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Kristy H (1252 KP) rated The Perfect Mother in Books
May 10, 2018
Compelling and suspenseful novel that grabs you from the start
The May Mothers--a group of parents who all gave birth in May--meet regularly to discuss their parenting woes, joys, and everything in between. On the 4th of July, the group decides to go out in the evening--their first time out since their children were born. They meet at a bar, and most of the group is looking forward to an evening of drinking and dancing. But Winnie, a single mother, is reluctant to leave her son, Midas, with a babysitter for the first time. And, that evening, all goes wrong: while Winnie is out, Midas is taken from his own home while the babysitter sleeps: stolen from his crib without anyone leaving a trace. Suddenly Winnie's life is splashed across the media, who are also saying the police have done everything wrong with the investigation from the start. Three of the other mothers only want to help Winnie get Midas back--but will it come at the cost of their own privacy as well?
This is a compelling and suspenseful novel that grabs you from the beginning, when we are told that it is a year later and a woman from the Mother's group is in prison due to Midas' disappearance. From there, the story rewinds, as told from the point-of-view of several women in the group, including Francie, Colette, Nell, and Winnie. It slowly unfolds with snippets from each and turns out to be incredibly suspenseful. The characters are all entwined a bit, and there are some excellent twists and turns as plot pieces unfold.
Even better, the novel offers some excellent commentary on how women are treated wrapped up in the mystery plot. Woven into the plot twists, we see some of the harsh realities of motherhood (in the U.S., especially) related to working mothers, breastfeeding, sleeplessness, and the overall pressure placed on new moms. As Winnie is increasingly tried in the media, Molloy does a good job of weaving in TV news and commentary on how mothers are expected to behave. It's well-done and I enjoyed the dual aspect of a well-done thriller but also the social commentary aspect, too.
Overall, I really enjoyed this one. It was very exciting and very surprising. At times, there often seemed to be a frustrating character involved with something to hide and making bad decisions (secretly copying files, hacking into things, etc.), but I suppose that comes with the territory. And yes, I am a little tired of the multiple POV/surprise twist format, but it worked so well here that I'll forgive. In the end, this is a really enjoyable novel with a vast cast of characters, some excellent twists, and amazing insight into motherhood. I'm really excited that this will be turned into a movie with Kerry Washington.
I received a copy of this novel from the publisher and Edelweiss in return for an unbiased review (thank you!).
This is a compelling and suspenseful novel that grabs you from the beginning, when we are told that it is a year later and a woman from the Mother's group is in prison due to Midas' disappearance. From there, the story rewinds, as told from the point-of-view of several women in the group, including Francie, Colette, Nell, and Winnie. It slowly unfolds with snippets from each and turns out to be incredibly suspenseful. The characters are all entwined a bit, and there are some excellent twists and turns as plot pieces unfold.
Even better, the novel offers some excellent commentary on how women are treated wrapped up in the mystery plot. Woven into the plot twists, we see some of the harsh realities of motherhood (in the U.S., especially) related to working mothers, breastfeeding, sleeplessness, and the overall pressure placed on new moms. As Winnie is increasingly tried in the media, Molloy does a good job of weaving in TV news and commentary on how mothers are expected to behave. It's well-done and I enjoyed the dual aspect of a well-done thriller but also the social commentary aspect, too.
Overall, I really enjoyed this one. It was very exciting and very surprising. At times, there often seemed to be a frustrating character involved with something to hide and making bad decisions (secretly copying files, hacking into things, etc.), but I suppose that comes with the territory. And yes, I am a little tired of the multiple POV/surprise twist format, but it worked so well here that I'll forgive. In the end, this is a really enjoyable novel with a vast cast of characters, some excellent twists, and amazing insight into motherhood. I'm really excited that this will be turned into a movie with Kerry Washington.
I received a copy of this novel from the publisher and Edelweiss in return for an unbiased review (thank you!).
