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How to Hold a Grudge: From Resentment to Contentment—The Power of Grudges to Transform Your Life
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The first and only comprehensive examination of the universal but widely misunderstood practice of...
Bonnie and Clyde: Radioactive
Clark Hays and Kathleen McFall
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THE REVENGE OF BONNIE AND CLYDE Saving the future by exploding the past It's January 1945, six...
thriller Bonnie & Clyde Bonnie and Clyde adult fiction
ClareR (5859 KP) rated The Island of Missing Trees in Books
Sep 28, 2021
How come this is only the first book I’ve read by Elif Shafak?! This is a book full of heart, feeling and imagination - it’s just beautiful. The Island of Missing Trees has taught me far more about what happened in Cyprus and the war/ dispute between Cypriots and the Turkish invasion.
There’s a feel of Romeo and Juliet about this: a Greek-Cypriot boy (Kostas), and a Turkish-Cypriot girl (Defne) fall in love - something forbidden in the climate they’re living in. They meet in secret in a tavern that has a fig tree growing through the centre of it. This is a significant tree - it’s one of the main narrators of this story. And what a story it has to tell. It talks about the natural world in which it lives, the humans that it comes into contact with, the conflict it lives through, the sorrow, the loss.
This book describes the fracturing of a country, people forced to leave the country they love. Kostas is one of these people. He moves to London to live with his uncle, but he never seems to feel as though he fits in in there. He does follow his passion though, and becomes an expert in Natural History: the trees and plants around him, around the world, and in his native Cyprus. Which is what brings him and Defne back together, and reunites them with the fig tree.
The three of them return to London together, all cast adrift from their homeland.
Later, Kostas and Defne’s daughter carries this feeling of not quite belonging as well, but her father doesn’t seem to be able to give her what she needs. She knows nothing of her roots: she has no contact with her Cypriot family - until the day her aunt arrives.
The way that Shafak writes about loss and the pain of loss is visceral, but there’s a great deal of hope and the promise of healing. This book just has it all. I was completely enveloped in this story, and I’ve been left with a pressing need to read everything else that Elif Shafak has written!
Many thanks to Jellybooks and Penguin for providing me with a copy of this book to read.
There’s a feel of Romeo and Juliet about this: a Greek-Cypriot boy (Kostas), and a Turkish-Cypriot girl (Defne) fall in love - something forbidden in the climate they’re living in. They meet in secret in a tavern that has a fig tree growing through the centre of it. This is a significant tree - it’s one of the main narrators of this story. And what a story it has to tell. It talks about the natural world in which it lives, the humans that it comes into contact with, the conflict it lives through, the sorrow, the loss.
This book describes the fracturing of a country, people forced to leave the country they love. Kostas is one of these people. He moves to London to live with his uncle, but he never seems to feel as though he fits in in there. He does follow his passion though, and becomes an expert in Natural History: the trees and plants around him, around the world, and in his native Cyprus. Which is what brings him and Defne back together, and reunites them with the fig tree.
The three of them return to London together, all cast adrift from their homeland.
Later, Kostas and Defne’s daughter carries this feeling of not quite belonging as well, but her father doesn’t seem to be able to give her what she needs. She knows nothing of her roots: she has no contact with her Cypriot family - until the day her aunt arrives.
The way that Shafak writes about loss and the pain of loss is visceral, but there’s a great deal of hope and the promise of healing. This book just has it all. I was completely enveloped in this story, and I’ve been left with a pressing need to read everything else that Elif Shafak has written!
Many thanks to Jellybooks and Penguin for providing me with a copy of this book to read.
Starkiller_Prime (39 KP) rated Star Wars: The Clone Wars in TV
Oct 18, 2022
Star Wars: The Clone Wars
(7 Seasons)
2008-2020
Star Wars: The Clone Wars the TV show first aired on Cartoon Network in 2008. The series aired following the release of a movie by the same title. The series bridges a gap from the prequel movies Episode II: Attack of the Clones and Episode III: Revenge of the Sith. The amazing storytelling and digital animation reignited the imagination and love of thousands of Star Wars fans as well as newcomers. While the release of episodes wasn’t in chronological order later seasons; such as, Seasons 2 and 3, fill some of the story arcs already told.
