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RəX Regent (349 KP) rated Pandora's Box (1929) in Movies
Feb 18, 2019
Pandora’s Box was one of the last films of the silent era, a period of transition to sound which I believe set the art of cinematography back a decade.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
Kristy H (1252 KP) rated Before and Again in Books
Mar 10, 2019
Emotional tale but slow and over-the-top
Driving her five-year-old daughter to a playdate, Mackenzie Cooper's life changes in a moment when she takes her eyes off the road to check her phone's GPS. In that second, she runs a stop sign, and as a result, the other driver and Lily are dead. In the aftermath, Mackenzie finds herself divorced, estranged from her mother and brother, on probation, and moving away from her friends and former life. She reinvents herself in the town of Devon, Vermont, now known as Maggie Reid. There, she does makeup for clients at the Devon Inn and Spa, while living alone in a remote cabin with her pets. Maggie has managed to build a new life for herself in Devon, where no one knows about her life as Mackenzie--plus, she likes her job and she has friends. So when one of them, Grace, finds herself in trouble: her fifteen-year-old son, Chris, is accused of hacking some powerful journalists, Maggie stands by her. It doesn't matter if this could affect her probation or her future. And that's not even the end of the trouble: some surprises from Maggie's past are coming back to her haunt her and threaten the private, quiet life she's worked so hard to create.
So, this was a tough one. Parts of this are a heartbreaking, emotional tale. Other parts I found to be far-fetched and so incredibly slow. The novel almost has two storylines, between Maggie's attempts to find some sort of peace in Devon and then the Grace and Chris tale. For me, it was tough connecting the two, despite the fact that both Grace and Maggie were being forced to confront their pasts and the sensationalism of the media. For most of the book, the two stories run parallel without really connecting, and I found it really hard to care or empathize with Grace at all. Her entire plot is a bit over-the-top. Both she and Maggie were difficult characters--prickly, with their protective shells up.
Of course, the book is also achingly hard to read at points, as Maggie's still reeling from the loss of her daughter. As a parent, I found those parts so difficult to read. But, there was so much talking and introspection from Maggie that it felt like the novel dragged on at points. With Maggie's constant reflection and rehashing, I sometimes just wanted to shake her or move things along. (Also, the endless descriptions of how makeup application worked were far too much for me.)
Still, there were definitely moments where the plot was compelling and moved along, especially near the end. I felt for Maggie, for sure, and enjoyed pieces of this novel. But overall, I found this one slow, disjointed, and hard to get into. Oh and for some reason, being someone even mildly into football, it bothered me that Maggie's probation officer was named Michael Shanahan (a former Redskins coach, among others). When things like that start bothering you, you realize it's probably not the book for you! However, this book is pretty much well-loved by most, so please realize it may have just not been a fit for me.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review.
So, this was a tough one. Parts of this are a heartbreaking, emotional tale. Other parts I found to be far-fetched and so incredibly slow. The novel almost has two storylines, between Maggie's attempts to find some sort of peace in Devon and then the Grace and Chris tale. For me, it was tough connecting the two, despite the fact that both Grace and Maggie were being forced to confront their pasts and the sensationalism of the media. For most of the book, the two stories run parallel without really connecting, and I found it really hard to care or empathize with Grace at all. Her entire plot is a bit over-the-top. Both she and Maggie were difficult characters--prickly, with their protective shells up.
Of course, the book is also achingly hard to read at points, as Maggie's still reeling from the loss of her daughter. As a parent, I found those parts so difficult to read. But, there was so much talking and introspection from Maggie that it felt like the novel dragged on at points. With Maggie's constant reflection and rehashing, I sometimes just wanted to shake her or move things along. (Also, the endless descriptions of how makeup application worked were far too much for me.)
Still, there were definitely moments where the plot was compelling and moved along, especially near the end. I felt for Maggie, for sure, and enjoyed pieces of this novel. But overall, I found this one slow, disjointed, and hard to get into. Oh and for some reason, being someone even mildly into football, it bothered me that Maggie's probation officer was named Michael Shanahan (a former Redskins coach, among others). When things like that start bothering you, you realize it's probably not the book for you! However, this book is pretty much well-loved by most, so please realize it may have just not been a fit for me.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review.