Gareth von Kallenbach (980 KP) rated Night School (2018) in Movies
Jul 2, 2019
Teddy Walker (Kevin Hart) appears to be living a great life. He is successful BBQ grill salesman, he has a Porsche, a nice apartment and a loving and successful girlfriend, Lisa (Megalyn Echikunwoke). Appearances can be deceiving however. The between the Porsche and rent payments he is barely getting by pay check to pay check. Plus he refuses to let his girlfriend pay for any of their dates. Teddy thinks he is turning a corner when his boss tells him that the BBQ grill store will be turned over to him once he retires. Finally he feels like he will have some stability and decides to propose Lisa. During the proposal, at the store that will one day will be his, there is an explosion and the entire store is destroyed. Now Teddy finds himself is out of a job and with no diploma there is little hope of him getting one. Teddy’s friend Marvin (Ben Schwartz) tells him that he can get him a job as a financial assistant but only if he can get his GED. So he heads back to his old high school to take a GED prep course at night school. Thinking he can use his salesman skill to talk his way into cruising to getting his diploma. Unfortunately for him two things stand in his way. One is the principle is his high school nemesis, Stewart (Taran Killam). The second, the night school teacher, Carrie (Tiffany Haddish), will only help those who put in the work and his smooth talk won’t work on this teacher. Now for the first time in his life, Teddy can’t talk his way out of a tough situation and must put in the work to stay with Lisa.
This film surprised me in that not only does it bring the laughs but also has a really positive message. It has a recurring theme of second chances throughout the film. It also tackles learning disabilities in a really interesting and thoughtful way. I thought that yes at times it was cheesy but really stuck to the message of it’s never too late to realize your potential.
This Malcolm D Lee (Girls Trip, The Best Man) directed film definitely has it funny moments. Kevin Hart and Tiffany Haddish really know how to play off each other, even though I think the back and forth gets a little old by the end. To me the supporting cast (Al Madrigal, Rob Riggle, Romany Malco, Mary Lynn Rajskub, Anne Winters, to name a few) really do a good job and all have really funny moments. The best parts of the movie are when the Hart, Haddish and company are in school playing off each other. The film does repeat some jokes a little too much for me but overall laughed and like the positive message. I liked the originality of the story, even if its themes felt familiar. This may not win any awards but it was an enjoyable and entertaining comedy.
This film surprised me in that not only does it bring the laughs but also has a really positive message. It has a recurring theme of second chances throughout the film. It also tackles learning disabilities in a really interesting and thoughtful way. I thought that yes at times it was cheesy but really stuck to the message of it’s never too late to realize your potential.
This Malcolm D Lee (Girls Trip, The Best Man) directed film definitely has it funny moments. Kevin Hart and Tiffany Haddish really know how to play off each other, even though I think the back and forth gets a little old by the end. To me the supporting cast (Al Madrigal, Rob Riggle, Romany Malco, Mary Lynn Rajskub, Anne Winters, to name a few) really do a good job and all have really funny moments. The best parts of the movie are when the Hart, Haddish and company are in school playing off each other. The film does repeat some jokes a little too much for me but overall laughed and like the positive message. I liked the originality of the story, even if its themes felt familiar. This may not win any awards but it was an enjoyable and entertaining comedy.
Matthew Krueger (10051 KP) rated Payback (1999) in Movies
Jul 15, 2020
Get Ready To Root For The Bad Guy
Payback- is a intresting revenge action thriller. Maybe its me, but i fell like this movie is boring. Its good, but some what boring, like nothing going on. Also its kinda of confusing, again it might just be me, but i fell like its confusing as well. Like i said before its good, but in the end its both boring and confusing.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
Bob Mann (459 KP) rated La La Land (2016) in Movies
Sep 29, 2021
“It’s very nostalgic – will people like it?”
A little film. Not sure whether you might have heard of it yet? Damien Chazelle has followed up his astonishingly proficient “Whiplash” – my top film of 2015 – with a sure-fire theatre-filler in “La La Land”. The old-fashioned musical extravaganza is back, and back with style!
