Search
Search results
The Abyssal Plain: The R'lyeh Cycle
1.0
Rate It
Book
With The Abyssal Plain, Holloway and Talley have managed to transform the Cthulhu Mythos into...
Allied Intelligence Handbook to the German Army 1939-45
Book
What did the British or American soldier know about the German Army? Was this knowledge accurate -...
Sales Growth: Five Proven Strategies from the World's Sales Leaders
McKinsey & Company, Inc., Thomas Baumgartner, Homayoun Hatami and Maria Valdivieso de Uster
Book
The challenges facing today's sales executives and their organizations continue to grow, but so do...
Kyera (8 KP) rated Wintersong in Books
Jan 31, 2018
Wintersong is a fairytale re-telling based upon the German poem Der Erlkonig and stories of the Goblin King. The author takes a relatively short poem and breathes life into it, translating the dark words into an entire world. Liesl has heard tales of the Goblin King from her grandmother since she was a small child. Even played make-believe in the Goblin Grove with her Goblin King, but as she grew older she lost her faith in the old stories. Even her brother and sister seemed not to heed the old woman’s warnings. She warned Liesl that she must protect both siblings - she would be faced with a choice and mustn’t choose wrong.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.
Bob Mann (459 KP) rated If Beale Street Could Talk (2018) in Movies
Sep 28, 2021
Love and Rage against the machine.
The baby asked,
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
‘Is there not one righteous among them?”
― James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpin’ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwin’s source book (requiring a speed read!) it’s used as a metaphor for the birthplace of every black person in America. (“Every black person in America was born on Beale Street“). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the “P-word”, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend ‘Fonny’ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didn’t commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tish’s virginity, and it’s done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for “infrequent very strong language, strong sex” – I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)…. but not for the sex, which should be 12A).
It’s a love story then? Well, yes, but offset against that, it’s a very angry film, seething with rage about how the police force and the justice system is set ‘against the black man’. Director Barry Jenkins (of – eventual – Oscar winner “Moonlight” fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didn’t get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (“Selma“) as Tish’s father Joseph; Regina King as Tish’s mother Sharon; Michael Beach (“Patriots Day“) as Fonny’s father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, I’ll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) – all very effective; there is a lot of earnest and quietly spoken dialogue between the characters – also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldn’t make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isn’t as overly intrusive as in films like “The Hate U Give“, but it sounds like it was recorded in a dustbin! It’s a bit like that effect you get with headphones where the plug isn’t quite in the socket, and everything sounds way off and tinny. When combined with Layne’s accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
There’s a degree of bad language in the film, albeit mild in comparison to “The Favourite“! Tish’s sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonny’s ‘up-themselves’ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I ‘get it’ (in the sense that I understand the perception) that this is a word that ‘only black people can use between themselves’. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for “Green Book“, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is “pretentious”. Barry Jenkins clearly feels he has something to prove after the success of “Moonlight“, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best I’ve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too ‘arty’ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharon’s wig scene and a pan around Fonny’s wood sculpture). It all seems to be “trying too hard”.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And I’m a white Englishman commenting on it. I’m clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the “Black Lives Movement” has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But I’m sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. It’s the film-makers right to make films about subjects dear to them. And I’m sure this summer we’ll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories – the positive side of race relations – are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasn’t as much of a fan of “Moonlight” as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
Lottie disney bookworm (1056 KP) rated Part of Your World in Books
Aug 16, 2019
Review by Disney Bookworm
Contains spoilers, click to show
Part of Your World is based five years after Ursula defeats Ariel, yes you heard me right! The whole miraculous, shiny magic being released from the shell, the little mermaid regaining her voice, the whole harpoon, giant octopus, child scarring scene…never happened!
In this twisted tale Ursula succeeded in tricking Eric into marrying Vanessa; she now rules the Kingdom, with Eric remaining under Ursula’s spell and pretty much clueless to his wife’s evil tendencies. Conversely Ariel is Queen of the Sea, ruling Atlantica in her father’s absence. Oh yeah! Spoiler! Ursula still has Triton in her slimy grasp as well.
NB: Just for clarification this isn’t really a spoiler as you find this out on page 20- please don’t send in complaints.
The book includes all of your favourite characters from the classic 1989 movie: Scuttle, Sebastian, Flounder and even Grimsby and Carlotta! Liz Braswell does such a good job in rejuvenating these characters and reminding us why we loved them in the first place. There wasn’t enough Flounder for my liking but a lot of the story takes place above ground so I can’t really complain- maybe he needs his own tale?
