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BankofMarquis (1832 KP) rated Back to the Future (1985) in Movies
Mar 30, 2018
Almost a perfect film
I was flipping channels the other day and ran across BACK TO THE FUTURE, it was just about to start and since I hadn't seen it in quite awhile, I figured I'd catch the first part of it before venturing off to other surfing opportunities. As often happens in this sort of situation, I ended up transfixed by this film and watched the whole thing. After it was over, I asked myself why did I enjoy this film so much and my answer was fascinating (at least to me) -
BACK TO THE FUTURE is about as perfect of a film as there is.
Why? Let's start with the structure of this film. It follows the classic 3 Act structure. ACT 1: set up the premise, the gimmick (if any) and the stakes. ACT 2: escalate the stakes and throw in complications and obstacles. ACT 3: Resolve everything.
Seems like a pretty simple formula, right? So why do so many get it wrong? Quite simply, they don't keep it simple and then execute (almost to perfection) the simplicity of the structure. Let's break down the 3 Acts of BACK TO THE FUTURE.
ACT 1 - set up the premise, the gimmick and the stakes. The premise & gimmick is simple, time travel is possible and our hero travels back in time and is stranded there. The stakes are even simpler - our hero must find a way to get Back to the Future.
ACT 2 - escalate the stakes and throw in complicaitons and obstacles. The stakes are escalated by the fact that our hero interrupts the timeline of when his mother met his father, thus there is the very real possibility that he will cease to exist for his parents never met. Our hero must find a way to bring his mother and father together. The complications are that his parents are not the boring old fuddy-duddy's that our hero thought they were, his father is a peeping-Tom nerd and his mother is a randy high-schooler who falls in love (lust?) with our hero, her son. Further complicating things is that the time machine must find enough power to make the time travel device (the flux-capacitor!) work, power that is not readily available in this timeline. Adding one more complication to the mix is the school bully who is constantly after our hero.
ACT 3 - resolve everything. This is where this film excels. EVERY loose end is tied up. Our hero find a way to reunite his mother and father, the bully is put in his place, a source of energy is found and our hero's journey comes to a succesful conclusion.
There is much, much more to this film than those plot points, but I just wanted to show how deceptively simple and efficient this plot is. Kudo's must go out to screenwriter's Robert Zemeckis (more on him later) and Bob Gale for coming up with this idea and executing it so well. Gale (1941, KOLCHAK: THE NIGHT STALKER) said he came up with this idea when he saw his father's high school yearbook and dreamed about going back to meet him. He stated that he doubted that he and his father would have been friends.
An interesting side fact: The University of Southern California Film school's writing classes use the screenplay for Back to the Future as the model of "The Perfect Screenplay". So, I rest my case.
But a "perfect" screenplay would be worthless without near perfect execution of putting the words and actions up on the screen - and this film achieves that as well. Director (and co-screenwriter) Robert Zemeckis (WHO FRAMED ROGER RABBIT, FORREST GUMP) cleary had a vision of how to make this film and did not waiver from it. The action is strong, the fluidness of the film is solid and the performances are all top-notch. The only thing that might knock this film down a peg or two is some of the 32 "special effects" shots that - to look at it these days - seem somewhat archaic (see the flames between Doc Brown's and Marty's feet when the DeLorean first goes forward in time). But for the time, these special effects are state-of-the-art.
Speaking of performances, Michael J. Fox became a movie star with this film, and rightfully so. His Marty McFly is charming, quirky, intelligent, dorky - all at the same time. His uncomfortableness with his teen age mother is palatable. Credit must go with Director Zemeckis, who - after he couldn't get Fox released from his contract on the TV show FAMILY TIES - went (famously) with his 2nd choice, Eric Stoltz. When Stolt's seriousness and "method" acting was not meshing with the type of film he wanted to make, Zemeckis made the bold decision to fire Stoltz and worked out a deal where he can use Fox at night while Fox shot Family ties during the day.
Playing against Fox, brilliantly, is Christopher Lloyd as "Doc" Emmit Brown. A two-time Emmy winner (at the time) for playing crazy Jim Ignatowski on the TV show TAXI, Lloyd played Doc Brown as "part Einstein, part composer Leopold Stokowski", creating what would be the benchmark for "brilliant, scatter-brained scientist". Leah Thompson does the finest performance of her career as Marty's mother and Crispin Glover was beyond quirky as Marty's nerd/loser Dad. Finally Thomas F. Wilson is the embodiment of bully as "Biff" Tannen.
After the success of this film, two other BACK TO THE FUTURE films were made - films that I feel were good, but somewhat diluted the perfection of this film. No matter. Sit down, relax and enjoy one of the most "perfect" films ever made.
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
BACK TO THE FUTURE is about as perfect of a film as there is.
Why? Let's start with the structure of this film. It follows the classic 3 Act structure. ACT 1: set up the premise, the gimmick (if any) and the stakes. ACT 2: escalate the stakes and throw in complications and obstacles. ACT 3: Resolve everything.