The series expands on the conflict known as the Clone Wars towards the very stages of Revenge of the Sith. The series has been an all time favorite for much of the Star Wars fan base. The series was able to use multiple story arcs that answered long awaited questions from the prequel trilogy; such as, the identity of the Jedi who commissioned the clone army and the origins of Order 66.
The Clone Wars introduces new characters as well as established ones with a focus on further expanding the Star Wars Universe.
The series has major character developments for Anakin Skywalker, Asajj Ventress, Ahsoka Tano, and many more. One of the major criticisms of the prequels was the overall writing of the characters but this show further expands them and while the series is not a straight character study in most cases the characters grew with the audiences. The tone of the show shifted as the seasons progressed and as a enormous Star Wars fan I can safely say it was something that aged well. While the first few seasons where more childish once you get to season 4 a clear tone change begins to prevail.
I greatly recommend to anyone who is a Star Wars fan or new to the fan base to give the series a watch but to ensure you watch the original and prequel trilogies first to truly grasp the world building aspect and undertone.
(7 Seasons)
2008-2020
Star Wars: The Clone Wars the TV show first aired on Cartoon Network in 2008. The series aired following the release of a movie by the same title. The series bridges a gap from the prequel movies Episode II: Attack of the Clones and Episode III: Revenge of the Sith. The amazing storytelling and digital animation reignited the imagination and love of thousands of Star Wars fans as well as newcomers. While the release of episodes wasn’t in chronological order later seasons; such as, Seasons 2 and 3, fill some of the story arcs already told.
The series expands on the conflict known as the Clone Wars towards the very stages of Revenge of the Sith. The series has been an all time favorite for much of the Star Wars fan base. The series was able to use multiple story arcs that answered long awaited questions from the prequel trilogy; such as, the identity of the Jedi who commissioned the clone army and the origins of Order 66.
The Clone Wars introduces new characters as well as established ones with a focus on further expanding the Star Wars Universe.
The series has major character developments for Anakin Skywalker, Asajj Ventress, Ahsoka Tano, and many more. One of the major criticisms of the prequels was the overall writing of the characters but this show further expands them and while the series is not a straight character study in most cases the characters grew with the audiences. The tone of the show shifted as the seasons progressed and as a enormous Star Wars fan I can safely say it was something that aged well. While the first few seasons where more childish once you get to season 4 a clear tone change begins to prevail.
I greatly recommend to anyone who is a Star Wars fan or new to the fan base to give the series a watch but to ensure you watch the original and prequel trilogies first to truly grasp the world building aspect and undertone.
BankofMarquis (1832 KP) rated All Quiet on the Western Front (2022) in Movies
Feb 2, 2023
Shows The Futility and Bleakness of War
War is hell. And if you don’t think it is check out the 2022 German film version of the classic novel ALL QUIET ON THE WESTERN FRONT about a young German’s experience towards the end of World War I. It is a bleak, grim view of war told unflinchingly and drives home the point of the pointlessness of war (especially the trench warfare of WWI). It is bravura filmmaking that deserves to be mentioned with the great war films of all time.
And the book is even bleaker.
Directed by Edward Berger, ALL QUIET follows young Felix Kammerer (Paul Baumer) as he joyfully joins the German army to fight the French. Quickly, Felix learns of the cost of war and the grim reality of trench warfare.
Berger has a strong view of all of this and his Direction and Camerawork are squarely focused on young Felix and his continued attempts to stay alive amidst the fighting. Berger handles the action - and the acting - strongly and the Cinematography of this film by James Friend aides in the bleakness and futility of the conflict, showering the combatants in muted blues and grays and covering them all in mud. Berger does not hold back on the horrors of war (without going to “gorey”) and delivers a moody, bleak and important film.
Baumer plays Felix with an innocent sincerity that gives way to resolute abandonment of hope as the bleakness of the affair drags on. His futility is, then, juxtaposed against German envoy Matthias Erzberger (Daniel Bruhl) who is trying to negotiate a surrender with the French. The building frustration of both men are clearly shown growing as the film elapses.
And that is another strong suit about this film - it shows the situations, the hopelessness and negativity of war without having to “tell” or comment about it. The pictures are all one needs to know.
An anti-war film of the highest order, ALL QUIET ON THE WESTERN FRONT is a must see - the best adaptation of this classic novel ever.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
And the book is even bleaker.