BankofMarquis (1832 KP) rated Everybody Knows (Todos Lo Saben) (2018) in Movies
Mar 13, 2019 (Updated Mar 13, 2019)
Excellent acting from Bardem and (especially) Cruz
I have always liked, but not loved, the English language movies that Penelope Cruz and Javier Bardem have been a part of. Part of the issue, I think, is that even though they are dynamic, charismatica and GOOD LOOKING screen presences that embody the very definitioni of the term "MOVIE STAR", they are working in a language that is not their native language, so something, I think, gets lost in translation. So, it was with some excitement that I checked out the Spanish language thriller EVERYBODY KNOWS (Spanish Title: TODOS LO SOBEN).
And...I wasn't disappointed. Both Bardem and (especially) Cruz shine in this familial thriller. Cruz stars as Laura, a native of Spain now living in Argentina. She (and her 2 children) come back to her small village outside of Madrid for the wedding of her younger sister. When a bad thing happens on this trip, Laura must find a way out while dealing with lingering family matters and pressures that come to the fore due to the stress of the situation.
Without putting too much of a fine point on this, Cruz is stunning. Not only is she a beautiful woman who commands the screen whenever she is on, but as her character becomes more and more physically and emotionally torn with "the situation" her raw emotions come out and you see a very real portrayal of a mother who will do anything for her children. This performance is (was?) Academy Award worthy - it is that good. This is a strong actress at the top of her game.
She is more than matched on screen by the less showey, nuanced - yet fun, at times - performance of her real life husband, Javier Bardem, who plays a person from Lara's past that is drawn into the events. Bardem won an Oscar for playing the mysterious, scary hitman, Anton Chigurh in NO COUNTRY FOR OLD MAN. This was a a character who barely spoke. In this film, he plays a lively, extroverted fun-loving person who's whole personae is called into question, quite the contrast to the English language characters I have, heretofore, known him for.
Iranian Director Asghar Farhadi (best known for THE SEPARATION) does a good job driving the story - once it gets started - he is sure handed in handling both the suspense/action moments of this movie as well as the family drama during the "many people talking around a table" scenes. This film led off the Cannes Film Festival last year and was greatly lauded.
It's not a perfect film. My friend who saw the movie with me stated (correctly) that he had never seen a movie that "started so poorly but corrected itself and finished as an excellent film" like this one did. The first 1/2 hour to 45 minutes of this 2 hour and 15 minute film is filled with introducing the myriad of characters associated with this family (and the mystery that enfolds), but it is a scattershot approach to film making and character introduction and Farhadi misses the mark more than he hits the mark during this period.
But once the mystery unfolds - and Cruz and Bardem's characters (and acting) kicks into high gear - things get quite good, quite tense and quite engrossing. Well worth the time to check it out.
Letter Grade B+: (C for the first 45 minutes, A for the last hour and a half)
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
And...I wasn't disappointed. Both Bardem and (especially) Cruz shine in this familial thriller. Cruz stars as Laura, a native of Spain now living in Argentina. She (and her 2 children) come back to her small village outside of Madrid for the wedding of her younger sister. When a bad thing happens on this trip, Laura must find a way out while dealing with lingering family matters and pressures that come to the fore due to the stress of the situation.
Without putting too much of a fine point on this, Cruz is stunning. Not only is she a beautiful woman who commands the screen whenever she is on, but as her character becomes more and more physically and emotionally torn with "the situation" her raw emotions come out and you see a very real portrayal of a mother who will do anything for her children. This performance is (was?) Academy Award worthy - it is that good. This is a strong actress at the top of her game.
She is more than matched on screen by the less showey, nuanced - yet fun, at times - performance of her real life husband, Javier Bardem, who plays a person from Lara's past that is drawn into the events. Bardem won an Oscar for playing the mysterious, scary hitman, Anton Chigurh in NO COUNTRY FOR OLD MAN. This was a a character who barely spoke. In this film, he plays a lively, extroverted fun-loving person who's whole personae is called into question, quite the contrast to the English language characters I have, heretofore, known him for.