Seems like a pretty simple formula, right? So why do so many get it wrong? Quite simply, they don't keep it simple and then execute (almost to perfection) the simplicity of the structure. Let's break down the 3 Acts of BACK TO THE FUTURE.
ACT 1 - set up the premise, the gimmick and the stakes. The premise & gimmick is simple, time travel is possible and our hero travels back in time and is stranded there. The stakes are even simpler - our hero must find a way to get Back to the Future.
ACT 2 - escalate the stakes and throw in complicaitons and obstacles. The stakes are escalated by the fact that our hero interrupts the timeline of when his mother met his father, thus there is the very real possibility that he will cease to exist for his parents never met. Our hero must find a way to bring his mother and father together. The complications are that his parents are not the boring old fuddy-duddy's that our hero thought they were, his father is a peeping-Tom nerd and his mother is a randy high-schooler who falls in love (lust?) with our hero, her son. Further complicating things is that the time machine must find enough power to make the time travel device (the flux-capacitor!) work, power that is not readily available in this timeline. Adding one more complication to the mix is the school bully who is constantly after our hero.
ACT 3 - resolve everything. This is where this film excels. EVERY loose end is tied up. Our hero find a way to reunite his mother and father, the bully is put in his place, a source of energy is found and our hero's journey comes to a succesful conclusion.
There is much, much more to this film than those plot points, but I just wanted to show how deceptively simple and efficient this plot is. Kudo's must go out to screenwriter's Robert Zemeckis (more on him later) and Bob Gale for coming up with this idea and executing it so well. Gale (1941, KOLCHAK: THE NIGHT STALKER) said he came up with this idea when he saw his father's high school yearbook and dreamed about going back to meet him. He stated that he doubted that he and his father would have been friends.
An interesting side fact: The University of Southern California Film school's writing classes use the screenplay for Back to the Future as the model of "The Perfect Screenplay". So, I rest my case.
But a "perfect" screenplay would be worthless without near perfect execution of putting the words and actions up on the screen - and this film achieves that as well. Director (and co-screenwriter) Robert Zemeckis (WHO FRAMED ROGER RABBIT, FORREST GUMP) cleary had a vision of how to make this film and did not waiver from it. The action is strong, the fluidness of the film is solid and the performances are all top-notch. The only thing that might knock this film down a peg or two is some of the 32 "special effects" shots that - to look at it these days - seem somewhat archaic (see the flames between Doc Brown's and Marty's feet when the DeLorean first goes forward in time). But for the time, these special effects are state-of-the-art.
Speaking of performances, Michael J. Fox became a movie star with this film, and rightfully so. His Marty McFly is charming, quirky, intelligent, dorky - all at the same time. His uncomfortableness with his teen age mother is palatable. Credit must go with Director Zemeckis, who - after he couldn't get Fox released from his contract on the TV show FAMILY TIES - went (famously) with his 2nd choice, Eric Stoltz. When Stolt's seriousness and "method" acting was not meshing with the type of film he wanted to make, Zemeckis made the bold decision to fire Stoltz and worked out a deal where he can use Fox at night while Fox shot Family ties during the day.
Playing against Fox, brilliantly, is Christopher Lloyd as "Doc" Emmit Brown. A two-time Emmy winner (at the time) for playing crazy Jim Ignatowski on the TV show TAXI, Lloyd played Doc Brown as "part Einstein, part composer Leopold Stokowski", creating what would be the benchmark for "brilliant, scatter-brained scientist". Leah Thompson does the finest performance of her career as Marty's mother and Crispin Glover was beyond quirky as Marty's nerd/loser Dad. Finally Thomas F. Wilson is the embodiment of bully as "Biff" Tannen.
After the success of this film, two other BACK TO THE FUTURE films were made - films that I feel were good, but somewhat diluted the perfection of this film. No matter. Sit down, relax and enjoy one of the most "perfect" films ever made.
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
Golf Coach by Dr Noel Rousseau
Sports and Education
App
Golf Coach is a ground breaking golf instruction app. Winner of both UK and US App Design Awards...
Merissa (12051 KP) rated The Nines in Books
Apr 11, 2023
This story has two damaged characters for the main leads - Roxie and Alexander. They are both mysterious in their own ways but are drawn together by fate/circumstances/online forum - you take your pick. Roxie is carrying a bucket load of guilt from the past and Alexander is carrying a whole load of anger from the past. However, their pasts and their presents collide so will they have a future together?
After I had finished this book, I messaged a friend of mine who had also read it and I said to her "What a horrible, fantastic book." And that is how I feel about this story. It is gripping and enthralling, you won't want to stop reading it but at the same time, it will make your stomach clench and your heartbeat race - and not always in a good way. You will become so engrossed with the characters that you will speed up your reading until this particular scene is finished. Your heartbeat will slow down... until the next scene.
This book deals with an issue that I have only ever seen on TV or read about in the news. I simply cannot imagine how it goes on in real life but unfortunately, it is too often an occurrence it seems.