The star of the book has to be Ariel though, she is the Little Mermaid after all…or is she? Braswell’s character is much more mature and tougher than the Little Mermaid we remember. After living as a mute Queen for 5 years Ariel has lost the naïve, childish part of her personality and has become a ruler consumed by guilt and melancholy. Nevertheless, this withdrawal into herself has not dampened her courage and when she learns King Triton may still be alive, she immediately begins her quest to save her father. I’m also relieved to say that I got a very sassy and sarcastic vibe from Ariel at points in the book- a woman after my own heart!
Eric too is not the suave, smouldering-before-it-was-cool character he was back in the day. Instead, overpowered by Ursula’s magic, he is distant and confused: still loved by his people but now labelled as “mad”. He loses himself in music, with his latest opera telling a familiar tale that the reader will surely recognise. Can he regain his memory in time to rescue his kingdom from his wife? Will he and Ariel meet again? Can the new Queen of the Sea rescue Triton or is Ursula just too powerful now?
The original characters of The Little Mermaid are welcomed with open arms into this story and, despite the notable differences in our two protagonists, the remaining characters are comforting and familiar. Braswell also takes the opportunity to introduce us to new characters: Jona the gull, provides quite a modern outlook for a “Disney” character, questioning the world around her with a critical eye. Even background characters such as an hilarious old apple vendor and Vareet, a mute servant girl (whom I was sure was going to have a bigger role than she did) do not fade into the pages. Quite the opposite, thanks to the book’s detail, humour and intrigue, these characters will stay with us for just as long as the story itself.
In summary, Liz Braswell’s novel draws us in hook, line and sinker. Part of Your World is impossible to put down. You will find yourself disparaging Ariel’s former lovestruck personality along with her, experiencing the tension and danger associated with Flotsam and Jetsam and exploring Eric’s kingdom through Braswell’s detailed storytelling.
There’s probably a google-defined order to read the twisted tales in but frankly I don’t care. Try this one first- you won’t regret it!
Written by The Disney Bookworm:
https://disneybookworm.home.blog/2019/04/28/part-of-your-world-a-twisted-tale-by-liz-braswell/
In this twisted tale Ursula succeeded in tricking Eric into marrying Vanessa; she now rules the Kingdom, with Eric remaining under Ursula’s spell and pretty much clueless to his wife’s evil tendencies. Conversely Ariel is Queen of the Sea, ruling Atlantica in her father’s absence. Oh yeah! Spoiler! Ursula still has Triton in her slimy grasp as well.
NB: Just for clarification this isn’t really a spoiler as you find this out on page 20- please don’t send in complaints.
The book includes all of your favourite characters from the classic 1989 movie: Scuttle, Sebastian, Flounder and even Grimsby and Carlotta! Liz Braswell does such a good job in rejuvenating these characters and reminding us why we loved them in the first place. There wasn’t enough Flounder for my liking but a lot of the story takes place above ground so I can’t really complain- maybe he needs his own tale?
The star of the book has to be Ariel though, she is the Little Mermaid after all…or is she? Braswell’s character is much more mature and tougher than the Little Mermaid we remember. After living as a mute Queen for 5 years Ariel has lost the naïve, childish part of her personality and has become a ruler consumed by guilt and melancholy. Nevertheless, this withdrawal into herself has not dampened her courage and when she learns King Triton may still be alive, she immediately begins her quest to save her father. I’m also relieved to say that I got a very sassy and sarcastic vibe from Ariel at points in the book- a woman after my own heart!
Eric too is not the suave, smouldering-before-it-was-cool character he was back in the day. Instead, overpowered by Ursula’s magic, he is distant and confused: still loved by his people but now labelled as “mad”. He loses himself in music, with his latest opera telling a familiar tale that the reader will surely recognise. Can he regain his memory in time to rescue his kingdom from his wife? Will he and Ariel meet again? Can the new Queen of the Sea rescue Triton or is Ursula just too powerful now?
The original characters of The Little Mermaid are welcomed with open arms into this story and, despite the notable differences in our two protagonists, the remaining characters are comforting and familiar. Braswell also takes the opportunity to introduce us to new characters: Jona the gull, provides quite a modern outlook for a “Disney” character, questioning the world around her with a critical eye. Even background characters such as an hilarious old apple vendor and Vareet, a mute servant girl (whom I was sure was going to have a bigger role than she did) do not fade into the pages. Quite the opposite, thanks to the book’s detail, humour and intrigue, these characters will stay with us for just as long as the story itself.
In summary, Liz Braswell’s novel draws us in hook, line and sinker. Part of Your World is impossible to put down. You will find yourself disparaging Ariel’s former lovestruck personality along with her, experiencing the tension and danger associated with Flotsam and Jetsam and exploring Eric’s kingdom through Braswell’s detailed storytelling.
