falls into the hands of unknown child actors, but Evan Alex (as their son) and - especially - Shahadi Wright Joseph (as their daughter) pull off the acting they need to do.
Credit for all this falls on Jordan Peele who's direction and script shows that GET OUT was no fluke. As I said before, this is a truly ORIGINAL film in plot and content and Peele keeps the action moving forward in interesting ways.
This is a film that needs to be seen more than once. I, for one, can't wait to go back into the theater and check out US again.
Letter Grade A- (but it might move to an A after a 2nd viewing)
8 out of 10 stars and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated John Wick: Chapter 3 - Parabellum (2019) in Movies
Jun 3, 2019
Hoping it Doesn't Become a Victim of its Own Success
The world is trying to kill John Wick (Keanu Reeves)âŚbut not before he kills them first.
Acting: 9
Beginning: 10
Characters: 8
This third installment brings back a lot of the characters we have become familiar with in the first two movies. Thereâs Wick, of course, striking like a black mamba and trying to kill everything in his path. Winston (Ian McShane) is back as the tasteful Manager of the underworld assassin hotel being his usual charming self. I was excited to see hotel concierge Charon (Lance Reddick) get a larger slice of the action this time around as it was long overdue in my opinion.
The rest of the characters? Meh. I could take them or leave them. Reason being, they mostly felt flat for some reason. Take The Adjudicator (Asia Kate Dillon) for example. It felt like she just showed up to be an asshole for two minutes then she would disappear. Her role was annoying at best. But Wick is who we come to see. And Wick delivers. Who cares if heâs shooting at a bunch of cardboard cut-outs?
Cinematography/Visuals: 10
Conflict: 10
Genre: 10
Memorability: 8
Slightly more forgettable than the first two installments as it stumbles through a few parts here and there. There were a number of amazing scenes I can say for certain I havenât seen done in any other action movie or any movie period. What they did with animals alone was a pleasant treat. I wonât spoil anything that you probably should know already, but I will say that the creativity and the stylistic choices of the kills makes movies like these really hard to forget.
Pace: 10
Plot: 5
There were definitely some parts that left me shaking my head. I donât know why director Chad Stahelski chose to throw certain things in. It was almost as if they did it for the sake of trying to add more drama. With movies like these, there is no need to force anything as the drama typically comes anyway. The story is all over the place at times, overdone in others.
Resolution: 6
I watched the ending thinking, âGoodâŚbut stop there please.â It didnât leave me wanting more, rather for the series to be done. Not sure what could have been done differently, but I think it stumbles compared to the endings of the first two.
Overall: 86
A solid addition to the franchise for sure. However, I feel it must be said: This series needs to end while it still has life. I know there is a fourth one on the way in a couple of years along with a TV show. Letâs just hope John Wick doesnât get Hollywooded to death as a victim of its own success.
Acting: 9
Beginning: 10
Characters: 8
This third installment brings back a lot of the characters we have become familiar with in the first two movies. Thereâs Wick, of course, striking like a black mamba and trying to kill everything in his path. Winston (Ian McShane) is back as the tasteful Manager of the underworld assassin hotel being his usual charming self. I was excited to see hotel concierge Charon (Lance Reddick) get a larger slice of the action this time around as it was long overdue in my opinion.
The rest of the characters? Meh. I could take them or leave them. Reason being, they mostly felt flat for some reason. Take The Adjudicator (Asia Kate Dillon) for example. It felt like she just showed up to be an asshole for two minutes then she would disappear. Her role was annoying at best. But Wick is who we come to see. And Wick delivers. Who cares if heâs shooting at a bunch of cardboard cut-outs?
Cinematography/Visuals: 10
Conflict: 10
Genre: 10
Memorability: 8
Slightly more forgettable than the first two installments as it stumbles through a few parts here and there. There were a number of amazing scenes I can say for certain I havenât seen done in any other action movie or any movie period. What they did with animals alone was a pleasant treat. I wonât spoil anything that you probably should know already, but I will say that the creativity and the stylistic choices of the kills makes movies like these really hard to forget.
