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Kristy H (1252 KP) rated Only Ever Her in Books
Jun 21, 2019
Annie Taft is 26, ready to marry Scott Hanson, and move somewhere fresh. Away from the town of Ludlow, where she is known as the daughter of the murdered woman. Cordell Lewis was sentenced to life without parole for the murder of Annie's mother, Lydia Taft--largely on the word of Annie, who was only three. But his lawyer is advocating for a new trial--and Cordell's release. It's now four days before Annie's wedding; Cordell is out of jail, and Annie has disappeared. At first, Annie's aunt, Faye, who has raised her niece since the age of three, thinks she has hidden away due to nerves. But as the wedding date inches closer, Faye and her daughter, Clary, realize something is amiss. Was it Cordell, seeking revenge after all this time? Or someone who knows Annie well?
"Some people hear their mother's voices in their heads, but Annie hears her aunt's, the closest thing she has to a mother."
This book wasn't anything like what I was expecting, and honestly, it was a rather strange tale, but it was still rather interesting. It's a character-driven read, not a suspense novel, but wow, I got really attached to some of these characters. I picked this one up based solely on the strength of the last Marybeth Mayhew Whalen novel I read, WHEN WE WERE WORTHY. She has a real knack for capturing her characters: they jump off they page and stick with you. In particular, I fell hard for Faye and Clary in this one. And, of course, there was Annie, who was always there, motivating nearly every character:
"She has to make the town happy, like she always has. It is her act of service, her offering on behalf of the greater good. When you're the only survivor of the town's darkest moment, you do whatever you can to bring light."
There are a lot of narrators in the novel, but together they expertly show the web and ties of a small town, where it seems everyone has a secret of some sorts. I thought the beginning of the book was a bit slow, but it picked up in the second half, becoming rather dramatic and suspenseful. It's also an emotional read, as you become more and more invested in the characters. I expected more with Annie's storyline and disappearance--the ending sort of fizzled there for me. The more compelling piece is truly her mother's murder and its aftermath, especially on Faye.
Still, this was an interesting and poignant read featuring some excellent characters. While it was a bit slow to start, I found myself quite immersed in the second half. I really enjoy what Whalen can do with her small town personalities. 3.5 stars.
"Some people hear their mother's voices in their heads, but Annie hears her aunt's, the closest thing she has to a mother."
This book wasn't anything like what I was expecting, and honestly, it was a rather strange tale, but it was still rather interesting. It's a character-driven read, not a suspense novel, but wow, I got really attached to some of these characters. I picked this one up based solely on the strength of the last Marybeth Mayhew Whalen novel I read, WHEN WE WERE WORTHY. She has a real knack for capturing her characters: they jump off they page and stick with you. In particular, I fell hard for Faye and Clary in this one. And, of course, there was Annie, who was always there, motivating nearly every character:
"She has to make the town happy, like she always has. It is her act of service, her offering on behalf of the greater good. When you're the only survivor of the town's darkest moment, you do whatever you can to bring light."
There are a lot of narrators in the novel, but together they expertly show the web and ties of a small town, where it seems everyone has a secret of some sorts. I thought the beginning of the book was a bit slow, but it picked up in the second half, becoming rather dramatic and suspenseful. It's also an emotional read, as you become more and more invested in the characters. I expected more with Annie's storyline and disappearance--the ending sort of fizzled there for me. The more compelling piece is truly her mother's murder and its aftermath, especially on Faye.
Still, this was an interesting and poignant read featuring some excellent characters. While it was a bit slow to start, I found myself quite immersed in the second half. I really enjoy what Whalen can do with her small town personalities. 3.5 stars.
Gareth von Kallenbach (980 KP) rated Ouija: Origin of Evil (2016) in Movies
Jul 15, 2019
As a huge fan of supernatural horror films I was really looking forward to screening Ouija: Origins of Evil. I had hoped that this film would make up to it’s unsuccessful predecessor. I think the last big box horror movie that I thoroughly enjoyed was The Conjuring 2. I can’t say that I was surprised with being a little disappointed with this film.
As always, some of the best scenes in any film are usually displayed in the trailer to reel us in and that’s precisely what happened.
The film is based in 1965 with a young widowed mother Alice (Elizabeth Reaser) raising two daughters Paulina and Doris. Alice and the girls use old school seance scams to make ends meet.
The somewhat rebellious teen daughter Paulina sneaks out to a party where a Ouija board is used and suggests that her mother should buy one and add it to the act. Her mother decides that it just might be what they need to liven up the show. Thinking that this would only be one of her many parlor tricks she buys one.
