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Bob Mann (459 KP) rated Rear Window (1954) in Movies
Sep 29, 2021
“Hmm… must have splattered a lot”.
Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
Mandy and G.D. Burkhead (26 KP) rated The Grey Bastards in Books
May 20, 2018
Shelf Life – The Grey Bastards Exemplifies Grimdark Fantasy at Its Damn Finest
Contains spoilers, click to show
The Grey Bastards is a fun, foul-mouthed read. If you’re turned off by bad language, steamy sex, or a good plot with plenty of action and twists, then this book isn’t for you. The Grey Bastards falls into the fantasy sub-genre known as grimdark. Where high fantasy has your Tolkien beautiful and noble elves, dwarves, humans, and wizards with epic battles between good and evil, grimdark takes all of that and covers it in shit, pus, and blood. Notice how in high fantasy nobody ever takes a piss or fucks? In grimdark, everyone does.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.
Movie Metropolis (309 KP) rated Pete's Dragon (2016) in Movies
Jun 11, 2019
Lovely in every sense of the word
2016 really does belong to Disney. The House of Mouse has been churning out some incredible films this year with the live-action remake of The Jungle Book proving sceptical audiences (and critics) completely wrong.
The BFG was a pleasant and inoffensive adaptation of Roald Dahl’s wonderful novel and Finding Dory got Pixar back on the right track, and let’s not forget Captain America: Civil War, by far the best superhero film of the year.
Here, Disney continues its trend with recreating its classic cartoons in live-action; resurrecting Pete’s Dragon. But is this remake of the 1977 film of the same name as good as The Jungle Book?
Mr. Meacham (Robert Redford), a woodcarver, delights local children with stories of a mysterious dragon that lives deep in the woods of the Pacific Northwest. His daughter Grace (Bryce Dallas Howard) believes these are just tall tales, until she meets Pete (Oakes Fegley), a 10-year-old orphan who says he lives in the woods with a giant, friendly dragon called Elliot. With help from a young girl named Natalie (Oona Laurence), Grace sets out to investigate if this fantastic claim can be true.
Director David Lowery helms the film with a quiet subtlety that automatically makes Pete’s Dragon a very different adaptation to Jon Favreau’s stomping Jungle Book. Here, the joy is in the storytelling rather than popping on a set of nostalgia glasses and settling in for the journey.
Acting wise, it’s a pretty formulaic affair. Bryce Dallas Howard, in her first major role since last year’s smash hit Jurassic World, is as likeable as ever and like the film itself, commands the screen with an understated presence. Elsewhere, Oakes Fegley gives a cracking portrayal of Pete.
Naturally, the main character throughout is Elliot, the big friendly dragon. This bright green behemoth is rendered in wonderful CGI, with each gust of wind lifting his fur beautifully. Considering the film’s modest $65million budget, Elliot is utterly believable in each and every scene.
The lush forest landscape provides a mesmerising backdrop on which to construct a film and David Lowery takes the audience on sweeping journeys across the tree-tops, brilliantly juxtaposed with confined caves and the woodland floor.
Unfortunately, the deforestation side plot is never truly explored with Karl Urban’s underdeveloped “villain” proving to be a slight undoing in this near perfect remake.
Thankfully though, the themes of family, friendship and never giving up despite the odds are explored to their fullest – these are themes that Disney knows how to do better than any other studio and the emotional heart that brings to Pete’s Dragon ensures teary eyes are inevitable.
Overall, Disney has done it again. Just five months after the phenomenal Jungle Book remake, the studio has got it spot on with Pete’s Dragon. The two films couldn’t be further apart, with this one succeeding in its quiet dignity. It is in every sense of the word – lovely.
https://moviemetropolis.net/2016/08/16/lovely-in-every-sense-of-the-word-petes-dragon-review/
The BFG was a pleasant and inoffensive adaptation of Roald Dahl’s wonderful novel and Finding Dory got Pixar back on the right track, and let’s not forget Captain America: Civil War, by far the best superhero film of the year.
Here, Disney continues its trend with recreating its classic cartoons in live-action; resurrecting Pete’s Dragon. But is this remake of the 1977 film of the same name as good as The Jungle Book?