I thoroughly enjoyed this book although it was different from what I expected when I read the synopsis - there was less about the bomber and Alex's revenge, less about Roxie's past and more about what was happening now. This is not a bad thing, just different to what I was expecting.
This is the first book in the series which can be read as a standalone but I will be reading the next in the series when it comes out, which is Blood Sings (Hector's Story). I need to know more about these anti-heroes! Highly recommended but be warned - it's not all nice!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
August 10, 2016
After I had finished this book, I messaged a friend of mine who had also read it and I said to her "What a horrible, fantastic book." And that is how I feel about this story. It is gripping and enthralling, you won't want to stop reading it but at the same time, it will make your stomach clench and your heartbeat race - and not always in a good way. You will become so engrossed with the characters that you will speed up your reading until this particular scene is finished. Your heartbeat will slow down... until the next scene.
This book deals with an issue that I have only ever seen on TV or read about in the news. I simply cannot imagine how it goes on in real life but unfortunately, it is too often an occurrence it seems.
I thoroughly enjoyed this book although it was different from what I expected when I read the synopsis - there was less about the bomber and Alex's revenge, less about Roxie's past and more about what was happening now. This is not a bad thing, just different to what I was expecting.
This is the first book in the series which can be read as a standalone but I will be reading the next in the series when it comes out, which is Blood Sings (Hector's Story). I need to know more about these anti-heroes! Highly recommended but be warned - it's not all nice!
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
August 10, 2016
Emma @ The Movies (1786 KP) rated Ma (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Ma is the sort of horror movie that I like (although I feel it's much more thriller than horror), and Blumhouse being involved is probably a good indication of whether I'll like this type of film or not. Happy Death Day, Halloween, Upgrade, The First Purge... not Truth Or Dare, no one is looking at you, Truth Or Dare. (As a note, Blumhouse is making a Magic 8 Ball movie, outlook not so good.)
Maggie and her new friends are stuck for somewhere to hang out, so what do five teens with a van and nowhere to go do? They head to the off-license and try to get people to buy them alcohol. This is where they meet Sue Ann, a friendly if a little odd woman. She's worried about them going out drinking and potentially driving drunk so she invites them to use her basement, all they have to do is check in before they leave so she knows they'll be okay. There's just one firm rule, don't go upstairs.
I was surprised by the cast, out headliner is Octavia Spencer (who I love) and it's such a diversion from what I'm used to seeing her in. It's safe to say I was excited and a little bit scared for this film. She's always been quick-witted and funny in things I've previously seen like Instant Family, The Shape Of Water and Hidden Figures, she's such a solid performer though that I shouldn't have worried too much. Well, apart from the fact that she does psycho extremely well. I loved the way she switched between sweet and evil, it was good to see her doing something a little different.
There are lots of people in this to recognise. Diana Silvers has also just appeared in Booksmart and Dante Brown has been in a lot of TV and is probably most recognisable as Roger Murtaugh Jr in Lethal Weapon. The other three teens have also appeared in a selection of TV and films. As an ensemble they work well together, all their interactions were natural and felt authentic... apart from the major one, who goes and parties in a stranger's basement?
The adult support cast is star-studded. Julie Lewis as Erica (Maggie's mum), Luke Evans as Ben (Andy's dad), Missi Pyle as Mercedes (Ben's girlfriend) and Allison Janney as Doctor Brooks (Sue Ann's boss). All of them bring something great to the film but I think that Missi Pyle had my favourite scene in the whole movie... I don't want to spoil it though.
I like the way the connections between the kids and Ma revealed themselves as we go. The added snippets from young Sue Ann break it up a bit and give us some insight into her and her motivations. What I will say though is that those moments combined with what we learn about Sue Ann in the present lead to what seems like an obvious upcoming revelation... but it doesn't come. The revenge that Sue Ann has in her seems like it should have come from something like that plot point, something much bigger, like this non-existent plot point.
As trailers go I think this one was made wrong. A lot of the promotion shows the scene where Ma is sat on the sofa with the kids around her, yes it gives you that shock factor thrill that makes you want to go and see what it means but it also kind of ruins a moment that could have been a great and rather disturbing surprise.
It seems ridiculous to say that this storyline is a little far fetched, after all, it's supposed to be, but I kept finding myself getting annoyed about the fact that I didn't believe these kids would be getting themselves into this situation. Most of those moments also lead to super awkward pieces, which by now you probably know that I hate.
Ma had potential and it certainly wasn't an issue with the acting, that was probably the best thing throughout. The storyline seemed very oddly weighted with a lot of emphasis on the build-up including moments that were slightly irrelevant, it almost felt like other scenes involving them had been cut to keep the time down. The "horror" side of it could definitely have been amped up a bit, and that's coming from someone who doesn't really like horror.
What you should do
If you're into this kind of horror then it's worth a watch but I don't feel like you need to rush to the cinema for it, there are probably better examples of the genre out there.
Movie thing you wish you could take home
I have to give Ma some credit, I too would opt for Luke Evans, but with a slightly different outcome.
