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BankofMarquis (1832 KP) rated Saltburn (2023) in Movies
Dec 29, 2023
Interesting...Intriguing...and Dark
Actress/Writer/Director Emerald Fennell is turning into an artistic voice that bears noticing and with SALTBURN - her follow-up to PROMISING YOUNG WOMAN (the film that won her the Academy Award for Best Original Screenplay) - Fennell’s artistic voice is in full bloom.
Starring Barry Keoghan (Oscar nominated for THE BANSHEES OF INISHERIN), SALTBURN tells the story of an Oxford student who befriends the rich, cool kid (Jacob Elordi, EUPHORIA) who invites him back to his family compound, SALTBURN, for the summer with his eccentric (to say the least) family.
As written and directed by Fennell, SALTBURN is a satire on the elite rich, showing them in their extravagant, quirky isolation in their compound, looking down on the common folk from their piles of money (or…in some cases…oblivious of the common folk because of their money) while peeling back the layers to show the unhappiness and manipulation underneath.
Fennell layers this story richly, slowly folding back facades and layers to show the ugliness of inherently unhappy people who cover their unhappiness up with wealth, money and parties.
Into this world comes Oliver Quick (Keoghan) who is the audiences’ conduit into this level of living - and who has secrets of his own.
Keoghan is interesting to watch (as always) and the family…Elordi, Sadie Soverall (his sister) and Archie Madekwe (another outsider who is jealous of Oliver’s appearance) all are good looking, good enough performers who live the hedonistic lifestyle and deny the consequences and responsibilities thereof.
When a film needs an “ice queen” as the matriarch of a family, Rosamund Pike is, inevitably, brought in and she brings the goods to Saltburn. She is perfectly cast as the mother of the family who says what she thinks, does not show what she is feeling and doesn’t give a darn about anyone else. She is suitably balanced by the off-balanced, quirky performance of the always good Richard E. Grant as the patriarch of the family who is (usually) lost in his own little world of whatever fantasy he is currently involved in.
But if this was just a film about a quirky family, it would be a fun, interesting romp. But…in Fennell’s hands, it becomes something much more sinister - and much more interesting - to watch.
Saltburn is a film that one must sit with after watching to digest what was just witnessed, but…ultimately…is one that is very interesting….and intriguing…and dark.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Starring Barry Keoghan (Oscar nominated for THE BANSHEES OF INISHERIN), SALTBURN tells the story of an Oxford student who befriends the rich, cool kid (Jacob Elordi, EUPHORIA) who invites him back to his family compound, SALTBURN, for the summer with his eccentric (to say the least) family.
As written and directed by Fennell, SALTBURN is a satire on the elite rich, showing them in their extravagant, quirky isolation in their compound, looking down on the common folk from their piles of money (or…in some cases…oblivious of the common folk because of their money) while peeling back the layers to show the unhappiness and manipulation underneath.
Fennell layers this story richly, slowly folding back facades and layers to show the ugliness of inherently unhappy people who cover their unhappiness up with wealth, money and parties.
Into this world comes Oliver Quick (Keoghan) who is the audiences’ conduit into this level of living - and who has secrets of his own.
Keoghan is interesting to watch (as always) and the family…Elordi, Sadie Soverall (his sister) and Archie Madekwe (another outsider who is jealous of Oliver’s appearance) all are good looking, good enough performers who live the hedonistic lifestyle and deny the consequences and responsibilities thereof.
When a film needs an “ice queen” as the matriarch of a family, Rosamund Pike is, inevitably, brought in and she brings the goods to Saltburn. She is perfectly cast as the mother of the family who says what she thinks, does not show what she is feeling and doesn’t give a darn about anyone else. She is suitably balanced by the off-balanced, quirky performance of the always good Richard E. Grant as the patriarch of the family who is (usually) lost in his own little world of whatever fantasy he is currently involved in.
But if this was just a film about a quirky family, it would be a fun, interesting romp. But…in Fennell’s hands, it becomes something much more sinister - and much more interesting - to watch.
Saltburn is a film that one must sit with after watching to digest what was just witnessed, but…ultimately…is one that is very interesting….and intriguing…and dark.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Erika Kehlet (21 KP) rated The Medici Boy in Books
Feb 21, 2018
**NOTE: I was generously provided with a free copy of this book in exchange for an honest review**
After reading the title, The Medici Boy, I expected this to mainly be a novel about the Medicis. While they do play a part, the story focuses on Donatello and his infatuation with the young model/prostitute Agnolo (the titular "Medici Boy"), who poses for his bronze "David and Goliath". The whole thing is told to us in the form of a final written memoir by Luca Mattei, one of Donatello's assistants, as he nears the end of his days imprisoned for a murder that he committed out of love for his friend Donatello.