Mr. Meacham (Robert Redford), a woodcarver, delights local children with stories of a mysterious dragon that lives deep in the woods of the Pacific Northwest. His daughter Grace (Bryce Dallas Howard) believes these are just tall tales, until she meets Pete (Oakes Fegley), a 10-year-old orphan who says he lives in the woods with a giant, friendly dragon called Elliot. With help from a young girl named Natalie (Oona Laurence), Grace sets out to investigate if this fantastic claim can be true.
Director David Lowery helms the film with a quiet subtlety that automatically makes Pete’s Dragon a very different adaptation to Jon Favreau’s stomping Jungle Book. Here, the joy is in the storytelling rather than popping on a set of nostalgia glasses and settling in for the journey.
Acting wise, it’s a pretty formulaic affair. Bryce Dallas Howard, in her first major role since last year’s smash hit Jurassic World, is as likeable as ever and like the film itself, commands the screen with an understated presence. Elsewhere, Oakes Fegley gives a cracking portrayal of Pete.
Naturally, the main character throughout is Elliot, the big friendly dragon. This bright green behemoth is rendered in wonderful CGI, with each gust of wind lifting his fur beautifully. Considering the film’s modest $65million budget, Elliot is utterly believable in each and every scene.
The lush forest landscape provides a mesmerising backdrop on which to construct a film and David Lowery takes the audience on sweeping journeys across the tree-tops, brilliantly juxtaposed with confined caves and the woodland floor.
Unfortunately, the deforestation side plot is never truly explored with Karl Urban’s underdeveloped “villain” proving to be a slight undoing in this near perfect remake.
Thankfully though, the themes of family, friendship and never giving up despite the odds are explored to their fullest – these are themes that Disney knows how to do better than any other studio and the emotional heart that brings to Pete’s Dragon ensures teary eyes are inevitable.
Overall, Disney has done it again. Just five months after the phenomenal Jungle Book remake, the studio has got it spot on with Pete’s Dragon. The two films couldn’t be further apart, with this one succeeding in its quiet dignity. It is in every sense of the word – lovely.
https://moviemetropolis.net/2016/08/16/lovely-in-every-sense-of-the-word-petes-dragon-review/
Movie Metropolis (309 KP) rated Terminator Genisys (2015) in Movies
Jun 11, 2019
Not a complete disaster
Sequels and reboots are making up the bulk of 2015’s cinematic offerings. With films added to franchises like Jurassic Park, Star Wars and James Bond, it was always going to be tough for others to make much of a dent.
It’s been six years since Christian Bale took over lead billing from Arnold Schwarzenegger in the Terminator series in the critically panned Terminator Salvation. But director Alan Taylor (Thor: the Dark World), a newcomer to the sci-fi adventure series, resurrects the franchise with Terminator Genisys. But is it worth a watch?
Acting as a reboot and a sequel, the film follows the story of a young Kyle Reece (Jai Courtney), sent back in time by John Connor (Jason Clarke) to protect his mother Sarah, played by Game of Thrones’ Emilia Clarke. His aim is to stop the war before it even begins.
The duo are joined on their travels by the naturally charismatic Arnold Schwarzenegger who is one of the only highlights in a film full of soulless set-pieces, meaningless dialogue and a sickening sense of nostalgia.
Genisys constantly reminds you of the brilliance radiating from James Cameron’s first two films. Herein lies the problem, this sequel has none of the soul or charm of its predecessors with the homages coming across as insulting attempts to cash in on the series.
Even the iconic “I’ll be back” phrase is shoehorned into an awkward position where it doesn’t really make much sense.
And there we move onto the second issue. It makes hardly any sense at all. With continuity errors abound, Genisys relies on your knowledge of Terminator and Judgement Day being in tip-top shape, and after more than two decades it’s safe to say the majority of people will need a refresher course first.
The set pieces are, on the whole, glorious and despite being slightly overlong at 126 minutes, Genisys is a well-paced film without a boring moment to its name. It’s just a shame the plot doesn’t make more of an impact.
It feels like the characters are stuck in a video game, with a climactic action piece signalling the next level, moving on up until the obligatory big-boss fight that makes a further sequel seem incredibly likely.
Emilia Clarke is well-worth noting however. Despite being more used to being in the company of dragons rather than robots, she plays her character well and steps into Linda Hamilton’s shoes with ease. The casting is spot on here with Clarke having more than a whiff of Hamilton in her appearance.
The rest of the cast, bar Schwarzenegger fail to make an impression with Jai Courtney’s character proving particularly dull.
