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Rebecca Billcliff (2409 KP) rated The Simpsons in TV
Nov 26, 2019 (Updated Nov 26, 2019)
Going down hill
When I was a child, I loved the Simpsons. Even now, as an adult, I re-watch episodes and find subtle and adult jokes I missed entirely as a child. Those fist 8 or so seasons were very good. Full of little details, great humour, and plenty of theme variety. After that, things started to go down hill.
My new sustain of the more modern show, culminated in an episode involving a screaming caterpillar.... after that, I lost all hope they would produce a good episode again.
The characters have now become very one dimensional, with personalities in the extremes. For example, homer is no longer just quite dim, with a fair few moments of total stupidity, but with a good heart; now he is mentally defective, and to dumb to realy feel love. This is seen right across the board, with each story now being a rip off of either a film, tv series or book, or some crazy nonsense that seems to fizzle out by the third act.
All in all, the original seasons, up to 10, are either great or at least worth a watch, after that, I would not bother.
How sad the fall from greatness, if only they had quite while they were ahead, instead of milking this yellow cow dry.
My new sustain of the more modern show, culminated in an episode involving a screaming caterpillar.... after that, I lost all hope they would produce a good episode again.
The characters have now become very one dimensional, with personalities in the extremes. For example, homer is no longer just quite dim, with a fair few moments of total stupidity, but with a good heart; now he is mentally defective, and to dumb to realy feel love. This is seen right across the board, with each story now being a rip off of either a film, tv series or book, or some crazy nonsense that seems to fizzle out by the third act.
All in all, the original seasons, up to 10, are either great or at least worth a watch, after that, I would not bother.
How sad the fall from greatness, if only they had quite while they were ahead, instead of milking this yellow cow dry.
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Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
BankofMarquis (1832 KP) rated Silver Streak (1976) in Movies
Jun 7, 2020
The start of a wonderful comedic partnership
Most people remember Gene Wilder as the frazzled haired wild man in such Mel Brooks classic films as THE PRODUCERS, BLAZING SADDLES and YOUNG FRANKENSTEIN. Others will recall him as the mad genius that held our attention in WILLY WONKA AND THE CHOCOLATE FACTORY, but there was a 3rd phase to Wilder's career - his unlikely partnership with Richard Pryor - that started with 1976's SILVER STREAK.
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Pete Thompson (4339 KP) rated The Stand in TV
Feb 10, 2021
I've never written a full review before as I let my score tell the story for the film/TV show in my view and don't like to influence people by what I write, simply put watch it and make your own judgement but with this steaming pile of crap I've had to do this just to get the anger and loathing off my chest.
I heard this was being redone and was looking forward to it having an update and a larger budget than the 94 version (which I love) I thought it wouldn't be as good but would be a solid installment.
I listen to audio books now as I dont get time to read with work and my toddler keeping me busy so I got The Stand to listen to; to get the story back into my head properly and get the juices flowing. I had read it back in the 90s but had forgotten things about it and just had memories of the 94 mini series and had put the scenes from that into the book. Anyway the cast list came out with their characters and just looking through them I said the only 1 that might be ok was Whoopi Goldberg as Mother Abigail. The rest I wasn't keen on and in the case of Larry and The Judge being the wrong race and sex respectively made me irrate and Glen being too young but thought I better wait and see. Oh my god I was proven wrong not being keen was great until I actually watched this mess. Main characters that don't get much screen time Nick, Flagg, Tom, Mother Abigail, Larry and Stu compared to the book and 94 series. Harold gets waaaay too much screen time, Lloyd is just an irritating man child twerp, Tom needs to be punched whats with the hands together bow like he is chinese? And trashcan man oh my word who the hell thought that was the performance required? I can honestly say I wouldnt even swap the peripheral actors from 94 for the main cast in this.