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
Gareth von Kallenbach (980 KP) rated End of Watch (2012) in Movies
Aug 7, 2019
Director/Writer David Ayer (Street Kings, Training day) once again takes us into the world of the Los Angeles police department in the new movie End of Watch. Only this time rather than go in the corrupt police officer direction he has gone before, Ayer instead takes audiences on a honest and somewhat realistic emotionally charged ride along with two young and confident LAPD patrolmen.
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
BankofMarquis (1832 KP) rated Everything Everywhere All At Once (2022) in Movies
Apr 15, 2022
A fun ride - with heart
The first recommendation when watching EVERYTHING EVERYWHERE ALL AT ONCE is to not try to figure out what is going on in this movie during the first 1/2 hour to 45 minutes. This will drive you mad. Just sit back and enjoy the mind-bending experience you are having.
After that point, either it will click in your brain…or it won’t. If it does - great! If not…continue to sit back and enjoy the mind-bending experience you are having.
For…EVERYTHING EVERYWHERE ALL AT ONCE is a trippy head-trip of a film that is certainly unique - but it also has something going for it that all good films do - characters that you will care about in a story that will touch your heart.
Written and Directed by Dan Kwan and Daniel Scheinert (SWISS ARMY MAN), EVERYTHING…tells the tale of unhappily married couple Evelyn Wang (Michelle Yeoh) and Waymond Wang (Ke Huy Quan), her father Gong Gong (the great James Hong) and their daughter, Joy (Stephanie Hsu). When interdimensional travel interrupts their mundane life, things get much, much more than mundane.
Yes, folks, you read that right INTERDIMENSIONAL TRAVEL - and this is not a Marvel movie! Evelyn and family start jumping to parallel dimensions, experiencing everything, everywhere…all at once (hence, the name of the film).
This is a smart, unique and visually interesting film and credit for this must go to Wang and Scheinert. They have come up with something unusual. However, they don’t just do “unusual for unusual sake” they wrap this film up - and connect the dots - in a satisfying way in the end. Oh…and they also build in some incredibly impressive fight scenes along the way. To not hype them too much, but these are the best fight scenes that have been on film in quite some time - certainly the most interesting and unique since the JOHN WICK films.
The duo, smartly, enlisted the aid of the underappreciated - but very talented - Michelle Yeoh (CRAZY RICH ASIANS) as the protagonist of this piece. It is a wise choice for she must go from mousey housewife to kick-butt SuperHero (and everywhere in between) throughout the course of this film and her Martial Arts background comes in very, very handy. It is a bravura performance by Yeoh and it would be TERRIFIC if her name is called come awards season next year (yes, it is that good of a performance).
She is ably assisted by Hong (a veteran character actor with more than 450 credits to his name), Hsu (known for her role as Mei in THE MARVELOUS MRS. MAISEL) and, especially Quan (the kid “Short Round” who assists the hero in INDIANA JONES AND THE TEMPLE OF DOOM) - it was good to see Quan back on the big screen.
The filmmakers also sprinkle some very strong character actors/actresses in the mix here. Both Jenny Slate (Mona-Lisa Saperstein in PARKS & REC) and Harry Shum, Jr. (GLEE, CRAZY RICH ASIANS) are fun in small roles as is the aforementioned James Hong as Gong Gong (the Grandfather).
But…the person who ALMOST steals this film from Ms. Yeoh is the incomparable Jamie Lee Curtis as the somewhat overweight and out of shape IRS Agent who plays a pivotal role in Evelyn’s life across the Dimensions. It is a fun role for Curtis who is not afraid to look physically bad. Again, I would LOVE IT if she got some love come awards time next year (she won’t, but maybe in some other parallel Universe she would).
Not for everyone - the multi-dimensional travel is going to give some folks a headache as they try to figure things out - but if you surrender yourself to the wildness that is going on, and embrace the spirit and the heart of this film, you will be rewarded with a very rich film going experience.