Overall, Terminator Genisys isn’t a complete disaster but comes close to being a write off. The action pieces are thrilling but a lack of soul, comprehension and individuality ensures it’ll end up being forgotten once 2015 is over.
With a sequel almost definitely on the cards, all fans of the franchise can hope for is a film worthy of James Cameron’s brilliant original – and this is not it.
https://moviemetropolis.net/2015/07/05/not-a-complete-disaster-terminator-genisys-review/
It’s been six years since Christian Bale took over lead billing from Arnold Schwarzenegger in the Terminator series in the critically panned Terminator Salvation. But director Alan Taylor (Thor: the Dark World), a newcomer to the sci-fi adventure series, resurrects the franchise with Terminator Genisys. But is it worth a watch?
Acting as a reboot and a sequel, the film follows the story of a young Kyle Reece (Jai Courtney), sent back in time by John Connor (Jason Clarke) to protect his mother Sarah, played by Game of Thrones’ Emilia Clarke. His aim is to stop the war before it even begins.
The duo are joined on their travels by the naturally charismatic Arnold Schwarzenegger who is one of the only highlights in a film full of soulless set-pieces, meaningless dialogue and a sickening sense of nostalgia.
Genisys constantly reminds you of the brilliance radiating from James Cameron’s first two films. Herein lies the problem, this sequel has none of the soul or charm of its predecessors with the homages coming across as insulting attempts to cash in on the series.
Even the iconic “I’ll be back” phrase is shoehorned into an awkward position where it doesn’t really make much sense.
And there we move onto the second issue. It makes hardly any sense at all. With continuity errors abound, Genisys relies on your knowledge of Terminator and Judgement Day being in tip-top shape, and after more than two decades it’s safe to say the majority of people will need a refresher course first.
The set pieces are, on the whole, glorious and despite being slightly overlong at 126 minutes, Genisys is a well-paced film without a boring moment to its name. It’s just a shame the plot doesn’t make more of an impact.
It feels like the characters are stuck in a video game, with a climactic action piece signalling the next level, moving on up until the obligatory big-boss fight that makes a further sequel seem incredibly likely.
Emilia Clarke is well-worth noting however. Despite being more used to being in the company of dragons rather than robots, she plays her character well and steps into Linda Hamilton’s shoes with ease. The casting is spot on here with Clarke having more than a whiff of Hamilton in her appearance.
The rest of the cast, bar Schwarzenegger fail to make an impression with Jai Courtney’s character proving particularly dull.
Overall, Terminator Genisys isn’t a complete disaster but comes close to being a write off. The action pieces are thrilling but a lack of soul, comprehension and individuality ensures it’ll end up being forgotten once 2015 is over.
With a sequel almost definitely on the cards, all fans of the franchise can hope for is a film worthy of James Cameron’s brilliant original – and this is not it.
https://moviemetropolis.net/2015/07/05/not-a-complete-disaster-terminator-genisys-review/
Hazel (1853 KP) rated Way Down Dark (The Australia Trilogy, #1) in Books
Dec 14, 2018
<i>I received this book for free through Goodreads First Reads.
Way Down Dark</i> is the first in the <i>Australia</i> trilogy by J.P. Smythe, a brand new dystopian series for young adult readers. The world has been destroyed and humans boarded space ships in order to find somewhere to live, however, generations later the passengers aboard <i>Australia</i> have not found anywhere. The years have taken their toll on the ship, which is slowly falling to pieces, it’s inhabitants reduced to scavengers.
Recently orphaned Chan is living alone and trying to fend for herself as the Lows, an ever-increasing band of murderous thugs, wage war on everyone else. Nowhere is safe and quite often Chan finds herself in a situation where it is either kill or be killed. When Chan’s mother died her last instructions were to stay out of trouble, be selfish and don’t die. Chan on the other hand finds it extremely difficult to be selfish when she sees other people in life threatening situations. Thankfully she has Angela, a fifty something woman, looking out for her. But then Angela introduces Chan to a part of the ship no one has ever been to before, a part that challenges the truth behind the stories believed by everyone about the destruction of Earth. This new knowledge fuels Chan’s determination to save the lives of as many she can, thus finding herself in perilous situations.
Despite being set in the distant future, the characters at the beginning are living lives similar to those of the past – making clothes, shoes and weapons from scratch, picking fruit in the arboretum in order to eat. So although many dystopian novels involve some kind of enhanced technology, <i>Way Down Dark</i> does not, which separates it from other books of the same genre.