While setting up the board for a practice session she decides to see if it might actually work. She doesn’t realize that she has now opened a can of worms and her youngest daughter Doris is in the throws of a malevolent force.
Is it the board, is it the house, is it their father. With the help of their school priest they are able to understand what is truly happening.
The film in a whole was just okay, not the best but not the worst either. The problem that I had with it specifically was how long you have to get through to get to the scary parts of the film. I was hopeful that it would get better and to my surprise it did.
Yes the lines weren’t great but the cast seemed fitting for their characters. Elizabeth Reaser who I’ve had the pleasure of meeting was perfect as Alice and the young girls as well. I don’t usually go on about editing and lighting but I must say that I really enjoyed the cinematography in the film. The drab colors and filming techniques were very well executed and added to the 60’s style horror films of the past.
In all honesty I would recommend seeing this in theaters. With the energy of the audience and darkness of the theater it makes for a fun and spooky Halloween event.
Just be aware that the build up to the better scenes is long and drawn out. The jump scares are few and far between however it still is worth a watch.
As always, some of the best scenes in any film are usually displayed in the trailer to reel us in and that’s precisely what happened.
The film is based in 1965 with a young widowed mother Alice (Elizabeth Reaser) raising two daughters Paulina and Doris. Alice and the girls use old school seance scams to make ends meet.
The somewhat rebellious teen daughter Paulina sneaks out to a party where a Ouija board is used and suggests that her mother should buy one and add it to the act. Her mother decides that it just might be what they need to liven up the show. Thinking that this would only be one of her many parlor tricks she buys one.
While setting up the board for a practice session she decides to see if it might actually work. She doesn’t realize that she has now opened a can of worms and her youngest daughter Doris is in the throws of a malevolent force.
Is it the board, is it the house, is it their father. With the help of their school priest they are able to understand what is truly happening.
The film in a whole was just okay, not the best but not the worst either. The problem that I had with it specifically was how long you have to get through to get to the scary parts of the film. I was hopeful that it would get better and to my surprise it did.
Yes the lines weren’t great but the cast seemed fitting for their characters. Elizabeth Reaser who I’ve had the pleasure of meeting was perfect as Alice and the young girls as well. I don’t usually go on about editing and lighting but I must say that I really enjoyed the cinematography in the film. The drab colors and filming techniques were very well executed and added to the 60’s style horror films of the past.
In all honesty I would recommend seeing this in theaters. With the energy of the audience and darkness of the theater it makes for a fun and spooky Halloween event.
Just be aware that the build up to the better scenes is long and drawn out. The jump scares are few and far between however it still is worth a watch.
BankofMarquis (1832 KP) rated Parasite (2019) in Movies
Nov 12, 2019
Strongly Directed by Bong Joon-Ho
There are more strong film makers in this world than are just sitting in traditionally English-speaking Countries (like the U.S./England). One of the strongest - and a Director that I will watch WHATEVER he is Directing - is South Korean auteur Bong Joon-Ho. His previous efforts (THE HOST, OKJA, SNOWPIERCER, amongst others) were all led by intriguing stories, interesting people and strong visual imagery, so I was very excited for his newest effort, PARASITE. I purposely did not find out too much about this film, for I wanted to be surprised by what was unfolding in front of me.
And...I was rewarded, greatly by another intriguing story with interesting people and strong visual imagery.
In Korean, with English subtitles, PARASITE follows a lower class Korean family that go to work for a high class Korean family and brings us on a journey for BOTH families. And that's all I'm going to say about it, for to reveal anything else would be to spoil the surprises along the way.
But, as is often the case with these types of stories, it is the journey, not the destination that is the treat of this film. Bong Joon-Ho regular Kang-ho Song stars as the Patriarch of the lower class family who, seemingly, is lazy and allergic to "work", but that is not really the case. Woo-sik Choi is the son of the lower class family that connects with the daughter of the higher class family and Hye-jin Jang is the matriarch of the lower class family and they both bring sensitivity and strength to their roles. But for me, the real star of this film is So-dam Park as the daughter of this family who turns out to be the heart and the brains of the operation.
Director Bong Joon-Ho brings his usual flair to the proceedings, not letting his camera shy away from the seemy underbelly of this society, but not lingering on it either, moving the surprising plot along at a fast (enough) pace to keep you guessing throughout. I see a lot of films, so when I run across a plot that I couldn't tell what was going to come next, it is satisfying.