Pace: 10
Plot: 5
There were definitely some parts that left me shaking my head. I donât know why director Chad Stahelski chose to throw certain things in. It was almost as if they did it for the sake of trying to add more drama. With movies like these, there is no need to force anything as the drama typically comes anyway. The story is all over the place at times, overdone in others.
Resolution: 6
I watched the ending thinking, âGoodâŚbut stop there please.â It didnât leave me wanting more, rather for the series to be done. Not sure what could have been done differently, but I think it stumbles compared to the endings of the first two.
Overall: 86
A solid addition to the franchise for sure. However, I feel it must be said: This series needs to end while it still has life. I know there is a fourth one on the way in a couple of years along with a TV show. Letâs just hope John Wick doesnât get Hollywooded to death as a victim of its own success.
Emma @ The Movies (1786 KP) rated Queen & Slim (2019) in Movies
Feb 2, 2020
Queen and Slim share a nice, if odd, first date. Driving her home after dinner their night takes a turn as they're pulled over by a police officer. It's clear that he's less than happy, and when he asks Slim to step out of the car with no real reason Queen, as a lawyer, tries to stand for what's right. What happens next leaves them both changed and they need to escape what's coming, but neither are prepared for what it'll lead them to.
Queen and Slim was interesting and yet at times boring. The basic idea is that these two are on the run after committing a crime, that can be a thrilling ride to be on, but between the thrilling, there was a lot of filler. It wasn't bad, it's artistically shot, but at some point that doesn't make up for the lack of scene.
There's also a technique employed that really didn't sit well with me. In those in-between bits when we're shown characters there's a voiceover when they're sitting looking intense. The first time it happened I honestly thought something had gone wrong with the audio but it all went back to normal fairly quickly. Then it happened a second time and I suddenly realised... this is a thing. I didn't feel like it added anything to the film, rather it took me out of the scenes every time.
Our peripheral characters are all solid and I was particularly impressed with the lad playing the mechanics son, Jahi Di'Allo Winston. While he wasn't in a lot of the film his moments were important and held an interesting message about what was occurring in the film.
With our main characters there was a big issue I had from the very beginning. I didn't particularly like Queen as a character. Even considering the events that take place for her outside of the film's main timeline I found her actions to be unbelievable compared to the image of her as a person that we'd already gleaned. In turn, I found the reactions of Slim to be against character too. This led to a lot of other similar issues through the whole film.
Jodie Turner-Smith's performance felt a little flat, while some of that will be to do with the way Queen was written I didn't get any flashes of something unique to latch on to. Daniel Kaluuya also might not have had the best writing to deal with but his performance was much more impressive.
While the story was an interesting one and brings up a lot to think about when it comes to social justice I was almost instantly taken out of it by Queen's actions, and then put off again by the strange voiceovers. I don't think I will need to watch this one again, while there are good bits in Queen and Slim there was way too much that was just okay between them.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/queen-slim-movie-review.html
Queen and Slim was interesting and yet at times boring. The basic idea is that these two are on the run after committing a crime, that can be a thrilling ride to be on, but between the thrilling, there was a lot of filler. It wasn't bad, it's artistically shot, but at some point that doesn't make up for the lack of scene.
There's also a technique employed that really didn't sit well with me. In those in-between bits when we're shown characters there's a voiceover when they're sitting looking intense. The first time it happened I honestly thought something had gone wrong with the audio but it all went back to normal fairly quickly. Then it happened a second time and I suddenly realised... this is a thing. I didn't feel like it added anything to the film, rather it took me out of the scenes every time.
Our peripheral characters are all solid and I was particularly impressed with the lad playing the mechanics son, Jahi Di'Allo Winston. While he wasn't in a lot of the film his moments were important and held an interesting message about what was occurring in the film.
With our main characters there was a big issue I had from the very beginning. I didn't particularly like Queen as a character. Even considering the events that take place for her outside of the film's main timeline I found her actions to be unbelievable compared to the image of her as a person that we'd already gleaned. In turn, I found the reactions of Slim to be against character too. This led to a lot of other similar issues through the whole film.
Jodie Turner-Smith's performance felt a little flat, while some of that will be to do with the way Queen was written I didn't get any flashes of something unique to latch on to. Daniel Kaluuya also might not have had the best writing to deal with but his performance was much more impressive.