Iranian Director Asghar Farhadi (best known for THE SEPARATION) does a good job driving the story - once it gets started - he is sure handed in handling both the suspense/action moments of this movie as well as the family drama during the "many people talking around a table" scenes. This film led off the Cannes Film Festival last year and was greatly lauded.
It's not a perfect film. My friend who saw the movie with me stated (correctly) that he had never seen a movie that "started so poorly but corrected itself and finished as an excellent film" like this one did. The first 1/2 hour to 45 minutes of this 2 hour and 15 minute film is filled with introducing the myriad of characters associated with this family (and the mystery that enfolds), but it is a scattershot approach to film making and character introduction and Farhadi misses the mark more than he hits the mark during this period.
But once the mystery unfolds - and Cruz and Bardem's characters (and acting) kicks into high gear - things get quite good, quite tense and quite engrossing. Well worth the time to check it out.
Letter Grade B+: (C for the first 45 minutes, A for the last hour and a half)
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Lee (2222 KP) rated Fisherman's Friends (2019) in Movies
Mar 18, 2019 (Updated Mar 18, 2019)
Formulaic, clichéd, enjoyable bit of fun
Hot on the heels of Fighting with my Family comes yet another true story that I feel I should have known more about beforehand, but didn't. Fisherman's Friends tells the story of a group of singing Cornish fishermen who, in 2010, managed to land themselves not only a top 10 album but an appearance on Glastonbury's pyramid stage! The plot follows a much more formulaic and clichéd approach than Fighting with my Family does though, not quite managing to come close to the high bar that set, but is enjoyable enough all the same.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
Forced premise (2 more)
Storytelling & writing that drives you insane
Not interesting
You'll probably love it or hate it
Dustin Tillman is a psychologist in Ohio; he's married with two sons and rarely even thinks about the horrific incident of his childhood, when his adopted brother, Rusty, murdered Dustin's parents and his aunt and uncle. Dustin was just a child then, and his brother was arrested largely on the testimony of Dustin and his cousin Kate and the 1980s' fears over satanism. But now Dustin learns that Rusty is being released from prison; his appeal has been granted, and his verdict overturned based on DNA evidence. Meanwhile, Dustin is struggling with one of his patients, Aqil, a former police officer who believes there is a link among a group of drunken college boys who have died by drowning. As more and more things start going wrong in Dustin's life, he gets drawn into Aqil's paranoia-- and he threatens to bring down his family with him.
This book had an interesting premise: linking two sets of crimes in the past and present, but I felt like that premise was a little forced/falsified, and I never got into the book, or the characters. As a reader, you'll probably find the way it's written either brilliant or incredibly irritating, and I fell squarely into the irritating camp. There are very abrupt chapter switches between the present and the past that are quite annoying, making it difficult to tell exactly where you are in time. The changes in point of view aren't as bad, allowing you to hear from Dustin, his son, and others, but it still gets confusing quickly. (Sidebar: doesn't anyone just tell a linear story from one person's point of view anymore?)
Even more, the story is written quite like the characters think--which is fine in theory--for instance, this includes Dustin's tendency to just stop mid-sentence, something his family teases him about. After a bit you get somewhat used to the random sentences that end mid-thought, or the weird white spaces, but it's still strange. Other parts are the story are split into two or three parts on a page and told almost in parallel, causing you to flip back and forth to read each set. I never was quite sure of the point of that. Yes, people in the novel are going crazy and on drugs. I could get that concept and not have to flip back and forth constantly to read chunks of the story. It's one of those storytelling devices that, to me, could be amazing, but just winds up driving you slightly insane.
This novel is also very dark. Again, that's fine. I just finished The Roanoke Girls, which was incredibly dark, and loved it. But this one: I just didn't find it that interesting. I found myself finishing it more out of a vague curiosity and duty than anything else. I figured out one of the main plot points pretty on and wasn't engaged with any of the characters. Then, after all of this, the ending is awful and vague, and there's no resolution, and I found myself just throwing the whole thing down in disgust. Definitely not one of my favorites. I can see the potential for others, but it wasn't for me.