Maggie and her new friends are stuck for somewhere to hang out, so what do five teens with a van and nowhere to go do? They head to the off-license and try to get people to buy them alcohol. This is where they meet Sue Ann, a friendly if a little odd woman. She's worried about them going out drinking and potentially driving drunk so she invites them to use her basement, all they have to do is check in before they leave so she knows they'll be okay. There's just one firm rule, don't go upstairs.
I was surprised by the cast, out headliner is Octavia Spencer (who I love) and it's such a diversion from what I'm used to seeing her in. It's safe to say I was excited and a little bit scared for this film. She's always been quick-witted and funny in things I've previously seen like Instant Family, The Shape Of Water and Hidden Figures, she's such a solid performer though that I shouldn't have worried too much. Well, apart from the fact that she does psycho extremely well. I loved the way she switched between sweet and evil, it was good to see her doing something a little different.
There are lots of people in this to recognise. Diana Silvers has also just appeared in Booksmart and Dante Brown has been in a lot of TV and is probably most recognisable as Roger Murtaugh Jr in Lethal Weapon. The other three teens have also appeared in a selection of TV and films. As an ensemble they work well together, all their interactions were natural and felt authentic... apart from the major one, who goes and parties in a stranger's basement?
The adult support cast is star-studded. Julie Lewis as Erica (Maggie's mum), Luke Evans as Ben (Andy's dad), Missi Pyle as Mercedes (Ben's girlfriend) and Allison Janney as Doctor Brooks (Sue Ann's boss). All of them bring something great to the film but I think that Missi Pyle had my favourite scene in the whole movie... I don't want to spoil it though.
I like the way the connections between the kids and Ma revealed themselves as we go. The added snippets from young Sue Ann break it up a bit and give us some insight into her and her motivations. What I will say though is that those moments combined with what we learn about Sue Ann in the present lead to what seems like an obvious upcoming revelation... but it doesn't come. The revenge that Sue Ann has in her seems like it should have come from something like that plot point, something much bigger, like this non-existent plot point.
As trailers go I think this one was made wrong. A lot of the promotion shows the scene where Ma is sat on the sofa with the kids around her, yes it gives you that shock factor thrill that makes you want to go and see what it means but it also kind of ruins a moment that could have been a great and rather disturbing surprise.
It seems ridiculous to say that this storyline is a little far fetched, after all, it's supposed to be, but I kept finding myself getting annoyed about the fact that I didn't believe these kids would be getting themselves into this situation. Most of those moments also lead to super awkward pieces, which by now you probably know that I hate.
Ma had potential and it certainly wasn't an issue with the acting, that was probably the best thing throughout. The storyline seemed very oddly weighted with a lot of emphasis on the build-up including moments that were slightly irrelevant, it almost felt like other scenes involving them had been cut to keep the time down. The "horror" side of it could definitely have been amped up a bit, and that's coming from someone who doesn't really like horror.
What you should do
If you're into this kind of horror then it's worth a watch but I don't feel like you need to rush to the cinema for it, there are probably better examples of the genre out there.
Movie thing you wish you could take home
I have to give Ma some credit, I too would opt for Luke Evans, but with a slightly different outcome.
Bob Mann (459 KP) rated Emma (2020) in Movies
Feb 21, 2020
Anya Taylor-Joy.... mesmerising (2 more)
Gorgeous to look at; stunning locations and costumes
Witty and well-observed debut script
Simply Sublime
I loved the look of "Emma" from the trailer. And I was not disappointed. It is a simply sublime piece of comic entertainment.
Emma Woodhouse (Anya Taylor-Joy) is a rich, privileged 21 year-old looking after her elderly and quirky father (Bill Nighy) in the family stately home. She has never loved, despite the persistent presence of 'family friend' George Knightley (Johnny Flynn), but finds it entertaining to engage in matchmaking, particularly in respect to her somewhat lower class friend Harriet Smith (Mia Goth). Emma has high ambitions for Harriet... ideas significantly above what her social station and looks might suggest.
Emma has her sights on a dream.... the mystery man Frank Churchill (Callum Turner), son of wealthy local landowner Mr Weston (Rupert Graves). She has never actually met him, but is obsessed with his myth. #fangirl. As a source of immense annoyance to her, but often a source of valuable information on news of Churchill, is the village 'old maid' Miss Bates (Miranda Hart). "Such fun"!
But Emma's perfect life is about to face sticky times, as her machinations fail to yield the expected results and a stray comment, at a disastrous picnic, threatens to damage both her reputation and her social standing.
If you like your movies full of action and suspense, you are digging in the wrong place. "Emma" is slow... glacially slow... wallowing in beautiful bucolic scenes (with superb cinematography by Christopher Blauvelt); gorgeous costumes by Alexandra Byrne; and hair styling by Marese Langan.
The movie also benefits from a joyfully tight and funny script by debut screenwriter Eleanor Catton (a Man-Booker prize winner). This picks relentlessly at the strata of the class system set up by Jane Austen's novel: "Every body has their level" spits spurned suitor Mr Elton (Josh O'Connor).