And, satisfying this film is. Some are calling it an "Oscar Contender" and I don't think I would go quite that far - the film does drag a bit in the middle. But, if you can handle reading the subtitles, you'll be entertained indeed by the fervent mind of one of the better Directors working in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And...I was rewarded, greatly by another intriguing story with interesting people and strong visual imagery.
In Korean, with English subtitles, PARASITE follows a lower class Korean family that go to work for a high class Korean family and brings us on a journey for BOTH families. And that's all I'm going to say about it, for to reveal anything else would be to spoil the surprises along the way.
But, as is often the case with these types of stories, it is the journey, not the destination that is the treat of this film. Bong Joon-Ho regular Kang-ho Song stars as the Patriarch of the lower class family who, seemingly, is lazy and allergic to "work", but that is not really the case. Woo-sik Choi is the son of the lower class family that connects with the daughter of the higher class family and Hye-jin Jang is the matriarch of the lower class family and they both bring sensitivity and strength to their roles. But for me, the real star of this film is So-dam Park as the daughter of this family who turns out to be the heart and the brains of the operation.
Director Bong Joon-Ho brings his usual flair to the proceedings, not letting his camera shy away from the seemy underbelly of this society, but not lingering on it either, moving the surprising plot along at a fast (enough) pace to keep you guessing throughout. I see a lot of films, so when I run across a plot that I couldn't tell what was going to come next, it is satisfying.
And, satisfying this film is. Some are calling it an "Oscar Contender" and I don't think I would go quite that far - the film does drag a bit in the middle. But, if you can handle reading the subtitles, you'll be entertained indeed by the fervent mind of one of the better Directors working in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Joseph Rogers (13 KP) rated Stuck in Love (2013) in Movies
Jan 18, 2020
I regularly looked at the message boards on the IMDB website, (when they were available!) and I couldn’t find a decent review in the message boards for this film so I thought I’d do one on here.
The premise is about a family of writers, a father, daughter and son dealing with love over the course of a year. The father is a divorcee and still has conflicting feelings for his ex-wife who he has been apart from for 3 years. It’s a story about finding love and holding onto it, i guess another theme could be to not rush head on into love for fear of getting hurt and doing this by learning from personal experience (for instance the daughter and son learning from their parents).
This film has an amazing cast (amazing as in great performances, it’s not exactly an A-list cast which i think would ruin it due to the genre of the film) and uses the actors to the absolute best of it’s abilities.
One of the best performances in this movie is probably Greg Kinnear as he strikes the balance between a good and a bad father through no fault of his own as he’s caught up in the complexities of his own love life. Which is another great thing about this film, as the children are supposed to be between 17-19 years old, they actually go through the same problems as the adults, thus making everyone in this film equal and shows that no matter who you are or what you’re background is, everyone gets hurt by love, and more or less everyone reacts the same.
If I had one problem with this film it’s that it could have been about 20-30 minutes longer as it’s one of those films where you want to know more back story of the characters, particularly Greg Kinnear’s.
But as I say, this film couldn’t have used the actors better for this genre. To compliment the acting and great story the soundtrack is one of the best I’ve heard for a long time. The first track we hear is “Home – Edward Sharpe & The Magnetic Zeros” which is an amazing, comforting, happy, melancholic song in of itself, but it opens the film with a huge bang of presumptions that enter your mind of where this film could lead you.
It leads you exactly where you want it to.
There will be some things I’ve left out purposefully as I hate any reviews or trailers that just show you all the best bits and you go to see the movie and find that they really were the ONLY good bits. So watch the movie and enjoy it for what it is!
The premise is about a family of writers, a father, daughter and son dealing with love over the course of a year. The father is a divorcee and still has conflicting feelings for his ex-wife who he has been apart from for 3 years. It’s a story about finding love and holding onto it, i guess another theme could be to not rush head on into love for fear of getting hurt and doing this by learning from personal experience (for instance the daughter and son learning from their parents).
This film has an amazing cast (amazing as in great performances, it’s not exactly an A-list cast which i think would ruin it due to the genre of the film) and uses the actors to the absolute best of it’s abilities.
One of the best performances in this movie is probably Greg Kinnear as he strikes the balance between a good and a bad father through no fault of his own as he’s caught up in the complexities of his own love life. Which is another great thing about this film, as the children are supposed to be between 17-19 years old, they actually go through the same problems as the adults, thus making everyone in this film equal and shows that no matter who you are or what you’re background is, everyone gets hurt by love, and more or less everyone reacts the same.
If I had one problem with this film it’s that it could have been about 20-30 minutes longer as it’s one of those films where you want to know more back story of the characters, particularly Greg Kinnear’s.
