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Just Send Me Word: A True Story of Love and Survival in the Gulag
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From Orlando Figes, international bestselling author of A People's Tragedy, Just Send Me Word is the...
Thomas & Friends: Go Go Thomas
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Budge Studios™ presents Thomas & Friends: Go Go Thomas! - a fun speed game for kids. Race against...
Revenge of gangsters shooting 2016– Real Sniper shooting story
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Show your fury & Get ready to take revenge this time as a gangster from police. It’s enough for...
Icycle: On Thin Ice
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Ever kissed a fish? Cult of Mac's Best Damn iOS Games of 2013! Games and art become one in the...
Sudoku Master Edition
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***APPLE-FEATURED GAME OF THE DAY 09/25*** THE WORLD’S BEST SUDOKU GAME WITH FULL APPLE PENCIL...
Matthew Krueger (10051 KP) rated Payback (1999) in Movies
Jul 15, 2020
Get Ready To Root For The Bad Guy
Payback- is a intresting revenge action thriller. Maybe its me, but i fell like this movie is boring. Its good, but some what boring, like nothing going on. Also its kinda of confusing, again it might just be me, but i fell like its confusing as well. Like i said before its good, but in the end its both boring and confusing.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
The plot: Porter (Mel Gibson) is a thief betrayed by both his wife, Lynn (Deborah Kara Unger), and his partner, Val (Gregg Henry), when he is shot in the back after a heist. Slowly, Porter recovers from his wounds and begins a search for Val, intent on recovering his share of the money they stole together. With the aid of prostitute Rosie (Maria Bello), Porter captures Val but still cannot find his cash. For this, Porter will have to challenge an imposing crime syndicate called the Outfit.
Although credited as director, Brian Helgeland's cut of the film was not the theatrical version released to audiences. After the end of principal photography, Helgeland's version was deemed too dark for the mainstream public. Following a script rewrite by Terry Hayes, director Helgeland was replaced by the production designer John Myhre, who reshot 30% of the film. The intent was to make the Porter character accessible. The film's tagline became: "Get Ready to Root for the Bad Guy." A potentially controversial scene between Porter and Lynn which arguably involves spousal abuse was excised and more plot elements were added to the third act. After 10 days of reshoots, a new opening scene and voiceover track also were added, and Kris Kristofferson walked on as a new villain.
The Director's Cut version features a female Bronson, that is never seen only heard over the phone voiced by Sally Kellerman, does not include the voice-over by Porter and several Bronson-related scenes. During their scuffle (which is longer than in the theatrical version and was the main source of controversy), Porter earlier tells Lynn that his picture with Rosie was taken before they met, thereby rendering her jealousy unjustified. This version has an entirely different, ambiguous ending where Porter is seriously wounded in a train station shootout and driven off by Rosie.
A June 4, 2012, look at "movies improved by directors' cuts" by The A.V. Club described Payback: Straight Up as "a marked improvement on the unrulier original.
Mel Gibson stated in a short interview released as a DVD extra that it "would've been ideal to shoot in black and white." He noted that "people want a color image" and that the actual film used a bleach bypass process to tint the film. In addition to this, the production design used muted shades of red, brown, and grey for costumes, sets, and cars for further effect.
Like i said its a good revenge action thriller but to me its both boring and confusing. Maybe i have to watch the directors cut.
https://travelingwife4life.wordpress.com/2020/07/23/landing-in-my-present-lone-star-lit/
Landing in My Present by Mary Walker Clark got me hook, line, and sinker; and for someone who does not generally read biographies that is saying something. From the opening chapter, Mary Walker Clark drew me into her story and her journey to know her father better. I enjoyed the way she shared her journey; it was like a reading story full of learning, history, emotions, and some great life lessons. From finding old letters, listening to people who had known her dad, and traveling to where he had lived, Mary brought him to life before my eyes. I cannot even imagine how awesome and meaningful her adventure was for her and her family on a personal level.
“How do you broaden your relationship with someone who has been dead 50 years?”