I received a copy of this novel from the publisher and Netgalley (thank you) in return for an unbiased review.
This book had an interesting premise: linking two sets of crimes in the past and present, but I felt like that premise was a little forced/falsified, and I never got into the book, or the characters. As a reader, you'll probably find the way it's written either brilliant or incredibly irritating, and I fell squarely into the irritating camp. There are very abrupt chapter switches between the present and the past that are quite annoying, making it difficult to tell exactly where you are in time. The changes in point of view aren't as bad, allowing you to hear from Dustin, his son, and others, but it still gets confusing quickly. (Sidebar: doesn't anyone just tell a linear story from one person's point of view anymore?)
Even more, the story is written quite like the characters think--which is fine in theory--for instance, this includes Dustin's tendency to just stop mid-sentence, something his family teases him about. After a bit you get somewhat used to the random sentences that end mid-thought, or the weird white spaces, but it's still strange. Other parts are the story are split into two or three parts on a page and told almost in parallel, causing you to flip back and forth to read each set. I never was quite sure of the point of that. Yes, people in the novel are going crazy and on drugs. I could get that concept and not have to flip back and forth constantly to read chunks of the story. It's one of those storytelling devices that, to me, could be amazing, but just winds up driving you slightly insane.
This novel is also very dark. Again, that's fine. I just finished The Roanoke Girls, which was incredibly dark, and loved it. But this one: I just didn't find it that interesting. I found myself finishing it more out of a vague curiosity and duty than anything else. I figured out one of the main plot points pretty on and wasn't engaged with any of the characters. Then, after all of this, the ending is awful and vague, and there's no resolution, and I found myself just throwing the whole thing down in disgust. Definitely not one of my favorites. I can see the potential for others, but it wasn't for me.
I received a copy of this novel from the publisher and Netgalley (thank you) in return for an unbiased review.
Scott Tostik (389 KP) rated Mom and Dad (2018) in Movies
Jan 27, 2018
Nicholas Cage (2 more)
Great idea
Superb dialogue
Some damn fine fun with Cage and Blair
Contains spoilers, click to show
Two people who you should be able to count on for your safety as a child are your Mother and Father. But that doesn' ring true in this amazing little film by writer/director Brian Taylor.
The film's opening sequence shows a woman in a minivan with a baby in the backseat. The radio plays some strange static and out of nowhere she looks back to the infant and exits the vehicle. Leaving the baby and the van to meet their demise via an oncoming train.
What follows is pure genius and insanity that is topped by Nick Cage doing what Nick Cage does best. Losing it onscreen with a fever that only my he can provide.
Selma Blair holds her own as Cafe's seemingly mild mannered wife who turns on a dime and joins him in the craziness with a certain flair comparable to Cages insane bravado.
The kids, played by Anne Winters and Zachary Arthur, fight their parents with some Home Alonish antics that prove to serve them well.
No one can fully say what it is that officially makes the parents around the world turn on their kids. But it has something to do with white noise and static on televisions and radios across the planet. Parents instinct to protect their young like a bear is replaced with the feeling off ultimate anger and insanity.
In one scene, Blair is at the hospital coaching her sister through birth. The the is born and handed to the mother and a monitor goes all static filled and noisy. The sister clutches the baby tightly, beginnng to cut off the airwaves and choking the child. Blair rips the newborn from her sister in an attempt to protect her. But something driving her sister forces her to stand upright and destroy the baby. She ultimately fails and is sedated.
The best performance in this film goes hands down to Nicholas Cage. Who freaks out like only Cage can. And even though his appeaance resembles a slightly bloated version of Marilyn Manson. His ability to use his expression and booming voice to command insanity is off the charts amazing.
I recall a scene where the kids are locked in the basement trying to escape their folks. And Blair and Cage are looking for a way to break down the door. Nicholas bangs on the door, shaking and screaming a line i will never forget "Your motherfucking Mother said to open this goddamn door, Motherfuckers!!!! Youre going to open this motherfucking door!!!!". Cage goes one way Blair goes another... she gets a reciprocating saw and brings it to the door. Her line, while simple, is unforgettable. "It's called a Saws all because it saws all,".