But as I say, this film couldn’t have used the actors better for this genre. To compliment the acting and great story the soundtrack is one of the best I’ve heard for a long time. The first track we hear is “Home – Edward Sharpe & The Magnetic Zeros” which is an amazing, comforting, happy, melancholic song in of itself, but it opens the film with a huge bang of presumptions that enter your mind of where this film could lead you.
It leads you exactly where you want it to.
There will be some things I’ve left out purposefully as I hate any reviews or trailers that just show you all the best bits and you go to see the movie and find that they really were the ONLY good bits. So watch the movie and enjoy it for what it is!
Debbiereadsbook (1454 KP) rated Thicker Than Water in Books
Mar 18, 2020
I needed Thatch!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Callen finds Thatch, the leader of a black ops task force, bleeding and bitten when he goes against orders, again. But Thatch was bitten by Callen's sister, and his niece is now missing and Thatch might be the only link to finding the child. But as the investigation spreads its net, Callen is forced to make some decisions, decisions that could cost him his heart.
I really REALLY enjoyed this from Ms Seymour! She usually writes fairly fluffy, contemporaries and this isn't fluffy, nor contemporary but it is great!
I loved the twist to werewolf lore, that the oly way for a wolf to be made is to be bitten. But that act kills the wolf and transfers all their memories to the new wolf.
I loved the supporting cast, and all the little . .hints/clues/dropped comments . . .about them. Some questions wre thrown up, that haven't been answered here. However, in my personal experience, its best not to wait for those questions to be answered cos the last time I felt like this, I had a right proper hissy fit when those questions were NOT answered LOL So I won't voice those questions, and then I can't be dissappointed, right?
I loved Callen. He is funny and hilarious, and dark and deadly. He is deep and meaningful, but takes great pleasure in winding his friends up.
I loved that fact tht the bond between Callen and Thatch creep up on them, and there isn't that MINE moment at first meeting. It DOES come, but it's more growled out of Callen in reaction to someone else touching Thatch.
So why only 4 stars with all those things I loved?
Thatch isn't given a voice.
Now, I know I say it a lot, and I will continue to say it where I think it necessary but HERE I think it really needed. Thatch takes ALL of his Hazel's, Callen's sister, memories and thoughts and feelings. ALL of them. And that had to be confusing when they start to come through! When those memories sends them far north to find Hazel's daughter. When he comes face to face with that daughter. What was Thatch feeling? I needed that, I really did, and if I HAD Thatch, I have no doubt, not a single one, that this would have been a 5 star read.
I don't know if this is a stand alone, or there will be more of this group of people, I hope so, I really do!
But I don't get Thatch, and so. . .
4 good, great solid stars
**same worded review will appear elsewhere**
Callen finds Thatch, the leader of a black ops task force, bleeding and bitten when he goes against orders, again. But Thatch was bitten by Callen's sister, and his niece is now missing and Thatch might be the only link to finding the child. But as the investigation spreads its net, Callen is forced to make some decisions, decisions that could cost him his heart.
I really REALLY enjoyed this from Ms Seymour! She usually writes fairly fluffy, contemporaries and this isn't fluffy, nor contemporary but it is great!
I loved the twist to werewolf lore, that the oly way for a wolf to be made is to be bitten. But that act kills the wolf and transfers all their memories to the new wolf.
I loved the supporting cast, and all the little . .hints/clues/dropped comments . . .about them. Some questions wre thrown up, that haven't been answered here. However, in my personal experience, its best not to wait for those questions to be answered cos the last time I felt like this, I had a right proper hissy fit when those questions were NOT answered LOL So I won't voice those questions, and then I can't be dissappointed, right?
I loved Callen. He is funny and hilarious, and dark and deadly. He is deep and meaningful, but takes great pleasure in winding his friends up.
I loved that fact tht the bond between Callen and Thatch creep up on them, and there isn't that MINE moment at first meeting. It DOES come, but it's more growled out of Callen in reaction to someone else touching Thatch.
So why only 4 stars with all those things I loved?
Thatch isn't given a voice.
Now, I know I say it a lot, and I will continue to say it where I think it necessary but HERE I think it really needed. Thatch takes ALL of his Hazel's, Callen's sister, memories and thoughts and feelings. ALL of them. And that had to be confusing when they start to come through! When those memories sends them far north to find Hazel's daughter. When he comes face to face with that daughter. What was Thatch feeling? I needed that, I really did, and if I HAD Thatch, I have no doubt, not a single one, that this would have been a 5 star read.