There’s probably a google-defined order to read the twisted tales in but frankly I don’t care. Try this one first- you won’t regret it!
Written by The Disney Bookworm:
https://disneybookworm.home.blog/2019/04/28/part-of-your-world-a-twisted-tale-by-liz-braswell/
Letterland Stories A
Education and Book
App
Go on a reading adventure with your Letterland friends! Carefully designed imaginative stories which...
American Marxism
Book
The seven-time #1 New York Times bestselling author, Fox News star, and radio host Mark R. Levin...
Gareth von Kallenbach (980 KP) rated The End Of The Tour (2015) in Movies
Aug 6, 2019
The End of the Tour tells the story of the five-day interview between Rolling Stone reporter and novelist David Lipsky (Jesse Eisenberg) and acclaimed novelist David Foster Wallace (Jason Segel), which took place right after the 1996 publication of Wallace’s groundbreaking epic novel, Infinite Jest. The film is based on Lipsky’s critically acclaimed memoir about this unforgettable encounter, written following Wallace’s 2008 suicide.
So there is the summary. And it tells you what this movie is about. However what that summary does not tell you is the depth of emotion to which both Jason Segel and Jesse Eisenberg deliver in their performances.
Jesse Eisenberg gives a performance that we come to expect from the Oscar nominated actor. Not only can you feel, but you can also and understand his curiosity and jealousy towards Segel’s success. A less successful writer, he wants the notoriety that Segel has. So much so, that he is constantly trying to find the holes in Segel’s persona under the guise of an interview and yet is forced to ponder the things that Segel is saying to him.
Jason Segel’s portrayal of David Foster Wallace is not understated by the word phenomenal. I was skeptical that Segel would not be able to deliver a dramatic performance of this caliber, but I am glad to say I was wrong. He steals every scene he is in and his performance is so deep and thoughtful that Jason Segel himself disappears and we are instead left with a performance of what I will always believe David Foster Wallace was like in real life. This performance is one of the best I have seen this year and I believe he will receive an Oscar nomination for this role. I was fascinated with Segel’s performance that I actually downloaded David Foster Wallace’s book Infinite Jest on my drive home.
Performances aside, this movie is not for everyone. If you are looking for an inactive cinematic experience then this film is not for you. This film makes you think. It is like being a part of a deep conversation with friends trying to make sense of the world. It brings perspective to the society we live in and the loneliness we find ourselves trying to avoid while clinging to meaningless things that bring us simple pleasure. A simple way of living where we go from A to B to C to find meaning, only to obtain those things and then not knowing what we do next. But for those who are looking to escape the mundane summer blockbusters and want to see stellar performances, be sure to check this one out.
So there is the summary. And it tells you what this movie is about. However what that summary does not tell you is the depth of emotion to which both Jason Segel and Jesse Eisenberg deliver in their performances.
Jesse Eisenberg gives a performance that we come to expect from the Oscar nominated actor. Not only can you feel, but you can also and understand his curiosity and jealousy towards Segel’s success. A less successful writer, he wants the notoriety that Segel has. So much so, that he is constantly trying to find the holes in Segel’s persona under the guise of an interview and yet is forced to ponder the things that Segel is saying to him.
Jason Segel’s portrayal of David Foster Wallace is not understated by the word phenomenal. I was skeptical that Segel would not be able to deliver a dramatic performance of this caliber, but I am glad to say I was wrong. He steals every scene he is in and his performance is so deep and thoughtful that Jason Segel himself disappears and we are instead left with a performance of what I will always believe David Foster Wallace was like in real life. This performance is one of the best I have seen this year and I believe he will receive an Oscar nomination for this role. I was fascinated with Segel’s performance that I actually downloaded David Foster Wallace’s book Infinite Jest on my drive home.
Performances aside, this movie is not for everyone. If you are looking for an inactive cinematic experience then this film is not for you. This film makes you think. It is like being a part of a deep conversation with friends trying to make sense of the world. It brings perspective to the society we live in and the loneliness we find ourselves trying to avoid while clinging to meaningless things that bring us simple pleasure. A simple way of living where we go from A to B to C to find meaning, only to obtain those things and then not knowing what we do next. But for those who are looking to escape the mundane summer blockbusters and want to see stellar performances, be sure to check this one out.
BankofMarquis (1832 KP) rated Bullet Train (2022) in Movies
Aug 10, 2022
Ultra-Violent...and a TON of Fun!
Early conversations surrounding the new Brad Pitt action flick BULLET TRAIN label this film as “Ultra-Violent”.
They say this as if it is a bad thing.