While the story was an interesting one and brings up a lot to think about when it comes to social justice I was almost instantly taken out of it by Queen's actions, and then put off again by the strange voiceovers. I don't think I will need to watch this one again, while there are good bits in Queen and Slim there was way too much that was just okay between them.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/queen-slim-movie-review.html
BankofMarquis (1832 KP) rated Mank (2020) in Movies
Jan 7, 2021
Good companion piece to CITIZEN KANE
Orson Wellesâ 1941 masterpiece CITIZEN KANE is truly a remarkable work of art (especially for the time it was created) and it regularly lands in either the #1 or #2 spot on my list of all-time favorite films (battling back and forth with THE GODFATHER - the one that ends up at #1 is usually the one I have watched most recently), so I am a sucker for films that are about (or around) the making of this classic.
AndâŚthe Netflix film MANK does not disappoint in this regard.
Starring Oscar winning actor Gary Oldman (he won the Oscar for portraying Sir Winston Churchill in DARKEST HOUR), Mank tells the tale of the writing of the screenplay of CITIZEN KANE by screenwriter Herman Mankiewicz. It is an intriguing story of a self-destructive, alcoholic artist (is there any other kind in this kind of film) that (ultimately) produces one of the best scripts in Hollywood history, despite (or maybe because of) his condition and the people he interacts with along the way.
Directed by David Fincher (FIGHT CLUB) - who is one of my favorite Directors working today - MANK starts slow but brews to a satisfying conclusion as Fincher focuses on the man and the relationships he has with the people around him, rather than the circumstances, which then draws to a forceful conclusion.
Gary Oldman is, of course, stellar as Herman âMankâ Mankiewicz, the writer at the center of the story. This film hinges on this performance as the titular Mank is in almost every scene of this film - and at the beginning I was worried that Fincher was going to let Oldman revert to his âhammyâ ways (a very real possibility with Oldman if he is left unchecked by a Director), but Fincher reels Oldman in just enough for him to bring a portrait of a troubled man, who has sold his soul to work and alcohol. This character needs to find that soul if he is to succeed. Since Mank won the Oscar for his screenplay - and Iâve already stated that I think the CITIZEN KANE screenplay is one of the best written of all time - you know how it will turn out, but it is fascinating (and satisfying) to watch Oldman on this journey.
Fincher, of course, is smart enough to surround Oldman with some very good Supporting Actors, most notably the always evil Charles Dance (Tywin Lannister on GAME OF THRONES) as William Randolph Hearst (the inspiration for Charles Foster Kane). Dance spends most of the film observing Mank but in the final âconfrontationâ scene between the two, the screen sparkles as two wonderful thespians throw down.
Others in the Supporting cast - like Lilly Collins, Tom Burke (as Orson Welles), Jamie McShane and, especially Arliss Howard (as Louis B. Mayer) bring heft and the ability to go âtoe to toeâ with Oldman, not a small task.
Special notice has to be made of the work of Amanda Seyfried as Marion Davies - Hearstâs mistress and a character that is used as a âthrow away toyâ in Citizen Kane. Davis and Mank form an interesting bond and the platonic chemistry between Seyfried and Oldman is strong. I gotta admit that when Seyfried first burst on the scene in such films as MAMA MIA and MEAN GIRLS, I figured she was just the âpretty young Rom-Com girl of the timeâ and would come and go quickly, but she has rounded into a very impressive actress and I can unequivocally state that I was wrong about her. She can act with the best of them.
The Cinematography by Erik Messerschmidt is also a very important part of this film - as he (and Fincher) attempt to recreate in this film the look/feel of CITIZEN KANE and they pull this off very, very well.
If you can get through the slow start of the film - and if you can stomach a protagonist that is not a very nice person in most of this film, than youâll be rewarded by a rich film experience.
Letter Grade: A-
8 stars (out of10) and you can take that to the Bank(ofMarquis)
AndâŚthe Netflix film MANK does not disappoint in this regard.