She begins hacking and at the door as Cage is upstairs looking for his gun... he hears shots and runs downstairs, finding Blair sitting on the floor nursing a fresh gunshot to the arm. He freaks out and explains the gun to his wife who quotes some stats about kids hurting themselves and others with handguns. Irony at its finest.
All in all, this movie never gets boring after the parents begin to try and kill their kids. It's only better when Cages character Brent's folks show up and attempt to kill him. Lance Henricksons performance as the father is extreme and awesome.
Watch this movie if you have a spare 90 minutes, i promise you it will motherfucking not disappoint, Motherfuckers:)
The film's opening sequence shows a woman in a minivan with a baby in the backseat. The radio plays some strange static and out of nowhere she looks back to the infant and exits the vehicle. Leaving the baby and the van to meet their demise via an oncoming train.
What follows is pure genius and insanity that is topped by Nick Cage doing what Nick Cage does best. Losing it onscreen with a fever that only my he can provide.
Selma Blair holds her own as Cafe's seemingly mild mannered wife who turns on a dime and joins him in the craziness with a certain flair comparable to Cages insane bravado.
The kids, played by Anne Winters and Zachary Arthur, fight their parents with some Home Alonish antics that prove to serve them well.
No one can fully say what it is that officially makes the parents around the world turn on their kids. But it has something to do with white noise and static on televisions and radios across the planet. Parents instinct to protect their young like a bear is replaced with the feeling off ultimate anger and insanity.
In one scene, Blair is at the hospital coaching her sister through birth. The the is born and handed to the mother and a monitor goes all static filled and noisy. The sister clutches the baby tightly, beginnng to cut off the airwaves and choking the child. Blair rips the newborn from her sister in an attempt to protect her. But something driving her sister forces her to stand upright and destroy the baby. She ultimately fails and is sedated.
The best performance in this film goes hands down to Nicholas Cage. Who freaks out like only Cage can. And even though his appeaance resembles a slightly bloated version of Marilyn Manson. His ability to use his expression and booming voice to command insanity is off the charts amazing.
I recall a scene where the kids are locked in the basement trying to escape their folks. And Blair and Cage are looking for a way to break down the door. Nicholas bangs on the door, shaking and screaming a line i will never forget "Your motherfucking Mother said to open this goddamn door, Motherfuckers!!!! Youre going to open this motherfucking door!!!!". Cage goes one way Blair goes another... she gets a reciprocating saw and brings it to the door. Her line, while simple, is unforgettable. "It's called a Saws all because it saws all,".
She begins hacking and at the door as Cage is upstairs looking for his gun... he hears shots and runs downstairs, finding Blair sitting on the floor nursing a fresh gunshot to the arm. He freaks out and explains the gun to his wife who quotes some stats about kids hurting themselves and others with handguns. Irony at its finest.
All in all, this movie never gets boring after the parents begin to try and kill their kids. It's only better when Cages character Brent's folks show up and attempt to kill him. Lance Henricksons performance as the father is extreme and awesome.
Watch this movie if you have a spare 90 minutes, i promise you it will motherfucking not disappoint, Motherfuckers:)
Kristy H (1252 KP) rated Small Admissions in Books
Feb 13, 2018
Kate Pearson is going through a rough time. She's been dumped by Robert, her incredibly handsome French boyfriend, and she turned down a spot in her grad school program, so instead of living a dream life in Paris, she's living on the couch, barely able to wash her own hair. Her friend Chloe feels responsible (Robert is her cousin, after all), her friend Vicki is just annoyed (Vicki has no patience for wallowing), and Kate's older sister Angela just wants to fix everything. She connects Kate to a lead for an interview at the admissions department at the Hudson Day School. Surprising everyone, Kate gets the job, and suddenly has to get her life together. There's no time for self-pity during admissions season, after all. Indeed, Kate finds herself drawn to her job, her new colleagues, and the various children she meets while at work. And while Kate's working non-stop, her friends are busy falling in love, feeling guilty about their role in Kate's earlier breakdown regarding Robert, and generally making a mess of things. Will Kate make her own mess at the new admissions gig as well, or is this the fresh chance she needed?