Directed by Edward Berger, ALL QUIET follows young Felix Kammerer (Paul Baumer) as he joyfully joins the German army to fight the French. Quickly, Felix learns of the cost of war and the grim reality of trench warfare.
Berger has a strong view of all of this and his Direction and Camerawork are squarely focused on young Felix and his continued attempts to stay alive amidst the fighting. Berger handles the action - and the acting - strongly and the Cinematography of this film by James Friend aides in the bleakness and futility of the conflict, showering the combatants in muted blues and grays and covering them all in mud. Berger does not hold back on the horrors of war (without going to “gorey”) and delivers a moody, bleak and important film.
Baumer plays Felix with an innocent sincerity that gives way to resolute abandonment of hope as the bleakness of the affair drags on. His futility is, then, juxtaposed against German envoy Matthias Erzberger (Daniel Bruhl) who is trying to negotiate a surrender with the French. The building frustration of both men are clearly shown growing as the film elapses.
And that is another strong suit about this film - it shows the situations, the hopelessness and negativity of war without having to “tell” or comment about it. The pictures are all one needs to know.
An anti-war film of the highest order, ALL QUIET ON THE WESTERN FRONT is a must see - the best adaptation of this classic novel ever.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated The Last Dragon (1985) in Movies
Jun 7, 2019
So Bad You Just Might Like it
In his quest to find “The Master” and expand his training, black martial arts expert Bruce Leroy (Taimak) has to square off against Sho’nuff the Shogun of Harlem. With me, yet?
Acting: 10
The performances aren’t what killed this movie. Julius Carry pulls off one of my all-time favorite roles as Sho-Nuff, playing a villain that’s not hard to hate. His nemesis, hero Bruce Leroy is played with a sweet innocence by Taimak who harbors a fierce fighting style similar to his idol who is none other than…well, you guessed it, Bruce Lee. Sometimes a bit overdone, I thought overall the acting fit the movie’s overblown proportions as a whole.
Beginning: 3
Characters: 5
Again, the problem isn’t the acting. It’s the characters portrayed by the actors. They are as cardboard as they come, seemingly like caricatures of actual roles. This can be summed up by one role in particular: Eddie Arkadian (Chris Murney). Part business-owner, part gangster, you look at his mean scowl and listen to his horrible lines thinking, “Why are they ruining this man’s career with this role? This is awful!” I can imagine there were a lot of career-ruining roles in this movie. I haven’t even mentioned Eddie’s girlfriend, Angela whose voice alone gives me the urge to punt a baby. I can imagine director Michael Schultz walking up to Faith Prince saying, “Great take! Now, could you do me a favor? Could you sound more like Miss Piggy in distress? Please and thank you!”
Cinematography/Visuals: 4
The style that Schultz tries to establish comes off as cheesy and overdone. He takes the phrase “A little dab’ll do ya” and decides to do the complete opposite. There is nothing special to see and too much to see at the same time. As confusing as that might sound, if you watch the movie, you’ll get it. While there are glimpses of cool effects, even those are drowned by poor cinematic direction. There is one scene towards the end where Bruce Leroy’s hands starts to glow. He slowly moves them in a wavy pattern which creates a cool effect….until he starts doing it super fast and literally multiplies himself in some crazy funhouse type of way. Whomp whomp.
Conflict: 6
Because the movie struggles to find it’s way juggling back and forth between soundtrack-driven, drama, comedy, and action movie, the conflict suffers as a result. The fighting scenes aren’t terrible when they happen but there is too much of everything else to really leave you satisfied with those scenes. I would have been happier with no attempted character or story development and just two pure hours of Bruce Leroy kicking peoples’ teeth out. When I watched the last showdown between Leroy and Sho’nuff, I thought they were really on to something. Unfortunately they got lost along the way.
Genre: 7
Memorability: 5
Love it or hate it (or both), you’ll be hard-pressed leaving the movie not quoting at least a handful of lines. It’s a movie that sticks to you whether you want it to or not. It does leave something of an impact, although not very lasting.
Pace: 3
Between Leroy searching for The Master and Eddie trying to get his girl a record deal, the movie really drags on in spots. I don’t say this often, but a little more linearity in this case would have been just fine. The Last Dragon suffers from a severe case of Much Ado About Nothing. Just when you think something is about to pop off, the scene ends with a whimper.