Directed by David Leitch (DEADPOOL 2) with a screenplay by Zak Olkewicz (FEAR STREET: PART TWO) and based on the book Kotaro Isaka, BULLET TRAIN is (no arguing here) an Ultra-Violent action flick in every sense of the term, set on the famed titular Japanese Bullet Train and follows an operative by the codename Ladybug (played by Pitt who you know from such gentle fair as FIGHT CLUB and INGLORIOUS BASTERDS) who’s easy “snatch and grab” job is nothing easy thanks to the appearance of various other nefarious individuals who also are looking for that case.
Following in the footsteps of such similarily-violent flicks as NO COUNTRY FOR OLD MEN, TRAINING DAY, FARGO and just about anything Directed by Quentin Tarantino, Director Leitch uses the violence, mayhem and bloodshed to ADD to the story (which all of the aforementioned films also did with great affect) and not “just” to be violent. And that’s an important distinction here. If the ultra-violence is fun and important to moving the story and plot along (and not just there to be gratuitous), then the movie can succeed quite well - and this one does.
What also makes these types of movies succeed is the plotting - which is sharp by writer Okewicz - and the twists and turns that you do not see coming - but make sense along the way (and will reward the viewer upon repeated viewing) and Bullet Train does this as well. It is a smartly made film that is crisply directed with some terrific action sequences (though, if I’m being fair, at times the CGI is not as good as it could/should be), but it is entertaining as all get out.
Leading us through this mayhem is the always charming and charismatic Pitt who parlays the “goofball” personae of a person in just a little over his head but comes out on top due to luck (or skill) - you be the judge. Pitt is the perfect performer for the audience to become invested in as he is the one that you need to be rooting for throughout - and you do from just about the beginning.
Leitch, wisely then, surrounded Pitt with some terrific character actors in this venture. From Aaron Taylor-Johnson (KICK-ASS) to Brian Tyree Henry (GET OUT) to Joey King (THE CONJURING) to the always terrific Hiroyuki Sanada (MORTAL COMBAT) and a host of others who do extended cameos - and to name them would be to spoil the fun of them. They all understand what type of film they are in and all seem to be having a good time going along with it all.
And why not? Bullet Train is a delight in the cinema - for those of you who like action and violence that is pretty spectacular and over the top. It is a heckuva lotta fun.
Letter Grade: A-
8 Stars (Out of 10) and you can take that to the Bank(ofMarquis)
They say this as if it is a bad thing.
Directed by David Leitch (DEADPOOL 2) with a screenplay by Zak Olkewicz (FEAR STREET: PART TWO) and based on the book Kotaro Isaka, BULLET TRAIN is (no arguing here) an Ultra-Violent action flick in every sense of the term, set on the famed titular Japanese Bullet Train and follows an operative by the codename Ladybug (played by Pitt who you know from such gentle fair as FIGHT CLUB and INGLORIOUS BASTERDS) who’s easy “snatch and grab” job is nothing easy thanks to the appearance of various other nefarious individuals who also are looking for that case.
Following in the footsteps of such similarily-violent flicks as NO COUNTRY FOR OLD MEN, TRAINING DAY, FARGO and just about anything Directed by Quentin Tarantino, Director Leitch uses the violence, mayhem and bloodshed to ADD to the story (which all of the aforementioned films also did with great affect) and not “just” to be violent. And that’s an important distinction here. If the ultra-violence is fun and important to moving the story and plot along (and not just there to be gratuitous), then the movie can succeed quite well - and this one does.
What also makes these types of movies succeed is the plotting - which is sharp by writer Okewicz - and the twists and turns that you do not see coming - but make sense along the way (and will reward the viewer upon repeated viewing) and Bullet Train does this as well. It is a smartly made film that is crisply directed with some terrific action sequences (though, if I’m being fair, at times the CGI is not as good as it could/should be), but it is entertaining as all get out.
Leading us through this mayhem is the always charming and charismatic Pitt who parlays the “goofball” personae of a person in just a little over his head but comes out on top due to luck (or skill) - you be the judge. Pitt is the perfect performer for the audience to become invested in as he is the one that you need to be rooting for throughout - and you do from just about the beginning.
Leitch, wisely then, surrounded Pitt with some terrific character actors in this venture. From Aaron Taylor-Johnson (KICK-ASS) to Brian Tyree Henry (GET OUT) to Joey King (THE CONJURING) to the always terrific Hiroyuki Sanada (MORTAL COMBAT) and a host of others who do extended cameos - and to name them would be to spoil the fun of them. They all understand what type of film they are in and all seem to be having a good time going along with it all.
And why not? Bullet Train is a delight in the cinema - for those of you who like action and violence that is pretty spectacular and over the top. It is a heckuva lotta fun.
Letter Grade: A-
8 Stars (Out of 10) and you can take that to the Bank(ofMarquis)