As well as Chan’s narrative, the novel also contains Angela’s stories of the past when Chan’s mother was young. These help to explain some of the situations the characters find themselves in now. It is also through Angela that Chan begins to discover the truth about the ship <i>Australia</i> and the lies they have been led to believe.
The main characters are very likable and display a range of personalities, each adding something different to the story. Chan is quick thinking, strong-willed and unselfish whereas, although Angela cares and protects, she keeps more to herself rather than jump into the fight in order to be a hero. Finally, Jonah, a young man who teams up with Chan and Angela, is a mix of Chan’s personalities with a religious streak, or what passes as religious on the <i>Australia</i>.
Although it is less futuristic than other popular young adult novels such as <i>Divergent</i> or <i>The Hunger Games</i>, readers are bound to enjoy <i>Way Down Dark</i> and its sequels. It is full of action, violence and survival told from the point of view of a teenage girl. <i>Way Down Dark</i> is a highly recommended, gripping novel, which promises to satisfy the needs of dystopian lovers.
Way Down Dark</i> is the first in the <i>Australia</i> trilogy by J.P. Smythe, a brand new dystopian series for young adult readers. The world has been destroyed and humans boarded space ships in order to find somewhere to live, however, generations later the passengers aboard <i>Australia</i> have not found anywhere. The years have taken their toll on the ship, which is slowly falling to pieces, it’s inhabitants reduced to scavengers.
Recently orphaned Chan is living alone and trying to fend for herself as the Lows, an ever-increasing band of murderous thugs, wage war on everyone else. Nowhere is safe and quite often Chan finds herself in a situation where it is either kill or be killed. When Chan’s mother died her last instructions were to stay out of trouble, be selfish and don’t die. Chan on the other hand finds it extremely difficult to be selfish when she sees other people in life threatening situations. Thankfully she has Angela, a fifty something woman, looking out for her. But then Angela introduces Chan to a part of the ship no one has ever been to before, a part that challenges the truth behind the stories believed by everyone about the destruction of Earth. This new knowledge fuels Chan’s determination to save the lives of as many she can, thus finding herself in perilous situations.
Despite being set in the distant future, the characters at the beginning are living lives similar to those of the past – making clothes, shoes and weapons from scratch, picking fruit in the arboretum in order to eat. So although many dystopian novels involve some kind of enhanced technology, <i>Way Down Dark</i> does not, which separates it from other books of the same genre.
As well as Chan’s narrative, the novel also contains Angela’s stories of the past when Chan’s mother was young. These help to explain some of the situations the characters find themselves in now. It is also through Angela that Chan begins to discover the truth about the ship <i>Australia</i> and the lies they have been led to believe.
The main characters are very likable and display a range of personalities, each adding something different to the story. Chan is quick thinking, strong-willed and unselfish whereas, although Angela cares and protects, she keeps more to herself rather than jump into the fight in order to be a hero. Finally, Jonah, a young man who teams up with Chan and Angela, is a mix of Chan’s personalities with a religious streak, or what passes as religious on the <i>Australia</i>.
Although it is less futuristic than other popular young adult novels such as <i>Divergent</i> or <i>The Hunger Games</i>, readers are bound to enjoy <i>Way Down Dark</i> and its sequels. It is full of action, violence and survival told from the point of view of a teenage girl. <i>Way Down Dark</i> is a highly recommended, gripping novel, which promises to satisfy the needs of dystopian lovers.
Frederick, Conrad and Manfred of Hohenstaufen, Kings of Sicily: The Chronicle of Nicholas of Jamsilla 1210-1258
Book
In the decade following the death of Frederick II in 1250, his sons Conrad and Manfred had to defend...
Weaphones WW2: Firearms Simulator
Games and Entertainment
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Experience the weapons of World War II like never before. Weaphones WW2 Edition redefines what the...
Gareth von Kallenbach (980 KP) rated The Gunman (2015) in Movies
Aug 6, 2019
Today, we have an action film on deck for you and ‘no’ it doesn’t star Matt Damon or Jason Statham. This latest film ‘The Gunman’ stars none other than Sean Penn?! Yes, Sean Penn has decided to step into the action genre in his latest film.