I know Anya Taylor-Joy as the spirited Casey from "Split" and "Glass": she was impressive in "Split"; less so for me in the disappointing "Glass". But here, I found her UTTERLY mesmerising. She has such striking features - those eyes! - that she fully inhabits the role of the beautiful heiress who haunts multiple men sequentially. I even muttered the word "Oscar nomination" at the end of the film: though we are too early in the year to seriously go there.
An even bigger surprise was the actor playing George Knightley. Johnny Flynn has been in a number of TV shows I haven't seen, and a few films I haven't seen either (e.g. "Beast"). But I had the nagging feeling I knew him really well. The illustrious Mrs Movie Man clocked him: he's the Cineworld "plaid man"! (For those outside the UK or not patrons of Cineworld cinemas, he was the 'star' of a Cineworld advert that played over and Over AND OVER again for months on end before every film I saw. Arrrgggghhhh!).
Here, Flynn is excellent as the frustrated and brooding Austen-hunk. He even gets away with an ar*e-shot within a U-certificate!
Particularly strong in the supporting cast are Bill Nighy (being delightfully more restrained in his performance); Miranda Hart (being "Miranda", but perfectly cast) and Mia Goth (memorable for that eel-bath in "A Cure for Wellness").
And a big thank-you for a web review in the online Radio Times for naming one of the comical (and bizarrely uncredited) footmen as Angus Imrie - - the truly disturbed stepson of Claire in "Fleabag". It was driving me crazy where I knew him from!
The one criticism I would have is that I found the (perfectly fine and well-fitting) music, by David Schweitzer and Isobel Waller-Bridge (sister of Phoebe) poorly mixed within the soundtrack. There were times when I found it overly intrusive, suddenly ducking under dialogue and then BLASTING out again. Sometimes music should be at the forefront.... but more often it should be barely perceptible.
As you might guess....
...I loved this one. The story is brilliant (obsv!); the film is simply gorgeous to look at; the locations (including the village of Lower Slaughter in the Cotswolds and Wilton House - near me - in Salisbury) are magnificent and a blessing for the English Tourist Board.
All the more impressive then that this is the directorial feature of video/short director Autumn de Wilde.
This comes with a "highly recommended" from both myself and the illustrious Mrs Movie-Man.
(For the full graphical review, please check out https://bob-the-movie-man.com/2020/02/20/one-manns-movies-film-review-emma-2020/ .)
Emma Woodhouse (Anya Taylor-Joy) is a rich, privileged 21 year-old looking after her elderly and quirky father (Bill Nighy) in the family stately home. She has never loved, despite the persistent presence of 'family friend' George Knightley (Johnny Flynn), but finds it entertaining to engage in matchmaking, particularly in respect to her somewhat lower class friend Harriet Smith (Mia Goth). Emma has high ambitions for Harriet... ideas significantly above what her social station and looks might suggest.
Emma has her sights on a dream.... the mystery man Frank Churchill (Callum Turner), son of wealthy local landowner Mr Weston (Rupert Graves). She has never actually met him, but is obsessed with his myth. #fangirl. As a source of immense annoyance to her, but often a source of valuable information on news of Churchill, is the village 'old maid' Miss Bates (Miranda Hart). "Such fun"!
But Emma's perfect life is about to face sticky times, as her machinations fail to yield the expected results and a stray comment, at a disastrous picnic, threatens to damage both her reputation and her social standing.
If you like your movies full of action and suspense, you are digging in the wrong place. "Emma" is slow... glacially slow... wallowing in beautiful bucolic scenes (with superb cinematography by Christopher Blauvelt); gorgeous costumes by Alexandra Byrne; and hair styling by Marese Langan.
The movie also benefits from a joyfully tight and funny script by debut screenwriter Eleanor Catton (a Man-Booker prize winner). This picks relentlessly at the strata of the class system set up by Jane Austen's novel: "Every body has their level" spits spurned suitor Mr Elton (Josh O'Connor).
I know Anya Taylor-Joy as the spirited Casey from "Split" and "Glass": she was impressive in "Split"; less so for me in the disappointing "Glass". But here, I found her UTTERLY mesmerising. She has such striking features - those eyes! - that she fully inhabits the role of the beautiful heiress who haunts multiple men sequentially. I even muttered the word "Oscar nomination" at the end of the film: though we are too early in the year to seriously go there.
An even bigger surprise was the actor playing George Knightley. Johnny Flynn has been in a number of TV shows I haven't seen, and a few films I haven't seen either (e.g. "Beast"). But I had the nagging feeling I knew him really well. The illustrious Mrs Movie Man clocked him: he's the Cineworld "plaid man"! (For those outside the UK or not patrons of Cineworld cinemas, he was the 'star' of a Cineworld advert that played over and Over AND OVER again for months on end before every film I saw. Arrrgggghhhh!).
Here, Flynn is excellent as the frustrated and brooding Austen-hunk. He even gets away with an ar*e-shot within a U-certificate!