Starring Oscar winning actor Gary Oldman (he won the Oscar for portraying Sir Winston Churchill in DARKEST HOUR), Mank tells the tale of the writing of the screenplay of CITIZEN KANE by screenwriter Herman Mankiewicz. It is an intriguing story of a self-destructive, alcoholic artist (is there any other kind in this kind of film) that (ultimately) produces one of the best scripts in Hollywood history, despite (or maybe because of) his condition and the people he interacts with along the way.
Directed by David Fincher (FIGHT CLUB) - who is one of my favorite Directors working today - MANK starts slow but brews to a satisfying conclusion as Fincher focuses on the man and the relationships he has with the people around him, rather than the circumstances, which then draws to a forceful conclusion.
Gary Oldman is, of course, stellar as Herman âMankâ Mankiewicz, the writer at the center of the story. This film hinges on this performance as the titular Mank is in almost every scene of this film - and at the beginning I was worried that Fincher was going to let Oldman revert to his âhammyâ ways (a very real possibility with Oldman if he is left unchecked by a Director), but Fincher reels Oldman in just enough for him to bring a portrait of a troubled man, who has sold his soul to work and alcohol. This character needs to find that soul if he is to succeed. Since Mank won the Oscar for his screenplay - and Iâve already stated that I think the CITIZEN KANE screenplay is one of the best written of all time - you know how it will turn out, but it is fascinating (and satisfying) to watch Oldman on this journey.
Fincher, of course, is smart enough to surround Oldman with some very good Supporting Actors, most notably the always evil Charles Dance (Tywin Lannister on GAME OF THRONES) as William Randolph Hearst (the inspiration for Charles Foster Kane). Dance spends most of the film observing Mank but in the final âconfrontationâ scene between the two, the screen sparkles as two wonderful thespians throw down.
Others in the Supporting cast - like Lilly Collins, Tom Burke (as Orson Welles), Jamie McShane and, especially Arliss Howard (as Louis B. Mayer) bring heft and the ability to go âtoe to toeâ with Oldman, not a small task.
Special notice has to be made of the work of Amanda Seyfried as Marion Davies - Hearstâs mistress and a character that is used as a âthrow away toyâ in Citizen Kane. Davis and Mank form an interesting bond and the platonic chemistry between Seyfried and Oldman is strong. I gotta admit that when Seyfried first burst on the scene in such films as MAMA MIA and MEAN GIRLS, I figured she was just the âpretty young Rom-Com girl of the timeâ and would come and go quickly, but she has rounded into a very impressive actress and I can unequivocally state that I was wrong about her. She can act with the best of them.
The Cinematography by Erik Messerschmidt is also a very important part of this film - as he (and Fincher) attempt to recreate in this film the look/feel of CITIZEN KANE and they pull this off very, very well.
If you can get through the slow start of the film - and if you can stomach a protagonist that is not a very nice person in most of this film, than youâll be rewarded by a rich film experience.
Letter Grade: A-
8 stars (out of10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Black Panther: Wakanda Forever (2022) in Movies
Nov 18, 2022
Should have been called WAKANDA MOURNS
The passing of Chadwick Boseman from cancer is a unfortunate and sad thing. The makers of the Black Panther series of films for the MCU had a difficult task to accomplish. How do they pay tribute to their lost lead while also leading the series in a new direction? In the end, they ultimately decided to lean INTO (and not away from) his passing - and your emotional involvement in this film will be predicated on how you react to this, for basing an entire SuperHero Movie on grief and longing for a return to the past is not going to make the âfeel good movie of the yearâ.
Directed and Written (with Joe Robert Cole) by Ryan Coogler (he of the first BLACK PANTHER film), BLACK PANTHER:WAKANDA FOREVER starts on a somber note with the off-screen passing of King TâChala and the grief and celebration of life for him by his Sister Suri (Letitia Wright) and Mother Queen Ramonda (Angela Basset), both of whom are reprising their roles from previous MCU outings. This is all well and good and Basset, especially, shines in these early parts of the film for she is one of the best actresses working today and she rises above the material (and, if Iâm honest, the other actors on the screen) to show actual grief and sorrow on the screen. Some are calling for her to be nominated for an Oscar for this role and she would be a deserved recipient of this.