Starring Sean Penn, Javier Bardem, Idris Elba, Jasmine Trinca, Ray Winstone, Peter Franzén, Mark Rylance, and based upon the 1981 book ‘The Prone Gunman’ by Jean-Patrick Manchette
‘The Gunman’ is set in the chaos that is modern Africa where civil unrest and war are day-to-day occurrences and western countries and multi-national conglomerates fight for control of the continent’s vital resources. Within this backdrop we find the character of Jim “Twink” Terrier (Penn). A corporate mercenary AKA security contractor on his last ‘assignment’ forced to leave
behind the woman he loves after going into hiding once his final assignment is complete. Now, years later after he has returned in secret to Africa he is forced go on the hunt again after nearly being killed and confront his former boss Felix (Bardem) who may or may not hold the key to finding those responsible. As in the world of espionage however, no one can be trusted. With corporate interests, international law enforcement, and his deteriorating health Terrier is racing against the clock to ensure that the world knows the whole story and perhaps find his long lost love before it’s too late.
Penn is obviously known for his dramatic roles. To say he is ‘legendary’ is pretty accurate.
After seeing this movie, I think it’s safe to say it’s likely we could see him in more action movies. The movie was a bit rough around the edges and perhaps 15 to 20 minutes longer than it needed to be. I felt like Bardem’s presence in the film was ‘wasted’. His character was quiet, spoke very little, and when they did give the character significant time in front of the camera he was drunk for most of it. Bardem has become legendary in his own right and I was hoping for a lot more for his character. The movie was NOT terrible though. One thing that impressed me was the fact that the filmmakers and the writers had the ‘guts’ to include mention of the type of thing that’s going on in Africa right now with corporations fighting for the continents resources and using the civil unrest to their advantage as part of the storyline.
All in all, I’d give the film 3 out of 5 stars. Catch the matinee or order it online. It’s not much when you compare it to something from the ‘Bourne’ or ‘Bond’ franchises. What you see in ‘The Gunman’ is the kind of action film that’s not outside the realm of possibility in real life.
On behalf of my fellows at ‘Skewed & Reviewed’ this is ‘The CameraMan’ saying thanks for reading … and we’ll see you at the movies.
Second Review by Jennifer Fiduccia
The Gunman, stars Sean Penn as James Terrier, Javier Bardem as Felix, Idris Elba as Barnes, Ray Winstone as Stanley, Mark Rylance as Cox and Jasmine Trinca as Annie.
The movie starts out by showing the men all working together as guards for a humanitarian effort in Congo but we are quickly led to believe that they might also be ‘up to something’
Annie is Jims’ fiancé, but it is overly obvious that Felix is jealous and wishes she were his.
Our beliefs become justified when we see the group of guys get orders to assassinate the Minister of Mining, and its a sort of blind draw as to who has to do the actual shooting. Whoever gets picked must then leave the country. It is revealed that that is how Felix wants it to be.
Terrier draws the short straw so to speak, and must carry out the assassination, and then flee the country.
The movie then skips ahead to 8 years later, and sees Jim once again helping a humanitarian effort in Africa, digging wells.
As he works, his group is suddenly attacked by a group of mercenaries, and Jim manages to fight them off and kill them.
He then begins to hunt down his old team mates in an attempt to try and figure out who tried to kill him and why.
The action in the movie is good, and fast paced, the stunts were well done. None of the stunts seemed ‘unbelievable’ given the circumstances they were put in.
The relationships between the characters could have been better fleshed out, and I was confused most of the way through the movie as to who was after Jim and why, but I guess that was intended in the plot.
Overall, if you are looking for a decent action film with a bunch of shooting and car chases, this will fit the bill.
I’d give the movie 3 out of 5 stars, specifically in the category of ‘action films’.
Starring Sean Penn, Javier Bardem, Idris Elba, Jasmine Trinca, Ray Winstone, Peter Franzén, Mark Rylance, and based upon the 1981 book ‘The Prone Gunman’ by Jean-Patrick Manchette
‘The Gunman’ is set in the chaos that is modern Africa where civil unrest and war are day-to-day occurrences and western countries and multi-national conglomerates fight for control of the continent’s vital resources. Within this backdrop we find the character of Jim “Twink” Terrier (Penn). A corporate mercenary AKA security contractor on his last ‘assignment’ forced to leave
behind the woman he loves after going into hiding once his final assignment is complete. Now, years later after he has returned in secret to Africa he is forced go on the hunt again after nearly being killed and confront his former boss Felix (Bardem) who may or may not hold the key to finding those responsible. As in the world of espionage however, no one can be trusted. With corporate interests, international law enforcement, and his deteriorating health Terrier is racing against the clock to ensure that the world knows the whole story and perhaps find his long lost love before it’s too late.