Particularly strong in the supporting cast are Bill Nighy (being delightfully more restrained in his performance); Miranda Hart (being "Miranda", but perfectly cast) and Mia Goth (memorable for that eel-bath in "A Cure for Wellness").
And a big thank-you for a web review in the online Radio Times for naming one of the comical (and bizarrely uncredited) footmen as Angus Imrie - - the truly disturbed stepson of Claire in "Fleabag". It was driving me crazy where I knew him from!
The one criticism I would have is that I found the (perfectly fine and well-fitting) music, by David Schweitzer and Isobel Waller-Bridge (sister of Phoebe) poorly mixed within the soundtrack. There were times when I found it overly intrusive, suddenly ducking under dialogue and then BLASTING out again. Sometimes music should be at the forefront.... but more often it should be barely perceptible.
As you might guess....
...I loved this one. The story is brilliant (obsv!); the film is simply gorgeous to look at; the locations (including the village of Lower Slaughter in the Cotswolds and Wilton House - near me - in Salisbury) are magnificent and a blessing for the English Tourist Board.
All the more impressive then that this is the directorial feature of video/short director Autumn de Wilde.
This comes with a "highly recommended" from both myself and the illustrious Mrs Movie-Man.
(For the full graphical review, please check out https://bob-the-movie-man.com/2020/02/20/one-manns-movies-film-review-emma-2020/ .)
Bob Mann (459 KP) rated Bohemian Rhapsody (2018) in Movies
Sep 28, 2021
“Fame and fortune and everything that goes with it”.
Sometimes a trailer generates a bit of a buzz of excitement with a cinema audience and the first showings of the trailer for “Bohemian Rhapsody” was a case in point. But would the film live up to the potential?
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
Darren (1599 KP) rated Knives Out (2019) in Movies
Nov 26, 2019
Verdict: Pure Fun
Story: Knives Out starts with the apparent suicide of Harlan Thrombey (Plummer) on his 85th birthday, the family Linda (Curtis), Walt (Shannon), Richard (Johnson), Joni (Collette) Meg (Langford), Jacob (Martell) and Ransom (Evans) were all in attendance along with Harlan’s nurse Marta (Armas).
Lieutenant Elliott (Stanfield) lets private investigator Benoit Blanc (Craig) look at the events of the night after he gets an anonymous request to investigate the death believing it was murder, with the whole family have cause to potentially murder.
Thoughts on Knives Out
Characters – Benoit Blanc is a private investigator that has a connection to the family and has been given an anonymous letter to investigate the death, he has his way which unlike the normal police will push the family for the truth, knowing most are lying when they talk to him. Marta Cabrera is the nurse to Harlan, she has the closest relationship to him, knowing most of the family secrets, while just working to make sure her family is secure. Harlan is the self-made millionaire author that has started to get disappointed by the behaviour of his own children. Linda is the eldest daughter who has her own real estate business that she is proud of her work, believing she has done better than the other siblings. Walt is the youngest son who runs the publication of the books, which has always seen him try to push his father into selling the rights to entertainment sources. Richard is the husband to Linda that has been caught by Harlan being forced into telling the truth or being exposed. Joni is the daughter in the law of the deceased son that is an influencer and has been getting an allowance since her husband’s death. Ransom is the black sheep of the family, son of Linda and Richard, he has always lived the life of luxury never having to work on anything himself. Meg is the daughter of Joni that is the closest of any of the younger family members to Marta, she has seen herself be put through school but Harlan. LT Elliott is leading the investigation to the death, he is happy to put it down as suicide, but will let Benoit lead his own investigate.
Performances – The performances here are a pure joy, Daniel Craig gives us a career best, Ana De Armas continues to rise up the Hollywood name list, proving herself with a sweet innocent figure, Chris Evans brings to light a character complete against the type we are used to seeing form him. Jamie Lee Curtis, Michael Shannon, Don Johnson and Toni Collette are wonderful too showing they can become anybody like we know from them. Everybody in this film is wonderful to watch.
Story – The story here follows a private investigator who decides to investigate an apparent suicide where he will dig up the family secrets to learn there might have been foul play. This story is a who-dun-it where everybody could be a suspect as nobody wants to tell the truth and everybody is hiding the truth too. There is a unique way of telling the story that will surprise you and turn the usual flow on its head, almost pointing out just how predictable certain TV shows involving a murder are. We do have plenty to unpack through the story, though there is a slight drag through the middle of the film.
Comedy/Crime/Mystery – The comedy comes from the colourful characters we get to meet and their actions, while the crime mystery mix together to keep us guessing to the complete truth of what happened, we get plenty of references to other crime stories too.
Settings – The film is mostly set on the grounds of the death, we have the luxury mansion, when we stay in this location everything does feel like ‘Clue’ but whether we leave it does take a little bit away from the quirky style.
Scene of the Movie – Ambulance arrives.
That Moment That Annoyed Me – We never learn where Marta is from, with the on running joke she is South American, each character claims she is from a different country.