I don't know if this is a stand alone, or there will be more of this group of people, I hope so, I really do!
But I don't get Thatch, and so. . .
4 good, great solid stars
**same worded review will appear elsewhere**
Kristy H (1252 KP) rated Mother Daughter Widow Wife in Books
Jul 2, 2020
Wendy Doe is found in Philadelphia without an ID and no memory of who she is. She becomes a patient at Dr. Benjamin Strauss' Meadowlark Institute--basically her only alternative for being cast out on the streets. Dr. Strauss and his young student, Lizzie, study Wendy, fascinated by her fugue diagnosis. Meanwhile, years later, Wendy's daughter Alice is looking for her mother, who has disappeared again. Wondering if her mother's past disappearance--which she never knew about--could be tied to the current one--Alice searches out Benjamin Strauss and Lizzie. She discovers Lizzie is now a young widow and begins a journey into both her mother's past, and Lizzie's.
"Every daughter became a mother, every mistress a wife--every wife a widow."
This is a hard book for me to rate, even several weeks after finishing it. Is it a brilliant work examining womanhood and love or a frustrating tale that leaves you feeling unresolved? This is certainly a complex book that features complex science, emotions, and feelings. Wasserman has done her research, and there are pages and pages devoted to the science of dissociative fugue, amnesia, and more. I won't lie: it's a lot. There were times I found myself just skimming those sections, because it was a bit much for me.
I didn't care much for the character of Alice, and I'm not entirely sure why, because her mother is missing (presumed dead by suicide by everyone except Alice), and she's worried. But there's something about Alice that just didn't make her particularly sympathetic to me. As for Lizzie, even though she didn't make the best of choices, I liked her more. Maybe I identified better with her. We get to see Lizzie in the past and present, and Wasserman does a good job of capturing the yearning of loving someone who doesn't deserve you and the idea of becoming someone else for love. Even Wendy is hard to care about sometimes, because she just doesn't seem care herself. To her, her memory is a thing she's lost, but because she can't remember, she doesn't seem too concerned.
"'You don't get it: I don't not want it back, and I don't want it back. There is no it. You can't miss what never happened.'"
What was so hard with this book is that there were just so many words. Oh the words. Words about science, words about feelings, words, words, words. It just felt long. I wasn't entirely invested in the story, but I did want to find Alice's mother, but then everything just felt sort of eh and unresolved, and yeah. I don't know. So much thinking, not much happening. I think this novel probably presents some brilliant ideas and representations, but they went over my head. 2.75 stars, rounded to 3 here.
"Every daughter became a mother, every mistress a wife--every wife a widow."
This is a hard book for me to rate, even several weeks after finishing it. Is it a brilliant work examining womanhood and love or a frustrating tale that leaves you feeling unresolved? This is certainly a complex book that features complex science, emotions, and feelings. Wasserman has done her research, and there are pages and pages devoted to the science of dissociative fugue, amnesia, and more. I won't lie: it's a lot. There were times I found myself just skimming those sections, because it was a bit much for me.
I didn't care much for the character of Alice, and I'm not entirely sure why, because her mother is missing (presumed dead by suicide by everyone except Alice), and she's worried. But there's something about Alice that just didn't make her particularly sympathetic to me. As for Lizzie, even though she didn't make the best of choices, I liked her more. Maybe I identified better with her. We get to see Lizzie in the past and present, and Wasserman does a good job of capturing the yearning of loving someone who doesn't deserve you and the idea of becoming someone else for love. Even Wendy is hard to care about sometimes, because she just doesn't seem care herself. To her, her memory is a thing she's lost, but because she can't remember, she doesn't seem too concerned.
"'You don't get it: I don't not want it back, and I don't want it back. There is no it. You can't miss what never happened.'"
What was so hard with this book is that there were just so many words. Oh the words. Words about science, words about feelings, words, words, words. It just felt long. I wasn't entirely invested in the story, but I did want to find Alice's mother, but then everything just felt sort of eh and unresolved, and yeah. I don't know. So much thinking, not much happening. I think this novel probably presents some brilliant ideas and representations, but they went over my head. 2.75 stars, rounded to 3 here.
Charlie Cobra Reviews (1840 KP) rated Godzilla: King of the Monsters (2019) in Movies
Jul 7, 2020
Hail To The King Baby
Godzilla: King of The Monsters is a 2019 monster movie directed by Michael Dougherty and written by Dougherty, Zach Shields, and Max Borenstein. It was produced by Legendary Pictures and distributed by Warner Bros. Pictures. The film was dedicated to the original Godzilla suit performer Haruo Nakajima and executive producer Yoshimitsu Banno. The movie stars Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe and Zhang Ziyi.