Plot: 2
As a kid, I thought the storyline was funny. Now I think it’s just plain sad. I don’t know how much thought went into that script, but reading through it should give any aspiring screenwriter hope that they too can make it big. Stories within ridiculous stories, a meh love story, and terrible motivations all around take a machete to the movie before it even had a chance.
Resolution: 7
Overall: 52
For my 100th review, I wanted to review a movie that had some kind of value to me. I grew up with The Last Dragon and, I have to say, it is a pretty damn fun movie. Fun, unfortunately, doesn’t always equate to good. There is a reason it has an 86% audience score on Rotten Tomatoes right now, though. No matter how you feel about it, there will come a point when you’re watching, even if it’s for five minutes, where you find yourself having an actual good time. Unfortunately it’s the other 103 minutes you have to worry about.
Acting: 10
The performances aren’t what killed this movie. Julius Carry pulls off one of my all-time favorite roles as Sho-Nuff, playing a villain that’s not hard to hate. His nemesis, hero Bruce Leroy is played with a sweet innocence by Taimak who harbors a fierce fighting style similar to his idol who is none other than…well, you guessed it, Bruce Lee. Sometimes a bit overdone, I thought overall the acting fit the movie’s overblown proportions as a whole.
Beginning: 3
Characters: 5
Again, the problem isn’t the acting. It’s the characters portrayed by the actors. They are as cardboard as they come, seemingly like caricatures of actual roles. This can be summed up by one role in particular: Eddie Arkadian (Chris Murney). Part business-owner, part gangster, you look at his mean scowl and listen to his horrible lines thinking, “Why are they ruining this man’s career with this role? This is awful!” I can imagine there were a lot of career-ruining roles in this movie. I haven’t even mentioned Eddie’s girlfriend, Angela whose voice alone gives me the urge to punt a baby. I can imagine director Michael Schultz walking up to Faith Prince saying, “Great take! Now, could you do me a favor? Could you sound more like Miss Piggy in distress? Please and thank you!”
Cinematography/Visuals: 4
The style that Schultz tries to establish comes off as cheesy and overdone. He takes the phrase “A little dab’ll do ya” and decides to do the complete opposite. There is nothing special to see and too much to see at the same time. As confusing as that might sound, if you watch the movie, you’ll get it. While there are glimpses of cool effects, even those are drowned by poor cinematic direction. There is one scene towards the end where Bruce Leroy’s hands starts to glow. He slowly moves them in a wavy pattern which creates a cool effect….until he starts doing it super fast and literally multiplies himself in some crazy funhouse type of way. Whomp whomp.
Conflict: 6
Because the movie struggles to find it’s way juggling back and forth between soundtrack-driven, drama, comedy, and action movie, the conflict suffers as a result. The fighting scenes aren’t terrible when they happen but there is too much of everything else to really leave you satisfied with those scenes. I would have been happier with no attempted character or story development and just two pure hours of Bruce Leroy kicking peoples’ teeth out. When I watched the last showdown between Leroy and Sho’nuff, I thought they were really on to something. Unfortunately they got lost along the way.
Genre: 7
Memorability: 5
Love it or hate it (or both), you’ll be hard-pressed leaving the movie not quoting at least a handful of lines. It’s a movie that sticks to you whether you want it to or not. It does leave something of an impact, although not very lasting.
Pace: 3
Between Leroy searching for The Master and Eddie trying to get his girl a record deal, the movie really drags on in spots. I don’t say this often, but a little more linearity in this case would have been just fine. The Last Dragon suffers from a severe case of Much Ado About Nothing. Just when you think something is about to pop off, the scene ends with a whimper.
Plot: 2
As a kid, I thought the storyline was funny. Now I think it’s just plain sad. I don’t know how much thought went into that script, but reading through it should give any aspiring screenwriter hope that they too can make it big. Stories within ridiculous stories, a meh love story, and terrible motivations all around take a machete to the movie before it even had a chance.
Resolution: 7
Overall: 52
For my 100th review, I wanted to review a movie that had some kind of value to me. I grew up with The Last Dragon and, I have to say, it is a pretty damn fun movie. Fun, unfortunately, doesn’t always equate to good. There is a reason it has an 86% audience score on Rotten Tomatoes right now, though. No matter how you feel about it, there will come a point when you’re watching, even if it’s for five minutes, where you find yourself having an actual good time. Unfortunately it’s the other 103 minutes you have to worry about.