This question stood out to me and was part of the challenge of Mary Walker Clark’s story. Can you truly know someone who died 50 years ago? Well, I think Mary Walker Clark got pretty darn close. From the start, Mary Walker Clark weaved in her childhood memories, historical details about the different planes her dad flew, personal letters from friends of her father… It made me feel like I was on the journey with her. Gleaning a little bit more knowledge of who her dad was. It was also interesting to see how her perspective of her father grew and changed over the course of the book; it was like watching something unfold before my eyes.
I think many people can relate to Mary Walker Clark’s family, from their early compartmentalization of feelings, their hard work ethics, and how they learned that life can pass much to quickly, leaving never enough time to feel like we truly know our family. They are so similar to the dynamics in my family and many others that I know of.
The research, emotions, and time that went into this book are amazing. I rarely find a book that makes me want to cry but Mary Walker Clark wrote with such forthrightness about her experiences that it caused me to think about how much history we are losing every day because we do not take the time to sit and listen to the people around us. I am so glad I read this book, and I definitely recommend it to anyone who likes WWII history. I learned so much about WWII that I did not know beforehand, and I learned the importance of writing down or passing down the history of your family.
I give it 5 out of 5 stars for the detailed WWII history, the way Mary Walker Clark drew a picture of her dad, and for the amazing journey that Mary Walker Clark took me on which involved me in every aspect of her journey.
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed in this review are my own.
Landing in My Present by Mary Walker Clark got me hook, line, and sinker; and for someone who does not generally read biographies that is saying something. From the opening chapter, Mary Walker Clark drew me into her story and her journey to know her father better. I enjoyed the way she shared her journey; it was like a reading story full of learning, history, emotions, and some great life lessons. From finding old letters, listening to people who had known her dad, and traveling to where he had lived, Mary brought him to life before my eyes. I cannot even imagine how awesome and meaningful her adventure was for her and her family on a personal level.
“How do you broaden your relationship with someone who has been dead 50 years?”
This question stood out to me and was part of the challenge of Mary Walker Clark’s story. Can you truly know someone who died 50 years ago? Well, I think Mary Walker Clark got pretty darn close. From the start, Mary Walker Clark weaved in her childhood memories, historical details about the different planes her dad flew, personal letters from friends of her father… It made me feel like I was on the journey with her. Gleaning a little bit more knowledge of who her dad was. It was also interesting to see how her perspective of her father grew and changed over the course of the book; it was like watching something unfold before my eyes.
I think many people can relate to Mary Walker Clark’s family, from their early compartmentalization of feelings, their hard work ethics, and how they learned that life can pass much to quickly, leaving never enough time to feel like we truly know our family. They are so similar to the dynamics in my family and many others that I know of.
The research, emotions, and time that went into this book are amazing. I rarely find a book that makes me want to cry but Mary Walker Clark wrote with such forthrightness about her experiences that it caused me to think about how much history we are losing every day because we do not take the time to sit and listen to the people around us. I am so glad I read this book, and I definitely recommend it to anyone who likes WWII history. I learned so much about WWII that I did not know beforehand, and I learned the importance of writing down or passing down the history of your family.
I give it 5 out of 5 stars for the detailed WWII history, the way Mary Walker Clark drew a picture of her dad, and for the amazing journey that Mary Walker Clark took me on which involved me in every aspect of her journey.
*I volunteered to read this book in return for my honest feedback. The thoughts and opinions expressed in this review are my own.
BankofMarquis (1832 KP) rated Judas and the Black Messiah (2021) in Movies
Feb 23, 2021
Kaluuya in an Oscar worthy performance
Ever since Daniel Kaluuya burst onto the scene in 2017’s GET OUT, he has been an actor to watch - one who’s brilliance bursts off the screen in whatever project he is in.
This brilliance shines brightly in his latest effort JUDAS AND THE BLACK MESSIAH that teams him up with his GET OUT co-star LaKeith Stanfield in the true story of 1960’s Chicago Black Panther leader Fred Hampton (Kaluuya) and his friend/Security Chief, Bill O’Neal (Stanfield) who just happens to be an FBI informant.
Directed and Written by Shaka King, JUDAS AND THE BLACK MESSIAH tells an important, under-told story of the African-American struggle in the wild, changing times of America in the 1960’s.