Working to track down and study Titans (giant-God like monsters) for the organization Monarch, Paleobiologist Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) witness the birth of a giant larva monster named Mothra. The monster is hostile until Emma uses a device called "Orca", which only Titans can hear, to calm it down until eco-terrorists attack, led by Alan Jonah (Charles Dance) and kidnap both her and her daughter. Monarch scientists and soldiers approach Mark (Kyle Chandler), Emma's ex-husband, to track them down and soon they are headed towards Antarctica, where Jonah intends to free a Titan encased in ice called "Monster Zero".
This movie had classic Godzilla flick written all over it and it did not disappoint. The visual effects were awesome, from the way the monsters looked, to the blasts they utilized and even things like explosions were all top notch. The music was also outstanding, as many classic Godzilla themes made a comeback including Mothra's theme. The action sequences far exceeded those of it's predecessor Godzilla 2014, There was plenty of monster battles to make this a fan favorite for years to come. Now I do have to agree with some of the critics and say that the storyline was a little thin and predictable but that didn't stop the film from being enjoyable. And some critics complained about underdeveloped human characters, but in all honesty, the human characters are not why the fans are going to see this movie. I thought the main cast of characters had enough development, it's just that compared to a normal Godzilla film or even the last one, there were a lot of secondary characters or supporting cast. Which to me personally, made the film feel more full. This movie checked a lot of my boxes for what I've come to expect in a Godzilla/giant monster movie and made me happy when I watched it in theaters. It had its down time in certain parts and slow building scenes or moments where it seemed the audience in consensus chose to use that time to run to the restroom and back. But other than that and some predictable plot points and character actions this movie was great.
Working to track down and study Titans (giant-God like monsters) for the organization Monarch, Paleobiologist Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) witness the birth of a giant larva monster named Mothra. The monster is hostile until Emma uses a device called "Orca", which only Titans can hear, to calm it down until eco-terrorists attack, led by Alan Jonah (Charles Dance) and kidnap both her and her daughter. Monarch scientists and soldiers approach Mark (Kyle Chandler), Emma's ex-husband, to track them down and soon they are headed towards Antarctica, where Jonah intends to free a Titan encased in ice called "Monster Zero".
This movie had classic Godzilla flick written all over it and it did not disappoint. The visual effects were awesome, from the way the monsters looked, to the blasts they utilized and even things like explosions were all top notch. The music was also outstanding, as many classic Godzilla themes made a comeback including Mothra's theme. The action sequences far exceeded those of it's predecessor Godzilla 2014, There was plenty of monster battles to make this a fan favorite for years to come. Now I do have to agree with some of the critics and say that the storyline was a little thin and predictable but that didn't stop the film from being enjoyable. And some critics complained about underdeveloped human characters, but in all honesty, the human characters are not why the fans are going to see this movie. I thought the main cast of characters had enough development, it's just that compared to a normal Godzilla film or even the last one, there were a lot of secondary characters or supporting cast. Which to me personally, made the film feel more full. This movie checked a lot of my boxes for what I've come to expect in a Godzilla/giant monster movie and made me happy when I watched it in theaters. It had its down time in certain parts and slow building scenes or moments where it seemed the audience in consensus chose to use that time to run to the restroom and back. But other than that and some predictable plot points and character actions this movie was great.
BankofMarquis (1832 KP) rated The Father (2020) in Movies
Apr 7, 2021
1st half is GREAT! The 2nd half? Not so much...
THE FATHER is one of those types of films that, generally, I would not seek out - except at Oscar time. A small, “drawing room” type of drama, based on a stage play and starring a couple of Oscar winning performers at it’s core.
And that is enough to make this film very entertaining and interesting…but, unfortunately…this piece of entertainment falls flat at the end, so one will have to be contented to watching a decent drawing room drama (based on a Stage play) starring 2 strong Oscar winning actors at it’s core.
Written and Directed by Florian Zeller, THE FATHER tells the tale of a…well…FATHER, who is aging and mentally deteriorating. His daughter is trying to aide him and bring him comfort, but his befuddled mind begins to see things (conspiracies) that are not there…or are they?
Zeller wrote the lead role, specifically for Anthony Hopkins and it is a very good thing that Hopkins agree to this role for he is in EVERY scene and commands this picture as only a performer of Hopkins stature and abilities can. Hopkins is, rightfully, nominated for this performance and could pull the upset (but I highly doubt it).