With that out of the way, itâs time for this film to move on to itâs current adventure and the emergence of a new Black Panther. But, Coogler doesnât do that, he hangs onto the grief, anger and sorrow that is being felt and this mood permeates the entire film - to, ultimately, itâs detriment.
Newcomer (at least to the MCU) Tenoch Huerta (THE FOREVER PURGE) shows up as Namor, the Sub-Mariner, the villain of the piece and he is formidable enough but with the lack of a Black Panther to battle him, it doesnât seem like a fair fight. Suri, Okoye (Danai Gurira), MâBaku (Winston Duke) and the Dora Milaje (with Florence Kasumba and Michaela Coel being at the forefront - and they are terrific) all are game at the battles and trying to make it to the forefront. But this Wakandan group needed something.
They needed Chadwick Boseman.
While Angela Bassett was the star power the film needed in the first half of the film, Lupita Nyongâo filled that bill in the 2nd half and it was comforting to see her - and her character, Nakia - back in the MCU.
Unfortunately, the character that didnât really gel was the catalyst to the conflict, Riri Williams (and her MCU SuperHero alter-ego Ironheart) played by Dominique Thorne. This character felt tacked onto this story and her Superhero origins were not really explained, so one will just need to âgo with me hereâ on this one.
Because their is no real emotional center to the battles, they felt like CGI forces fighting CGI forces and the underwater scenery was âfineâ but nothing special.
As stated earlier, this film has a dour, mourning mood to it throughout, making it feel more like a morose DC film than a life-affirming, fun MCU film. So just be prepared for that.
BLACK PANTHER: WAKANDA FOREVER should have been titled BLACK PANTHER: WAKANDA MOURNS and it would have been a more accurate title.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed and Written (with Joe Robert Cole) by Ryan Coogler (he of the first BLACK PANTHER film), BLACK PANTHER:WAKANDA FOREVER starts on a somber note with the off-screen passing of King TâChala and the grief and celebration of life for him by his Sister Suri (Letitia Wright) and Mother Queen Ramonda (Angela Basset), both of whom are reprising their roles from previous MCU outings. This is all well and good and Basset, especially, shines in these early parts of the film for she is one of the best actresses working today and she rises above the material (and, if Iâm honest, the other actors on the screen) to show actual grief and sorrow on the screen. Some are calling for her to be nominated for an Oscar for this role and she would be a deserved recipient of this.
With that out of the way, itâs time for this film to move on to itâs current adventure and the emergence of a new Black Panther. But, Coogler doesnât do that, he hangs onto the grief, anger and sorrow that is being felt and this mood permeates the entire film - to, ultimately, itâs detriment.
Newcomer (at least to the MCU) Tenoch Huerta (THE FOREVER PURGE) shows up as Namor, the Sub-Mariner, the villain of the piece and he is formidable enough but with the lack of a Black Panther to battle him, it doesnât seem like a fair fight. Suri, Okoye (Danai Gurira), MâBaku (Winston Duke) and the Dora Milaje (with Florence Kasumba and Michaela Coel being at the forefront - and they are terrific) all are game at the battles and trying to make it to the forefront. But this Wakandan group needed something.
They needed Chadwick Boseman.
While Angela Bassett was the star power the film needed in the first half of the film, Lupita Nyongâo filled that bill in the 2nd half and it was comforting to see her - and her character, Nakia - back in the MCU.
Unfortunately, the character that didnât really gel was the catalyst to the conflict, Riri Williams (and her MCU SuperHero alter-ego Ironheart) played by Dominique Thorne. This character felt tacked onto this story and her Superhero origins were not really explained, so one will just need to âgo with me hereâ on this one.
Because their is no real emotional center to the battles, they felt like CGI forces fighting CGI forces and the underwater scenery was âfineâ but nothing special.
As stated earlier, this film has a dour, mourning mood to it throughout, making it feel more like a morose DC film than a life-affirming, fun MCU film. So just be prepared for that.
BLACK PANTHER: WAKANDA FOREVER should have been titled BLACK PANTHER: WAKANDA MOURNS and it would have been a more accurate title.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)