Kaluuya’s performance as Hampton is up to the challenge of a story this big and bold - his Fred Hampton is charismatic and involving, drawing all into his world. He’s a bigger-than-life icon that demands attention whenever Kaluuya/Hampton is on the stage. I expect an Oscar nomination (at least) for this performance.
The problem with this film is that Kaluuya’s Hampton is such a strong and commanding presence that the rest of the story and characters pale in comparison to him.
Such is the case with Stanfield’s portrayal of O’Neal. I really like LaKeith Stanfield as a performer and was really looking forward to seeing him and Kaluuya go toe-to-toe, but his character is swallowed up in the largess of the Hampton character and, so, I never connected or sympathized with him. I don’t blame this on the actor, I blame this on the script and the direction of King, making the O’Neal character weak - especially when he is up against Hampton.
The character/actor that WAS able to hold their own with Kaluuya/Hampton is Dominique Fishback as Hampton’s lover (and mother of his child), Deborah Johnson. The scenes of Hampton and Johnson together were sharp and interesting - perhaps because Hampton was toned down, but also because Fishback’s portrayal of Johnson was strong enough to stand up to Kaluuya’s portrayal of Hampton.
In addition, Kaluuya’s performance is so strong in this film that it is noticeable when it is absent, so when his character is sent to prison (and disappears) for the middle 1/3 of this film, the movie drags considerably.
Finally, the film hits a plateau at about the 4/5 mark and doesn’t really build to a crescendo at the end - an ending that should be powerful, but just sorts of lies there.
All-in-all, JUDAS AND THE BLACK MESSIAH is worth seeing for the powerful performance by Daniel Kaluuya that more than makes up for the shortcomings of the rest of the film.
Letter Grade: B
7 stars (out of 10) - and you can take that to the Bank(ofMarquis)
This brilliance shines brightly in his latest effort JUDAS AND THE BLACK MESSIAH that teams him up with his GET OUT co-star LaKeith Stanfield in the true story of 1960’s Chicago Black Panther leader Fred Hampton (Kaluuya) and his friend/Security Chief, Bill O’Neal (Stanfield) who just happens to be an FBI informant.
Directed and Written by Shaka King, JUDAS AND THE BLACK MESSIAH tells an important, under-told story of the African-American struggle in the wild, changing times of America in the 1960’s.
Kaluuya’s performance as Hampton is up to the challenge of a story this big and bold - his Fred Hampton is charismatic and involving, drawing all into his world. He’s a bigger-than-life icon that demands attention whenever Kaluuya/Hampton is on the stage. I expect an Oscar nomination (at least) for this performance.
The problem with this film is that Kaluuya’s Hampton is such a strong and commanding presence that the rest of the story and characters pale in comparison to him.
Such is the case with Stanfield’s portrayal of O’Neal. I really like LaKeith Stanfield as a performer and was really looking forward to seeing him and Kaluuya go toe-to-toe, but his character is swallowed up in the largess of the Hampton character and, so, I never connected or sympathized with him. I don’t blame this on the actor, I blame this on the script and the direction of King, making the O’Neal character weak - especially when he is up against Hampton.
The character/actor that WAS able to hold their own with Kaluuya/Hampton is Dominique Fishback as Hampton’s lover (and mother of his child), Deborah Johnson. The scenes of Hampton and Johnson together were sharp and interesting - perhaps because Hampton was toned down, but also because Fishback’s portrayal of Johnson was strong enough to stand up to Kaluuya’s portrayal of Hampton.
In addition, Kaluuya’s performance is so strong in this film that it is noticeable when it is absent, so when his character is sent to prison (and disappears) for the middle 1/3 of this film, the movie drags considerably.
Finally, the film hits a plateau at about the 4/5 mark and doesn’t really build to a crescendo at the end - an ending that should be powerful, but just sorts of lies there.
All-in-all, JUDAS AND THE BLACK MESSIAH is worth seeing for the powerful performance by Daniel Kaluuya that more than makes up for the shortcomings of the rest of the film.
Letter Grade: B
7 stars (out of 10) - and you can take that to the Bank(ofMarquis)