Strongly supporting him - in an Oscar nominated turn herself - as Olivia Colman as his daughter. She has the much less flashy - but no less important - role in this drama and Hopkins would not be as good as he is without her to play against.
Zeller (who was nominated for an Oscar for his Screenplay adaptation of his Stage Play) was smart to cast a strong ensemble of British Stage Actors for this film - Mark Gattis, Olivia Williams, Rufus Sewell and Imogen Poots are all strong, interesting people to watch on screen and they help bring an air of seriousness and gravitas to the proceedings.
The first half of this film is extremely fascinating to watch and I was intrigued by the premise, the direction, the script and the direction it seemed to be headed. But…unfortunately (at least for me) the 2nd half of the film (and I would imagine, the Stage Play) never, really capitalizes on the promise of the first half and THE FATHER just sorts of peters out in the end.
Which, I guess, you could say for the poor souls who suffer from dementia, but I don’t think that was the point that Zeller was trying to make.
Letter Grade: A- (did I mention that I really, really liked the first half)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is enough to make this film very entertaining and interesting…but, unfortunately…this piece of entertainment falls flat at the end, so one will have to be contented to watching a decent drawing room drama (based on a Stage play) starring 2 strong Oscar winning actors at it’s core.
Written and Directed by Florian Zeller, THE FATHER tells the tale of a…well…FATHER, who is aging and mentally deteriorating. His daughter is trying to aide him and bring him comfort, but his befuddled mind begins to see things (conspiracies) that are not there…or are they?
Zeller wrote the lead role, specifically for Anthony Hopkins and it is a very good thing that Hopkins agree to this role for he is in EVERY scene and commands this picture as only a performer of Hopkins stature and abilities can. Hopkins is, rightfully, nominated for this performance and could pull the upset (but I highly doubt it).
Strongly supporting him - in an Oscar nominated turn herself - as Olivia Colman as his daughter. She has the much less flashy - but no less important - role in this drama and Hopkins would not be as good as he is without her to play against.
Zeller (who was nominated for an Oscar for his Screenplay adaptation of his Stage Play) was smart to cast a strong ensemble of British Stage Actors for this film - Mark Gattis, Olivia Williams, Rufus Sewell and Imogen Poots are all strong, interesting people to watch on screen and they help bring an air of seriousness and gravitas to the proceedings.
The first half of this film is extremely fascinating to watch and I was intrigued by the premise, the direction, the script and the direction it seemed to be headed. But…unfortunately (at least for me) the 2nd half of the film (and I would imagine, the Stage Play) never, really capitalizes on the promise of the first half and THE FATHER just sorts of peters out in the end.
Which, I guess, you could say for the poor souls who suffer from dementia, but I don’t think that was the point that Zeller was trying to make.
Letter Grade: A- (did I mention that I really, really liked the first half)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Darren (1599 KP) rated Unforgettable (2017) in Movies
Sep 26, 2019
Characters – Julia Banks is hitting the high point of her, promotion and engagement to the man of her dream. She does have a past which is very secretive that even David doesn’t know about it. She does have a habit about losing stuff, well she starts too, her past can play into her downfall against Tessa. Tessa is the ex-wife of David, she is very controlling and hasn’t taken the idea of David moving on well, she wants him back and with her own demanding mother in her life she is acting the same towards her own daughter. She always feels distant from any human interaction as she is planning to make Julia’s life a nightmare. David is the man stuck in the middle of everything, he is trying to keep both women happy one for the new love in his life the other to keep his daughter part of his life.
Performances – Rosario Dawson is good in her role we needed to see more of the life falling apart around her though. Katherine Heigl has had a mixed reaction from the audience and business over the last few years, she does work in this role as you do get an uneasy feeling whenever she is on screen. Geoff Stults is fine, he never really gets too much to do through the movie.
Story – The story follows an ex-wife that wants to make the new girlfriends life a living nightmare in an attempt to get her husband back. This does play out like all over the stalker films we have seen before and yes, we have moved along technologically making the moves against the victim more personally. This is an easy enough watch and playing into the idea that the victim has a past which could make her easier to frame does help even if the whole thing plays out just like you would imagine.
Thriller – The film tries to give us the tension bound levels needed, only for the most part to feel like it was just being slowly building and any scenes involving Julia and Tessa feel empty for the first half of the film.
Settings – The film puts us in high-life houses which shows how the family can cope with divorce easily, while this works, a lower class of victim would make this more intense and interesting.
Scene of the Movie – The final showdown.
That Moment That Annoyed Me – There isn’t enough tension in the early part of the film.