I am torn somewhat on my thoughts for this book. It starts off quite witty and drew me in immediately. It's told from a multitude of perspectives, including Kate's friends (Chloe and Vicki), her sister (Angela) and Kate, and Kate's new boss, Henry. It's also interspersed with tales of several children trying to get into private school, along with the perspectives of their parents. There's definitely some nuance and depth there, but sometimes it's A LOT. A lot of characters, a lot of jumping of back and forth. I won't lie: Kate's friends certainly annoyed me at times. The side show with them can be humorous, but often just irritating. I found myself wanting more Kate.
The problem with all the jumping around is that I didn't really get to know the characters as much as I wanted, which was a shame, because they were fascinating. Kate, Chloe, Angela, Henry -- they were intriguing and, when featured, seemed real, even if Angela was driving us crazy meddling into Kate's life, as was Chloe with her never-ending guilt over her supposed role in Kate's breakdown. Poeppel has done an excellent job of creating real, flawed characters, and I just wish they all received a little more face-time. The snippets from the kids (and parents) applying for school are great, too, but it's hard not to see them sometimes as a detraction from our main characters, especially a side plot with two fervent (and delusional) parents.
Still, don't think I didn't enjoy the book, because I did. There are some wise and wonderful moments and some instances where I found myself laughing out loud. Kate is endearing, and you cannot help but rooting for her character. This book is redeemed by her and her journey. She is an inspiration. Because of her and my various feelings for this novel, my final rating falls at 3.75 stars.
I received a copy of this novel from the publisher and Edelweiss (thank you) in return for an unbiased review; it is available everywhere as of 12/27/2016.
I am torn somewhat on my thoughts for this book. It starts off quite witty and drew me in immediately. It's told from a multitude of perspectives, including Kate's friends (Chloe and Vicki), her sister (Angela) and Kate, and Kate's new boss, Henry. It's also interspersed with tales of several children trying to get into private school, along with the perspectives of their parents. There's definitely some nuance and depth there, but sometimes it's A LOT. A lot of characters, a lot of jumping of back and forth. I won't lie: Kate's friends certainly annoyed me at times. The side show with them can be humorous, but often just irritating. I found myself wanting more Kate.
The problem with all the jumping around is that I didn't really get to know the characters as much as I wanted, which was a shame, because they were fascinating. Kate, Chloe, Angela, Henry -- they were intriguing and, when featured, seemed real, even if Angela was driving us crazy meddling into Kate's life, as was Chloe with her never-ending guilt over her supposed role in Kate's breakdown. Poeppel has done an excellent job of creating real, flawed characters, and I just wish they all received a little more face-time. The snippets from the kids (and parents) applying for school are great, too, but it's hard not to see them sometimes as a detraction from our main characters, especially a side plot with two fervent (and delusional) parents.
Still, don't think I didn't enjoy the book, because I did. There are some wise and wonderful moments and some instances where I found myself laughing out loud. Kate is endearing, and you cannot help but rooting for her character. This book is redeemed by her and her journey. She is an inspiration. Because of her and my various feelings for this novel, my final rating falls at 3.75 stars.
I received a copy of this novel from the publisher and Edelweiss (thank you) in return for an unbiased review; it is available everywhere as of 12/27/2016.
Zuky the BookBum (15 KP) rated NOS4A2 in Books
Mar 15, 2018
<i>I read this novel as my BookBum Club book for January! Check out <a href="https://www.goodreads.com/group/show/297482-the-bookbum-club">The BookBum Club on Goodreads!</a></i>
A darkly disturbing thrill ride of a book! I was expecting it to spook me out a little more than it did, but it was super enjoyable even still.
I’ve never read a Joe Hill book before this one, but now I know I want to read more of his work. I don’t think there’s any denying that his writing style really sucks you into the story and he’s a genius as describing things. How can one man come up with so many different Christmas similes? I also loved how this book was set up, where sometimes the end of sentence in a paragraph wouldn’t end because the title of the next paragraph completed the sentence. I thought this was a really unique aspect of the novel, as well as several illustrations dotted throughout.