Penn is obviously known for his dramatic roles. To say he is ‘legendary’ is pretty accurate.
After seeing this movie, I think it’s safe to say it’s likely we could see him in more action movies. The movie was a bit rough around the edges and perhaps 15 to 20 minutes longer than it needed to be. I felt like Bardem’s presence in the film was ‘wasted’. His character was quiet, spoke very little, and when they did give the character significant time in front of the camera he was drunk for most of it. Bardem has become legendary in his own right and I was hoping for a lot more for his character. The movie was NOT terrible though. One thing that impressed me was the fact that the filmmakers and the writers had the ‘guts’ to include mention of the type of thing that’s going on in Africa right now with corporations fighting for the continents resources and using the civil unrest to their advantage as part of the storyline.
All in all, I’d give the film 3 out of 5 stars. Catch the matinee or order it online. It’s not much when you compare it to something from the ‘Bourne’ or ‘Bond’ franchises. What you see in ‘The Gunman’ is the kind of action film that’s not outside the realm of possibility in real life.
On behalf of my fellows at ‘Skewed & Reviewed’ this is ‘The CameraMan’ saying thanks for reading … and we’ll see you at the movies.
Second Review by Jennifer Fiduccia
The Gunman, stars Sean Penn as James Terrier, Javier Bardem as Felix, Idris Elba as Barnes, Ray Winstone as Stanley, Mark Rylance as Cox and Jasmine Trinca as Annie.
The movie starts out by showing the men all working together as guards for a humanitarian effort in Congo but we are quickly led to believe that they might also be ‘up to something’
Annie is Jims’ fiancé, but it is overly obvious that Felix is jealous and wishes she were his.
Our beliefs become justified when we see the group of guys get orders to assassinate the Minister of Mining, and its a sort of blind draw as to who has to do the actual shooting. Whoever gets picked must then leave the country. It is revealed that that is how Felix wants it to be.
Terrier draws the short straw so to speak, and must carry out the assassination, and then flee the country.
The movie then skips ahead to 8 years later, and sees Jim once again helping a humanitarian effort in Africa, digging wells.
As he works, his group is suddenly attacked by a group of mercenaries, and Jim manages to fight them off and kill them.
He then begins to hunt down his old team mates in an attempt to try and figure out who tried to kill him and why.
The action in the movie is good, and fast paced, the stunts were well done. None of the stunts seemed ‘unbelievable’ given the circumstances they were put in.
The relationships between the characters could have been better fleshed out, and I was confused most of the way through the movie as to who was after Jim and why, but I guess that was intended in the plot.
Overall, if you are looking for a decent action film with a bunch of shooting and car chases, this will fit the bill.
I’d give the movie 3 out of 5 stars, specifically in the category of ‘action films’.
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
Ivana A. | Diary of Difference (1171 KP) rated The Devil's Apprentice (The Great Devil War, #1) in Books
Feb 3, 2020
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#1 <a href="https://www.goodreads.com/review/show/2695415697">The Devil's Apprentice</a> - ★★★★★
#2 <a href="https://www.goodreads.com/review/show/2695416625">The Die of Death</a> - ★★★★★
<img src="https://i1.wp.com/diaryofdifference.com/wp-content/uploads/2019/03/New-blog-banner-9.png?w=560&ssl=1"/>;
<b><i>Possibly the best Young-Adult Fantasy I have read this year. Enter and discover Hell and see how it works, meet the Devil and learn why we need evil in order to be good! A fantastic story and great adventures await in Hell. Read this at your own risk!</i></b>
I was lucky enough to receive the first two books of The Great Devil War Series by the author himself. I haven’t heard about Kenneth B. Andersen before, but after reading the synopsis, I knew I had to have these books - I knew I had to read the whole series.
Meet Phillip - he is a good boy. An angel. He helps his mum with the chores, he helps his friends with their homework, he loves and takes care of animals, and he never lies. But one day, he is sent to Hell by mistake, and he has to become the Devil’s Apprentice. The Devil is ill and before he dies he has to make sure to teach Phillip the worst tricks in Hell’s history, and teach him to be evil - but Phillip is simply terrible at being bad and keeps failing all his tests.