Final Thoughts – This is a quirky joyful comedy that leaves you guessing to the truth with performances that shine throughout the film.
Overall: Entertaining Mystery.
Story: Knives Out starts with the apparent suicide of Harlan Thrombey (Plummer) on his 85th birthday, the family Linda (Curtis), Walt (Shannon), Richard (Johnson), Joni (Collette) Meg (Langford), Jacob (Martell) and Ransom (Evans) were all in attendance along with Harlan’s nurse Marta (Armas).
Lieutenant Elliott (Stanfield) lets private investigator Benoit Blanc (Craig) look at the events of the night after he gets an anonymous request to investigate the death believing it was murder, with the whole family have cause to potentially murder.
Thoughts on Knives Out
Characters – Benoit Blanc is a private investigator that has a connection to the family and has been given an anonymous letter to investigate the death, he has his way which unlike the normal police will push the family for the truth, knowing most are lying when they talk to him. Marta Cabrera is the nurse to Harlan, she has the closest relationship to him, knowing most of the family secrets, while just working to make sure her family is secure. Harlan is the self-made millionaire author that has started to get disappointed by the behaviour of his own children. Linda is the eldest daughter who has her own real estate business that she is proud of her work, believing she has done better than the other siblings. Walt is the youngest son who runs the publication of the books, which has always seen him try to push his father into selling the rights to entertainment sources. Richard is the husband to Linda that has been caught by Harlan being forced into telling the truth or being exposed. Joni is the daughter in the law of the deceased son that is an influencer and has been getting an allowance since her husband’s death. Ransom is the black sheep of the family, son of Linda and Richard, he has always lived the life of luxury never having to work on anything himself. Meg is the daughter of Joni that is the closest of any of the younger family members to Marta, she has seen herself be put through school but Harlan. LT Elliott is leading the investigation to the death, he is happy to put it down as suicide, but will let Benoit lead his own investigate.
Performances – The performances here are a pure joy, Daniel Craig gives us a career best, Ana De Armas continues to rise up the Hollywood name list, proving herself with a sweet innocent figure, Chris Evans brings to light a character complete against the type we are used to seeing form him. Jamie Lee Curtis, Michael Shannon, Don Johnson and Toni Collette are wonderful too showing they can become anybody like we know from them. Everybody in this film is wonderful to watch.
Story – The story here follows a private investigator who decides to investigate an apparent suicide where he will dig up the family secrets to learn there might have been foul play. This story is a who-dun-it where everybody could be a suspect as nobody wants to tell the truth and everybody is hiding the truth too. There is a unique way of telling the story that will surprise you and turn the usual flow on its head, almost pointing out just how predictable certain TV shows involving a murder are. We do have plenty to unpack through the story, though there is a slight drag through the middle of the film.
Comedy/Crime/Mystery – The comedy comes from the colourful characters we get to meet and their actions, while the crime mystery mix together to keep us guessing to the complete truth of what happened, we get plenty of references to other crime stories too.
Settings – The film is mostly set on the grounds of the death, we have the luxury mansion, when we stay in this location everything does feel like ‘Clue’ but whether we leave it does take a little bit away from the quirky style.
Scene of the Movie – Ambulance arrives.
That Moment That Annoyed Me – We never learn where Marta is from, with the on running joke she is South American, each character claims she is from a different country.
Final Thoughts – This is a quirky joyful comedy that leaves you guessing to the truth with performances that shine throughout the film.
Overall: Entertaining Mystery.
Bob Mann (459 KP) rated Soul (2020) in Movies
Dec 30, 2020
Soul is Pixar at its most cerebral
In the last few days I've seen Pixar's latest animation - "Soul" - described by various reviewers as a cross between "Inside Out", "Coco", "La La Land" and "Whiplash". I'll add to that some older movies with more obvious parallels with the story: 1946's "A Matter of Life and Death" with David Niven; 1941's "Here Comes Mr Jordan" with Robert Montgomery and its 1978 remake - a personal favourite of mine - "Heaven Can Wait" with Warren Beatty. For these all tell the story of someone plucked from the world a tad too early.
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
mostlyinpyjamas (13 KP) rated Geekerella (Once Upon a Con #1) in Books
Nov 28, 2017
Fairytale meets fandom.
The blurb: ANYTHING CAN HAPPEN ONCE UPON A CON. When geek girl Elle Wittimer sees a cosplay contest sponsored by the producers of Starfield she has to enter.
First prize is an invitation to the Excelsicon Cosplay Ball and a meet-and-greet with the actor slated to play Federation Prince Carmindor in the reboot.
Elle’s been scraping together tips from her gig at the Magic Pumpkin food truck behind her stepmothers back, and winning this contest could be her ticket out once and for all. Not to mention a fan girls dream come true.
Teen actor Darien Freeman is less than thrilled about this year’s Excelsicon. He used to live for conventions, but know they’re nothing but jaw-aching photo sessions and awkward meet-and-greets.
Playing Federation Prince Carmindor is all he’s ever wanted, but the die-hard Starfield fandom has already dismissed him as just another heartthrob.