Letter Grade: A-
8 Stars out of 10 (might move up to 9 on a rewatch) and you can take that to the Bank(ofMarquis)
After that point, either it will click in your brain…or it won’t. If it does - great! If not…continue to sit back and enjoy the mind-bending experience you are having.
For…EVERYTHING EVERYWHERE ALL AT ONCE is a trippy head-trip of a film that is certainly unique - but it also has something going for it that all good films do - characters that you will care about in a story that will touch your heart.
Written and Directed by Dan Kwan and Daniel Scheinert (SWISS ARMY MAN), EVERYTHING…tells the tale of unhappily married couple Evelyn Wang (Michelle Yeoh) and Waymond Wang (Ke Huy Quan), her father Gong Gong (the great James Hong) and their daughter, Joy (Stephanie Hsu). When interdimensional travel interrupts their mundane life, things get much, much more than mundane.
Yes, folks, you read that right INTERDIMENSIONAL TRAVEL - and this is not a Marvel movie! Evelyn and family start jumping to parallel dimensions, experiencing everything, everywhere…all at once (hence, the name of the film).
This is a smart, unique and visually interesting film and credit for this must go to Wang and Scheinert. They have come up with something unusual. However, they don’t just do “unusual for unusual sake” they wrap this film up - and connect the dots - in a satisfying way in the end. Oh…and they also build in some incredibly impressive fight scenes along the way. To not hype them too much, but these are the best fight scenes that have been on film in quite some time - certainly the most interesting and unique since the JOHN WICK films.
The duo, smartly, enlisted the aid of the underappreciated - but very talented - Michelle Yeoh (CRAZY RICH ASIANS) as the protagonist of this piece. It is a wise choice for she must go from mousey housewife to kick-butt SuperHero (and everywhere in between) throughout the course of this film and her Martial Arts background comes in very, very handy. It is a bravura performance by Yeoh and it would be TERRIFIC if her name is called come awards season next year (yes, it is that good of a performance).
She is ably assisted by Hong (a veteran character actor with more than 450 credits to his name), Hsu (known for her role as Mei in THE MARVELOUS MRS. MAISEL) and, especially Quan (the kid “Short Round” who assists the hero in INDIANA JONES AND THE TEMPLE OF DOOM) - it was good to see Quan back on the big screen.
The filmmakers also sprinkle some very strong character actors/actresses in the mix here. Both Jenny Slate (Mona-Lisa Saperstein in PARKS & REC) and Harry Shum, Jr. (GLEE, CRAZY RICH ASIANS) are fun in small roles as is the aforementioned James Hong as Gong Gong (the Grandfather).
But…the person who ALMOST steals this film from Ms. Yeoh is the incomparable Jamie Lee Curtis as the somewhat overweight and out of shape IRS Agent who plays a pivotal role in Evelyn’s life across the Dimensions. It is a fun role for Curtis who is not afraid to look physically bad. Again, I would LOVE IT if she got some love come awards time next year (she won’t, but maybe in some other parallel Universe she would).
Not for everyone - the multi-dimensional travel is going to give some folks a headache as they try to figure things out - but if you surrender yourself to the wildness that is going on, and embrace the spirit and the heart of this film, you will be rewarded with a very rich film going experience.
Letter Grade: A-
8 Stars out of 10 (might move up to 9 on a rewatch) and you can take that to the Bank(ofMarquis)
Daniel Boyd (1066 KP) rated Bleed For This (2016) in Movies
Aug 11, 2017 (Updated Oct 25, 2017)
Incredible true story (4 more)
Eckhart & Teller are brilliant in the lead performances
The supporting cast are great too
Tight script
Good direction
One Of The Most Remarkable Comebacks In History
If this movie wasn't based in true events, it would be ridiculed for being too far fetched. Don't get me wrong, I am sure that, (as is with the case with all movies based on a 'true' story,) some aspects of the film have been exaggerated for dramatic purposes, but even still, this is an incredible story about triumph over adversity.
