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Neon's Nerd Nexus (360 KP) rated A Beautiful Day in the Neighborhood (2019) in Movies
Feb 2, 2020 (Updated Feb 2, 2020)
Hello Neighbor
A Beautiful Day In The Neighborhood is an inspiring and delightful film about a man that was oh so smart and oh so pleasant. I just want to say from the start what an absolute joy this film was to watch, there was something so warm and wonderful there constantly that kept my full attention the entire time and when it ended I almost felt sad there wasnt more of it. Tom Hanks plays Fred Rogers aka Mr Rogers as hes known by most. An intriguing man who is almost investigated/interrogated by writer Lloyd Voge who has many troubles of his own. Hanks transforms seamlessly into Rogers with all his mannerisms replicated flawlessly even down to whats going on behined his eyes. Rogers may seem like theres something more sinister behined him at times but truth is he had a troubled past too and while maybe not a war veteran its almost as if you can see signs of depression or ptsd behined those eyes from the way he was treated in his youth of from the general weight of his job. But its the way the way hes learnt to deal with his anger, frustrations and demons thats so fascinating and how he manages to keep stong/humble so he can teach other children to overcome the harshness of life and the dark times they may face ahead of them thats trully inspiring and commendable. Llyods transformation during the film is also depicted amazingly too, hes so troubled hes almost beyond help, struggling with such emotions as grief, hatred and stress hes seemingly stuck on an ever declining path of sadness. That is until he meets rogers and the on screen interactions between these two are the absolute bread and butter to watch here as rogers uses his philosophy and good nature to help him find happiness in himself once again. See the thing is adults tend to dismiss anything they consider 'childish' but more often than not these so called childish things they dismiss contain more answers, escapism and advise for our problems than anything else be it by nostalgia, wisdom or philosophy or simple innocence. I loved how the tv show scenes felt so nostalgic that you could swear they were filmed way back in the past and the choice to use a different aspect ratio for them was smart. Its odd to say but theres definitely a subbtle element of horror and creepiness I found here too especially with some of the almost fever dream type scenes which worked extreamly well and broke up the film nicely. Lastly I would say if you are planning to see this be prepared to cry as its not only incredibly heartfelt it also constantly deals with very depressing subject matter too. So many times I found It depicted problems, situations, feelings and nostalgia to things that I have faced in my own life leading to me to tear up like it was speaking specifically to only me as I questioned my own life, feelings, relationships and decisions in my head. A splendid film that teaches us how life is to short to waste time on anger/hate and that we should instead spend and cherish the time we have here with the ones we love before its to late.
Kirk Bage (1775 KP) rated Norman F**king Rockwell by Lana Del Rey in Music
Mar 3, 2020
I have had a mixed relationship with the music of Lana Del Rey since her sensational debut album, Born To Die in 2010. I loved that album, and played it a lot! I still do. But always felt like it wasn’t really for me, yet I couldn’t help replaying it and humming the tunes. I also loved the lyrics, with their scathing satire of American life and values, and their downbeat vibe, always on the point of mania or depression, but never crying out for help, merely saying “look, this is our world, fuck it!” The trouble was, for the next 4 albums, despite one or two standout songs, the message and tone got mired in monotony and lack of memorable melodies – although the lyrics were still there.
I had all but given up hope of her becoming an artist of real worth by the end of the decade. It was a case of “remember when Lana Del Rey was the next big thing?” So, I was not expecting her sixth album to be not only very very good again, but potentially her best work to date, even surpassing Born To Die! You could hear it on the first listen – which for me took till December last year, despite its late August release. The reviews had been great, the award nominations rolled in and my attention was caught by this artist once again.
It took only a handful of listens before I had decided this was a great album! And now I am playing it a couple of times a week, continuing to get more out of the lyrics every time. It also plays really well as quiet background music, or loud, as a melancholy rock-out – a trick that isn’t easy to achieve. Her knowing nod to pop culture references, and the divine mixture of 50s Americana, folk and blues, can be a wonderful thing when it works. With six singles already released, there is proof this album has a more solid backbone tune-wise than the previous four efforts.
The task now is making her brand popular again in the singles market, as not one of the six released made it into the top 40, either stateside or in UK. However, the album was #3 in America and #1 in the UK, which gives me more hope that what we are seeing is the maturing of a genuine music artist, and not just an act, existing for sales. There are many, especially solo female artists, that could follow that example; worry more about making good music and less about “the product” and great things can happen.
For me, I love tracks 1-5 played in that order: they are all great tunes, and Venice Bitch at a playing time of 9:38 is an epic pop opus that makes me want to stand up and applaud! The final track, Hope is a Dangerous Thing for a Woman Like Me to Have, But I Have It, is also highly praiseworthy, summing up the message of the whole work beautifully. And it is a fine, honest, feminist, strong yet always vulnerable message. California is a long way away from my world, but I feel I know what she is talking about, somehow.