The original story had a beginning, middle and end. The 94 series did it the same. Welcome to 2020/21 series and a director that thinks he's being clever starting the show at the midway point and having flash backs but only for certain characters at certain times in each episode. Even knowing the book and 94 series didn't help to keep track of where the story was and what time frame. I sst there getting more and more angry at the stupid style but what made it worse is the liberties taken to change the story no tunnel sequence for Larry now a sewer so 80s/90s horror cliche, Mother Abigail is in a retirement home not still living independently in her own home baking her own bread. Nick and Tom being in the same town from the start not meeting on the road in the case for Nick, no sherif and doctor that Nick meets after his beating on the road not in a bar as shown in this version. Video cameras being used by Harold to spy on the committee and to monitor his home were never in the book he read Franny' diary on the road and she breaks into his house 1st not Larry. Randall Flagg is supposed to be feared by the good side but this version is laughable as you barely see him and when he is there there is no feeling of threat and underlying malice from him, I expected a lot better from Skarsgard after his brother knocked it out the park with Stephen Kings IT remake. He just didn't seem to really be arsed about the character and was there for a paycheck.
Anyway sorry for such a long rant but loving the book and 94 series this pile of dog s**t should be scrubbed from all records and forgotten about the only redeeming things it has going for it is the music and thats usually a song just as the episode is about to end and the evil side looks a lot more like it would for people without moral compasses and surpasses the 94 series on this part only.
I give it a 2 / 10 and it only gets that due to the music. A very disappointing reboot when all you had to do was follow a great book with the right casting.
I heard this was being redone and was looking forward to it having an update and a larger budget than the 94 version (which I love) I thought it wouldn't be as good but would be a solid installment.
I listen to audio books now as I dont get time to read with work and my toddler keeping me busy so I got The Stand to listen to; to get the story back into my head properly and get the juices flowing. I had read it back in the 90s but had forgotten things about it and just had memories of the 94 mini series and had put the scenes from that into the book. Anyway the cast list came out with their characters and just looking through them I said the only 1 that might be ok was Whoopi Goldberg as Mother Abigail. The rest I wasn't keen on and in the case of Larry and The Judge being the wrong race and sex respectively made me irrate and Glen being too young but thought I better wait and see. Oh my god I was proven wrong not being keen was great until I actually watched this mess. Main characters that don't get much screen time Nick, Flagg, Tom, Mother Abigail, Larry and Stu compared to the book and 94 series. Harold gets waaaay too much screen time, Lloyd is just an irritating man child twerp, Tom needs to be punched whats with the hands together bow like he is chinese? And trashcan man oh my word who the hell thought that was the performance required? I can honestly say I wouldnt even swap the peripheral actors from 94 for the main cast in this.
The original story had a beginning, middle and end. The 94 series did it the same. Welcome to 2020/21 series and a director that thinks he's being clever starting the show at the midway point and having flash backs but only for certain characters at certain times in each episode. Even knowing the book and 94 series didn't help to keep track of where the story was and what time frame. I sst there getting more and more angry at the stupid style but what made it worse is the liberties taken to change the story no tunnel sequence for Larry now a sewer so 80s/90s horror cliche, Mother Abigail is in a retirement home not still living independently in her own home baking her own bread. Nick and Tom being in the same town from the start not meeting on the road in the case for Nick, no sherif and doctor that Nick meets after his beating on the road not in a bar as shown in this version. Video cameras being used by Harold to spy on the committee and to monitor his home were never in the book he read Franny' diary on the road and she breaks into his house 1st not Larry. Randall Flagg is supposed to be feared by the good side but this version is laughable as you barely see him and when he is there there is no feeling of threat and underlying malice from him, I expected a lot better from Skarsgard after his brother knocked it out the park with Stephen Kings IT remake. He just didn't seem to really be arsed about the character and was there for a paycheck.
Anyway sorry for such a long rant but loving the book and 94 series this pile of dog s**t should be scrubbed from all records and forgotten about the only redeeming things it has going for it is the music and thats usually a song just as the episode is about to end and the evil side looks a lot more like it would for people without moral compasses and surpasses the 94 series on this part only.
I give it a 2 / 10 and it only gets that due to the music. A very disappointing reboot when all you had to do was follow a great book with the right casting.