With very little time left for the Devil to teach Phillip everything, Phillip begins to make friends and enemies in this place. And on top of it all - someone might want the Devil’s throne for themselves…
I loved this book so much! The best thing about it is the setting. We enter a world and we get to see Hell through Phillip’s eyes. Everyone has their own place and role, there is a system of how they designate people and where they go - we meet Death and see the process of how he chooses who dies, and how they place people in either Heaven or Hell, depending on the actions people take throughout their lives, and also, how the Devil throws the dice as well.
Phillip is a typical boy, who goes to school, tries to be a good boy wherever he can. I loved Phillip’s character and could easily relate to him. When he gets in an unusual place, he begins to wonder, and discover and explore, and the way the author writes the scenes just keep you engaged in the book and you can’t put it down before you know what happens next.
The world in Hell is full of adventures, different creatures, lots of scenes where we can’t help but wonder what does ‘’EVIL’’ actually mean, and is it really true that we do need a little bit of evil in order to see the good in ourselves and others? Many moral messages are discovered through Phillip’s adventures, and I loved seeing him grow throughout the book. He keeps learning things and he kept growing. Do you really need to be evil to succeed in Hell?
I am so glad I have read this book, and I can’t wait to read the second book. <b>If you enjoy Young-Adult fantasy, and if you even enjoyed Dante’s Inferno, this book will probably be something you might enjoy. It will make you giggle, and even make you wonder, and it will leave you restless with all the adventures, page after page.</b>
Until next time! x
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#1 <a href="https://www.goodreads.com/review/show/2695415697">The Devil's Apprentice</a> - ★★★★★
#2 <a href="https://www.goodreads.com/review/show/2695416625">The Die of Death</a> - ★★★★★
<img src="https://i1.wp.com/diaryofdifference.com/wp-content/uploads/2019/03/New-blog-banner-9.png?w=560&ssl=1"/>;
<b><i>Possibly the best Young-Adult Fantasy I have read this year. Enter and discover Hell and see how it works, meet the Devil and learn why we need evil in order to be good! A fantastic story and great adventures await in Hell. Read this at your own risk!</i></b>
I was lucky enough to receive the first two books of The Great Devil War Series by the author himself. I haven’t heard about Kenneth B. Andersen before, but after reading the synopsis, I knew I had to have these books - I knew I had to read the whole series.
Meet Phillip - he is a good boy. An angel. He helps his mum with the chores, he helps his friends with their homework, he loves and takes care of animals, and he never lies. But one day, he is sent to Hell by mistake, and he has to become the Devil’s Apprentice. The Devil is ill and before he dies he has to make sure to teach Phillip the worst tricks in Hell’s history, and teach him to be evil - but Phillip is simply terrible at being bad and keeps failing all his tests.
With very little time left for the Devil to teach Phillip everything, Phillip begins to make friends and enemies in this place. And on top of it all - someone might want the Devil’s throne for themselves…
I loved this book so much! The best thing about it is the setting. We enter a world and we get to see Hell through Phillip’s eyes. Everyone has their own place and role, there is a system of how they designate people and where they go - we meet Death and see the process of how he chooses who dies, and how they place people in either Heaven or Hell, depending on the actions people take throughout their lives, and also, how the Devil throws the dice as well.
Phillip is a typical boy, who goes to school, tries to be a good boy wherever he can. I loved Phillip’s character and could easily relate to him. When he gets in an unusual place, he begins to wonder, and discover and explore, and the way the author writes the scenes just keep you engaged in the book and you can’t put it down before you know what happens next.
The world in Hell is full of adventures, different creatures, lots of scenes where we can’t help but wonder what does ‘’EVIL’’ actually mean, and is it really true that we do need a little bit of evil in order to see the good in ourselves and others? Many moral messages are discovered through Phillip’s adventures, and I loved seeing him grow throughout the book. He keeps learning things and he kept growing. Do you really need to be evil to succeed in Hell?
I am so glad I have read this book, and I can’t wait to read the second book. <b>If you enjoy Young-Adult fantasy, and if you even enjoyed Dante’s Inferno, this book will probably be something you might enjoy. It will make you giggle, and even make you wonder, and it will leave you restless with all the adventures, page after page.</b>
Until next time! x
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