The cast are all great, Miles Teller at this point is up there with Christian Bale and Jake Gyllenhaal as a young character actor at the top of his game in my eyes. He is fantastic as Pazienza and does a brilliant job conveying the pain and tragedy that Vinnie faced and the 'nothing will stop me,' attitude that Vinnie possessed. Aaron Eckhart goes from Hollywood heart-throb, to past his prime shlub in this role and he sells it convincingly, he truly is one of the most underrated character actors working today in my opinion.
The rest of the ensemble cast are great. The production is also of an immensely high quality, the sets, sound design and abrupt editing all make up an equally grim and glamorous world that feels realistic and lived in.
Overall this film is definitely worth a watch, whether you are a boxing fan or not, it is a hugely inspirational story that has been brought to life masterfully and is a story that should be witnessed by everybody.
The cast are all great, Miles Teller at this point is up there with Christian Bale and Jake Gyllenhaal as a young character actor at the top of his game in my eyes. He is fantastic as Pazienza and does a brilliant job conveying the pain and tragedy that Vinnie faced and the 'nothing will stop me,' attitude that Vinnie possessed. Aaron Eckhart goes from Hollywood heart-throb, to past his prime shlub in this role and he sells it convincingly, he truly is one of the most underrated character actors working today in my opinion.
The rest of the ensemble cast are great. The production is also of an immensely high quality, the sets, sound design and abrupt editing all make up an equally grim and glamorous world that feels realistic and lived in.
Overall this film is definitely worth a watch, whether you are a boxing fan or not, it is a hugely inspirational story that has been brought to life masterfully and is a story that should be witnessed by everybody.
Mark Jaye (65 KP) rated Thor: The Dark World (2013) in Movies
May 18, 2019
Contains spoilers, click to show
Thor: The Dark World is one of a few MCU movies that I hadn't seen many times, and never since its' initial release. It has the reputation of been one of the weakest/worst entries in the 'continuity' however my memory of it was that it was okay. Having watched 'Endgame ' (several times!) and seeing that movie revisit a segment of the God of Thunders second solo outing I decided to give it another viewing.
Personally speaking, I still enjoyed it and think the reputation is a bit harsh. I prefer it to the first film but it falls way behind 'Ragnarok'. The visual effects are first rate and surpass some of those that would be seen in later Marvel movies.
Hemsworth is great however I can see why Hemsworth could have grown weary with the part (The Thor of Ragnarok onwards is a delight). Likewise with Hiddleston. The two have great on screen chemistry.
The story is simple enough - the dark Elf Malkeith awakens after a long period of sleep/exile to harness the power of the Aether, with the aim of plunging the Universe into darkness. Natalie Portman returns as Jane Foster in a role key to events, effectively serving as the plot device with which events kick start. This is also the first MCU entry to start referencing the Infinity Stones and tying together the various macguffins seen so far.
The film drags in places, more so during the second act, however the final battle is a visual delight.
Not therefore the worst, but certainly not the best!
Personally speaking, I still enjoyed it and think the reputation is a bit harsh. I prefer it to the first film but it falls way behind 'Ragnarok'. The visual effects are first rate and surpass some of those that would be seen in later Marvel movies.
Hemsworth is great however I can see why Hemsworth could have grown weary with the part (The Thor of Ragnarok onwards is a delight). Likewise with Hiddleston. The two have great on screen chemistry.
The story is simple enough - the dark Elf Malkeith awakens after a long period of sleep/exile to harness the power of the Aether, with the aim of plunging the Universe into darkness. Natalie Portman returns as Jane Foster in a role key to events, effectively serving as the plot device with which events kick start. This is also the first MCU entry to start referencing the Infinity Stones and tying together the various macguffins seen so far.
The film drags in places, more so during the second act, however the final battle is a visual delight.
Not therefore the worst, but certainly not the best!
Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
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As a young man, Ed Catmull had a dream: to make the world's first computer-animated movie. He...