I have mixed feelings about this book. I had a hard time relating to most of the characters in this story, and the lack of action caused the book to feel somewhat slow at times, but it is very well written. The descriptions of Florence and her history, and the detailed references to Donatello's artistic processes were interesting and seem to have been very well researched.
Students of art history and those who have an interest in the Renaissance or Italian history in general should really enjoy this book.
After reading the title, The Medici Boy, I expected this to mainly be a novel about the Medicis. While they do play a part, the story focuses on Donatello and his infatuation with the young model/prostitute Agnolo (the titular "Medici Boy"), who poses for his bronze "David and Goliath". The whole thing is told to us in the form of a final written memoir by Luca Mattei, one of Donatello's assistants, as he nears the end of his days imprisoned for a murder that he committed out of love for his friend Donatello.
I have mixed feelings about this book. I had a hard time relating to most of the characters in this story, and the lack of action caused the book to feel somewhat slow at times, but it is very well written. The descriptions of Florence and her history, and the detailed references to Donatello's artistic processes were interesting and seem to have been very well researched.
Students of art history and those who have an interest in the Renaissance or Italian history in general should really enjoy this book.
James Koppert (2698 KP) rated Lil Pump by Lil Pump in Music
Oct 19, 2019 (Updated Nov 9, 2019)
Gross
This is bad, not in usual Hip Hop terms as in "I just spat a bad ass rhyme", no, this is bad as in wack.
Lil Pump has rose to meteoritic fame and wealth and the reason why? His stuff speaks to kids of that age where swearing and talking about drugs upsets mummy and daddy.
This is mumble rap. I'm not hating on mumble rap, Some artists are artists. Pump however shouts a line, then says Ouu and then repeats the formula the entire album Ouu.
So we've established he can't rap, lyrically it's just offensive. Now I have a lot of horribly misogynistic hip hop but somehow this feels worse because there is no artistic element. Lil Pump shouts things like "I f##ked your daughter" Ouu, yeah, that is the base level, women are nothing but botches to abide and drugs are new and clever according to Pump. It really is playground level.
What about the beats? Ok anyone knows my output knows I sometimes play with distortion but Pump takes it up so it distorts and the base blows and I bet he giggles like a toddler and goes "that's great Ouu".
Utterly terrible
Lil Pump has rose to meteoritic fame and wealth and the reason why? His stuff speaks to kids of that age where swearing and talking about drugs upsets mummy and daddy.
This is mumble rap. I'm not hating on mumble rap, Some artists are artists. Pump however shouts a line, then says Ouu and then repeats the formula the entire album Ouu.
So we've established he can't rap, lyrically it's just offensive. Now I have a lot of horribly misogynistic hip hop but somehow this feels worse because there is no artistic element. Lil Pump shouts things like "I f##ked your daughter" Ouu, yeah, that is the base level, women are nothing but botches to abide and drugs are new and clever according to Pump. It really is playground level.
What about the beats? Ok anyone knows my output knows I sometimes play with distortion but Pump takes it up so it distorts and the base blows and I bet he giggles like a toddler and goes "that's great Ouu".
Utterly terrible
ClareR (6096 KP) rated Death in Delft in Books
Apr 17, 2020
Master Mercurius from Leiden University is called on to solve the murder of one girl, and the disappearance of two others, in Delft. Seventeenth century Netherlands is certainly a different setting from that of the Josef Slonsky series in a more modern day Prague, but I enjoyed it just as much (I LOVE the Slonsky series).
Master Mercurius certainly has his work cut out for him. He must find the person responsible and hopefully locate the other two girls before anything happens to them, using 17th century methods. Luckily, he has the artistic flair of Vermeer to call on with regards to pictures of the missing girls, and the logical mind of van Leeuwenhoek. It’s actually Vermeer who gives him a clue as to the link between three seemingly unconnected girls. Vermeer is a great character, much liked by Master Mercurius (and can I just say how much I like Mercurius’ name?!). He’s a catholic artist in a Reformed society, much like Mercurius himself. He’s keen to be of help in whatever way he can - he’s the father of nine children after all!
This is a great read, and a series that I will be following and enjoying, of that I have no doubt!
Master Mercurius certainly has his work cut out for him. He must find the person responsible and hopefully locate the other two girls before anything happens to them, using 17th century methods. Luckily, he has the artistic flair of Vermeer to call on with regards to pictures of the missing girls, and the logical mind of van Leeuwenhoek. It’s actually Vermeer who gives him a clue as to the link between three seemingly unconnected girls. Vermeer is a great character, much liked by Master Mercurius (and can I just say how much I like Mercurius’ name?!). He’s a catholic artist in a Reformed society, much like Mercurius himself. He’s keen to be of help in whatever way he can - he’s the father of nine children after all!
This is a great read, and a series that I will be following and enjoying, of that I have no doubt!
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