As Excelsicon draws near, closet nerd Darien feels more and more like a fake – until he meets a girl who shows him otherwise.
Part romance, part love letter to nerd culture, and all totally adorbs, GEEKERELLA is a fairy tale for anyone who believes in the magic of fandom. ~~
Fairytale meets fandom in this modern day retelling of Cinderella.
I am always here for a new take on a well loved story, and Ashley Poston has delivered a faithful to the original story that also makes for a good tale on its own right.
I have to start by saying look at that cover! When I saw it on the shelf in Waterstones *other bookshops are available* I knew I had to buy it.
I love the modern versions of the well known characters, Elle is a Starfield nerd. Her love of the classic tv show comes from her parents, who originally founded the Starfield convention.
Catherine, the stepmother, and the stepsisters, Chloe and Cal are perfectly spiteful as overwork and under appreciate Elle.
The prince in this version is Darien, a young Hollywood golden boy with insured abs, while the fairy godmother role is filled by Sage, the punk wannabe-fashion-designer. I love Sage!
There’s also a canine sidekick, Franco, a.k.a Frank the tank, any story that includes a very good boy has the makings of a winner for me.
Ashley Poston gives a nod to the coach from the original story with The magic pumpkin, Sage’s vegan food van and the ending is perfect with the ball and even the glass shoe.
Obviously we all know how Cinderella goes but Ashley Poston gets us to the end via a geek-tastic tale of fandoms, fan blogs, cosplay conventions and the movie making world.
The way that Elle and Darien begin to get to know each other via text makes for a sweet romance, each not knowing who the other is – Darien, who Elle doesn’t believe will make a good Carmindor, and Elle, being rebelgunner the blogger who slated Darien – I’ve seen some reviews saying it’s not realistic that they fall for each other via text, and so quickly, but it does happen, and anyway, come on! This is Cinderella, and in the original her and the prince fall in love after just a dance.
Geekerella is such a heartwarming story, it’s not often I read a book again, but this is one I’ll definitely turn to when I need cheering up.
I’m giving Geekerella 5/5 stars and I can’t wait to read more of Ashley Poston’s work. ⭐️⭐️⭐️⭐️⭐️
First prize is an invitation to the Excelsicon Cosplay Ball and a meet-and-greet with the actor slated to play Federation Prince Carmindor in the reboot.
Elle’s been scraping together tips from her gig at the Magic Pumpkin food truck behind her stepmothers back, and winning this contest could be her ticket out once and for all. Not to mention a fan girls dream come true.
Teen actor Darien Freeman is less than thrilled about this year’s Excelsicon. He used to live for conventions, but know they’re nothing but jaw-aching photo sessions and awkward meet-and-greets.
Playing Federation Prince Carmindor is all he’s ever wanted, but the die-hard Starfield fandom has already dismissed him as just another heartthrob.
As Excelsicon draws near, closet nerd Darien feels more and more like a fake – until he meets a girl who shows him otherwise.
Part romance, part love letter to nerd culture, and all totally adorbs, GEEKERELLA is a fairy tale for anyone who believes in the magic of fandom. ~~
Fairytale meets fandom in this modern day retelling of Cinderella.
I am always here for a new take on a well loved story, and Ashley Poston has delivered a faithful to the original story that also makes for a good tale on its own right.
I have to start by saying look at that cover! When I saw it on the shelf in Waterstones *other bookshops are available* I knew I had to buy it.
I love the modern versions of the well known characters, Elle is a Starfield nerd. Her love of the classic tv show comes from her parents, who originally founded the Starfield convention.
Catherine, the stepmother, and the stepsisters, Chloe and Cal are perfectly spiteful as overwork and under appreciate Elle.
The prince in this version is Darien, a young Hollywood golden boy with insured abs, while the fairy godmother role is filled by Sage, the punk wannabe-fashion-designer. I love Sage!
There’s also a canine sidekick, Franco, a.k.a Frank the tank, any story that includes a very good boy has the makings of a winner for me.
Ashley Poston gives a nod to the coach from the original story with The magic pumpkin, Sage’s vegan food van and the ending is perfect with the ball and even the glass shoe.
Obviously we all know how Cinderella goes but Ashley Poston gets us to the end via a geek-tastic tale of fandoms, fan blogs, cosplay conventions and the movie making world.
The way that Elle and Darien begin to get to know each other via text makes for a sweet romance, each not knowing who the other is – Darien, who Elle doesn’t believe will make a good Carmindor, and Elle, being rebelgunner the blogger who slated Darien – I’ve seen some reviews saying it’s not realistic that they fall for each other via text, and so quickly, but it does happen, and anyway, come on! This is Cinderella, and in the original her and the prince fall in love after just a dance.
Geekerella is such a heartwarming story, it’s not often I read a book again, but this is one I’ll definitely turn to when I need cheering up.
I’m giving Geekerella 5/5 stars and I can’t wait to read more of Ashley Poston’s work. ⭐️⭐️⭐️⭐️⭐️