Look out also for some mesmeric retro home-movie videos on YouTube that segue some of the songs into a dreamy montage. Big fan!
I had all but given up hope of her becoming an artist of real worth by the end of the decade. It was a case of “remember when Lana Del Rey was the next big thing?” So, I was not expecting her sixth album to be not only very very good again, but potentially her best work to date, even surpassing Born To Die! You could hear it on the first listen – which for me took till December last year, despite its late August release. The reviews had been great, the award nominations rolled in and my attention was caught by this artist once again.
It took only a handful of listens before I had decided this was a great album! And now I am playing it a couple of times a week, continuing to get more out of the lyrics every time. It also plays really well as quiet background music, or loud, as a melancholy rock-out – a trick that isn’t easy to achieve. Her knowing nod to pop culture references, and the divine mixture of 50s Americana, folk and blues, can be a wonderful thing when it works. With six singles already released, there is proof this album has a more solid backbone tune-wise than the previous four efforts.
The task now is making her brand popular again in the singles market, as not one of the six released made it into the top 40, either stateside or in UK. However, the album was #3 in America and #1 in the UK, which gives me more hope that what we are seeing is the maturing of a genuine music artist, and not just an act, existing for sales. There are many, especially solo female artists, that could follow that example; worry more about making good music and less about “the product” and great things can happen.
For me, I love tracks 1-5 played in that order: they are all great tunes, and Venice Bitch at a playing time of 9:38 is an epic pop opus that makes me want to stand up and applaud! The final track, Hope is a Dangerous Thing for a Woman Like Me to Have, But I Have It, is also highly praiseworthy, summing up the message of the whole work beautifully. And it is a fine, honest, feminist, strong yet always vulnerable message. California is a long way away from my world, but I feel I know what she is talking about, somehow.
Look out also for some mesmeric retro home-movie videos on YouTube that segue some of the songs into a dreamy montage. Big fan!
BankofMarquis (1832 KP) rated The Sting (1973) in Movies
Mar 29, 2020
On my list of All Time Favorite Films
I'll come right out and say it - the 1973 Academy Award winning film for Best Picture, THE STING, is one of the greatest films of all time. It's well written, well acted, well directed with a memorable musical score and characters, situations, costumes and set design that become richer over time and through repeated viewings.
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
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Neon's Nerd Nexus (360 KP) rated Little Joe (2019) in Movies
Jun 15, 2020
Everyone knows a working Joe
Little Joe is a look into happiness and the lengths we will go to to achieve it while also delving deeply into the manipulation, the deprivation of freedom, greed and selfishness that can surround and alter that path too. After having a very limited cinema release in th Uk i decided to pre-order this on itunes. Today sees its release and after giving it a watch I can say I really did enjoy this movie despite a lot of other reviews saying its unwatchable due to its high pitched soundtrack. Little Joe most of the time is a very cold and clinically sterile looking film thats contrasted subtlety with bold pastle shades of colour in sets that almost have an art deco feel to them. This helps the film look constantly striking/beautiful but also adds a sense of unnatural uneasiness too it too. Combine this with a soundtrack made up of scratches, plucks, plinks and plonks woven together into a score that has an almost oriental sound to it which gives the film a constant chilling vibe and an unnerving/erie atmosphere. Its invokes intense stress on the senses thats for sure and it kept me feeling uncomfortable/stressed the entire movie and also leaving me ears ringing long after the film had had ended too. I wouldnt say its unbearable however and it definitely fits the film/adds to the atmosphere. Performances are great too feeling again very cold and focused with Ben Whishaw being the standout here as always playing a charcter so professional and confident when it comes to work yet so socially awkward when it comes to his relationships with other people. Theres running theme of happiness here thats for sure and the heights/lengths we as people will go to to just to achieve it. Primarily as a film it seems focused on questioning if drugs for conditions such as depression or dementia that are taken to make people feel happier/more 'normal' are worth the cost of losing personalities, emotions and in a sense freedom because like they say in the film "who cares if people are zombies as long as they are happy". Theres also a look at parents subduing childs behaviours for a quieter life which in a sence takes away all the traits youth and the joys of being a child bring, or partners that cant deal with thier other half being sad or having arguments all the time so they presure them onto drugs in a selfish/controlling way because to then its far easier and less time consuming than actually learning/undertsanding and putting in the effort in to helping them. Then theres how society mocks, neglects and fails to understand certain illnesses and also how companies profit from them making drugs with increasingly worse side effects but it doesnt phase them as long as they are meeting targets/company goals. Little Joe definitely contains a lot of very thought provoking stuff its just sadly all a bit messy when mixed in with all the films dark comedy and scifi horror elements and it does quite often lose its way or fall short on conclusions. That being said i found this film to be well worth the watch just be sure you know before you go in that its very slow, stressful and depressing with an intense score and a conclusion thats ultimately unrewarding but overall its great little look into the effects of drugs that are meant to help with making us all feel 'normal' and 'happy' in life.