Final Thoughts – This is the trademark yearly stalker ex movie, it checks the boxes well without needing to be anything special or dreadful.
Overall: Simple Thriller.
Performances – Rosario Dawson is good in her role we needed to see more of the life falling apart around her though. Katherine Heigl has had a mixed reaction from the audience and business over the last few years, she does work in this role as you do get an uneasy feeling whenever she is on screen. Geoff Stults is fine, he never really gets too much to do through the movie.
Story – The story follows an ex-wife that wants to make the new girlfriends life a living nightmare in an attempt to get her husband back. This does play out like all over the stalker films we have seen before and yes, we have moved along technologically making the moves against the victim more personally. This is an easy enough watch and playing into the idea that the victim has a past which could make her easier to frame does help even if the whole thing plays out just like you would imagine.
Thriller – The film tries to give us the tension bound levels needed, only for the most part to feel like it was just being slowly building and any scenes involving Julia and Tessa feel empty for the first half of the film.
Settings – The film puts us in high-life houses which shows how the family can cope with divorce easily, while this works, a lower class of victim would make this more intense and interesting.
Scene of the Movie – The final showdown.
That Moment That Annoyed Me – There isn’t enough tension in the early part of the film.
Final Thoughts – This is the trademark yearly stalker ex movie, it checks the boxes well without needing to be anything special or dreadful.
Overall: Simple Thriller.
Darren (1599 KP) rated St. Vincent (2014) in Movies
Sep 26, 2019
Characters – Julia Banks is hitting the high point of her, promotion and engagement to the man of her dream. She does have a past which is very secretive that even David doesn’t know about it. She does have a habit about losing stuff, well she starts too, her past can play into her downfall against Tessa. Tessa is the ex-wife of David, she is very controlling and hasn’t taken the idea of David moving on well, she wants him back and with her own demanding mother in her life she is acting the same towards her own daughter. She always feels distant from any human interaction as she is planning to make Julia’s life a nightmare. David is the man stuck in the middle of everything, he is trying to keep both women happy one for the new love in his life the other to keep his daughter part of his life.
Performances – Rosario Dawson is good in her role we needed to see more of the life falling apart around her though. Katherine Heigl has had a mixed reaction from the audience and business over the last few years, she does work in this role as you do get an uneasy feeling whenever she is on screen. Geoff Stults is fine, he never really gets too much to do through the movie.
Story – The story follows an ex-wife that wants to make the new girlfriends life a living nightmare in an attempt to get her husband back. This does play out like all over the stalker films we have seen before and yes, we have moved along technologically making the moves against the victim more personally. This is an easy enough watch and playing into the idea that the victim has a past which could make her easier to frame does help even if the whole thing plays out just like you would imagine.
Thriller – The film tries to give us the tension bound levels needed, only for the most part to feel like it was just being slowly building and any scenes involving Julia and Tessa feel empty for the first half of the film.
Settings – The film puts us in high-life houses which shows how the family can cope with divorce easily, while this works, a lower class of victim would make this more intense and interesting.
Scene of the Movie – The final showdown.
That Moment That Annoyed Me – There isn’t enough tension in the early part of the film.
Final Thoughts – This is the trademark yearly stalker ex movie, it checks the boxes well without needing to be anything special or dreadful.
Overall: Simple Thriller.
Performances – Rosario Dawson is good in her role we needed to see more of the life falling apart around her though. Katherine Heigl has had a mixed reaction from the audience and business over the last few years, she does work in this role as you do get an uneasy feeling whenever she is on screen. Geoff Stults is fine, he never really gets too much to do through the movie.
Story – The story follows an ex-wife that wants to make the new girlfriends life a living nightmare in an attempt to get her husband back. This does play out like all over the stalker films we have seen before and yes, we have moved along technologically making the moves against the victim more personally. This is an easy enough watch and playing into the idea that the victim has a past which could make her easier to frame does help even if the whole thing plays out just like you would imagine.
Thriller – The film tries to give us the tension bound levels needed, only for the most part to feel like it was just being slowly building and any scenes involving Julia and Tessa feel empty for the first half of the film.
Settings – The film puts us in high-life houses which shows how the family can cope with divorce easily, while this works, a lower class of victim would make this more intense and interesting.
Scene of the Movie – The final showdown.
That Moment That Annoyed Me – There isn’t enough tension in the early part of the film.
Final Thoughts – This is the trademark yearly stalker ex movie, it checks the boxes well without needing to be anything special or dreadful.
Overall: Simple Thriller.