Phillip McSween (751 KP) rated The Godfather (1972) in Movies
Dec 3, 2018
Epic Indeed
What makes a film stand the test of time? How do you create a movie that will have the same impact today as it will fifty years from now? That’s almost how long it’s been since The Godfather was released. Can you believe that? It was a classic then and still remains to be so. It follows the story of the Corleone family, a prominent mob family in New York. Michael (Al Pacino), youngest son of Godfather Vito (Marlon Brando), is trying to stay away from the “family business” but finds himself thrust right in the middle after a mob war erupts.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Gareth von Kallenbach (980 KP) rated Walk the Line (2005) in Movies
Aug 14, 2019
Condensing something as vast and complex as the life of a person into a film is often a daunting task. With so many events that comprise the span of an individual, knowing what to cover and what to omit is a daunting task for any writer. For an icon like Johnny Cash, this task becomes monumental as not only does the history and humanity of the individual need to be captured, but the very soul of the artist as well.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Henry Rollins recommended Apocalypse Now (1979) in Movies (curated)
Ross (3284 KP) rated Nightblade's Vengeance in Books
Oct 10, 2017
*** I received a free advance copy of this book from NetGalley in exchange for an honest review ***
This summer I read the first Nightblade trilogy: I loved the first one (the world-building, the three different stories running in parallel and occasionally crossing over), enjoyed the second one (character development was the focus plus setting up the conflict in the conclusion) and tolerated the final book (largely a repeat of the same plot as the first two plus a number of loose ends left un-tied).
Given how I fell out of love with the series as it went on, I was a little tentative about reading this, the first in a new trilogy following on from the events of the first. I have to say it was very poor.
Pretty much nothing happens throughout the book, the sole focus is on political manoeuvring and the nightblades have become a shadow of what they were to be at the end of the first series.
The king is dying and has no heir, so one of three lords looks likely to be chosen to take the throne (or decide to take it). There is some unrest within the populace of the Kingdom towards nightblades (ninja-like warriors with a spidey-sense warning them of danger and allowing them to sense each other) - rumours are spreading that nightblades are demanding unreasonable payment for protection and are harming those they are supposed to be serving. And a particularly weak nightblade, the daughter of a dayblade (whose powers are used to heal rather than in combat) killed in service, by a mysterious warrior who subsequently vanished, is looking for vengeance (hence the title).
And that is pretty much it. The plot is very basic, the narrative takes an absolute age to cover what few events are happening and the vocabulary is pretty limited (I think at one point within three paragraphs about 6 things were said to have happened "in a moment" or "for a moment").
Twice in the book the phrase "to cut a long, boring story short" was used and I can't help but think Kirk was referring to what he himself should do.
I wasn't sure after ending the nightblade trilogy whether I would return to the world of the nightblades. Now I am certain I won't.
This summer I read the first Nightblade trilogy: I loved the first one (the world-building, the three different stories running in parallel and occasionally crossing over), enjoyed the second one (character development was the focus plus setting up the conflict in the conclusion) and tolerated the final book (largely a repeat of the same plot as the first two plus a number of loose ends left un-tied).
Given how I fell out of love with the series as it went on, I was a little tentative about reading this, the first in a new trilogy following on from the events of the first. I have to say it was very poor.
Pretty much nothing happens throughout the book, the sole focus is on political manoeuvring and the nightblades have become a shadow of what they were to be at the end of the first series.
The king is dying and has no heir, so one of three lords looks likely to be chosen to take the throne (or decide to take it). There is some unrest within the populace of the Kingdom towards nightblades (ninja-like warriors with a spidey-sense warning them of danger and allowing them to sense each other) - rumours are spreading that nightblades are demanding unreasonable payment for protection and are harming those they are supposed to be serving. And a particularly weak nightblade, the daughter of a dayblade (whose powers are used to heal rather than in combat) killed in service, by a mysterious warrior who subsequently vanished, is looking for vengeance (hence the title).
And that is pretty much it. The plot is very basic, the narrative takes an absolute age to cover what few events are happening and the vocabulary is pretty limited (I think at one point within three paragraphs about 6 things were said to have happened "in a moment" or "for a moment").
Twice in the book the phrase "to cut a long, boring story short" was used and I can't help but think Kirk was referring to what he himself should do.
I wasn't sure after ending the nightblade trilogy whether I would return to the world of the nightblades. Now I am certain I won't.