One thing I really loved about this novel was the characters. I’ve seen some less that glowing reviews whinging about Vic, and while I can understand some people’s frustration at how frustrating she was, I think the whole point of her character to be frustrating. I personally found her troubled but sweet. Lou was equally sweet, a nice human being through-and-through, but at the end of the day, I don’t think he brought an awful lot to the story.
On the opposite end of the spectrum, of course, was Charlie Manx. What a genuinely terrifying character. I’ve read through several books with horrifying characters (Annie Wilkes springs to mind immediately) and Charlie Manx is definitely up there with the worst of them. What made him so chilling, for me, was how I imagined his voice. Every sentence of his speech was lifted at the end by an exclamation mark! He was always so cheery! Always so sinister! And then, of course, we have Bing Partridge who may just be the most repulsive character I’ve ever read about.
I loved the story of this novel, but I’m not going to explain what happened because this novel needs to be experienced, not told, in order to reach its full potential. My only issue was I though maybe 700 pages was a bit long. Chapter after chapter was a new dip and dive in this roller-coaster of a story, but sometimes it just felt like stalling time.
Another thing that disappointed me about this book, and this is what brought it down to 4 stars, is that I was expecting this to be scarier than it turned out to be. Don’t get me wrong, it’s seriously sinister and has some really creepy moments, but I wanted to get to “I can’t sleep” scared. Though saying that, when I was driving home in the dark one day, an old classic black British car (we have a lot of old car conventions around where I live) pulled up behind me and followed me nearly all the way home and I did get the heebie-geebies (don’t worry, I didn’t break the speed limit though).
Overall, this novel is well worth the read if you’re into dark, sinister novels filled with the really weird and the really wonderful. I’m so happy I’ve finally read this novel and have been opened up to the world of Joe Hill’s writing. I will definitely be reading more of his stuff.
A darkly disturbing thrill ride of a book! I was expecting it to spook me out a little more than it did, but it was super enjoyable even still.
I’ve never read a Joe Hill book before this one, but now I know I want to read more of his work. I don’t think there’s any denying that his writing style really sucks you into the story and he’s a genius as describing things. How can one man come up with so many different Christmas similes? I also loved how this book was set up, where sometimes the end of sentence in a paragraph wouldn’t end because the title of the next paragraph completed the sentence. I thought this was a really unique aspect of the novel, as well as several illustrations dotted throughout.
One thing I really loved about this novel was the characters. I’ve seen some less that glowing reviews whinging about Vic, and while I can understand some people’s frustration at how frustrating she was, I think the whole point of her character to be frustrating. I personally found her troubled but sweet. Lou was equally sweet, a nice human being through-and-through, but at the end of the day, I don’t think he brought an awful lot to the story.
On the opposite end of the spectrum, of course, was Charlie Manx. What a genuinely terrifying character. I’ve read through several books with horrifying characters (Annie Wilkes springs to mind immediately) and Charlie Manx is definitely up there with the worst of them. What made him so chilling, for me, was how I imagined his voice. Every sentence of his speech was lifted at the end by an exclamation mark! He was always so cheery! Always so sinister! And then, of course, we have Bing Partridge who may just be the most repulsive character I’ve ever read about.
I loved the story of this novel, but I’m not going to explain what happened because this novel needs to be experienced, not told, in order to reach its full potential. My only issue was I though maybe 700 pages was a bit long. Chapter after chapter was a new dip and dive in this roller-coaster of a story, but sometimes it just felt like stalling time.
Another thing that disappointed me about this book, and this is what brought it down to 4 stars, is that I was expecting this to be scarier than it turned out to be. Don’t get me wrong, it’s seriously sinister and has some really creepy moments, but I wanted to get to “I can’t sleep” scared. Though saying that, when I was driving home in the dark one day, an old classic black British car (we have a lot of old car conventions around where I live) pulled up behind me and followed me nearly all the way home and I did get the heebie-geebies (don’t worry, I didn’t break the speed limit though).
Overall, this novel is well worth the read if you’re into dark, sinister novels filled with the really weird and the really wonderful. I’m so happy I’ve finally read this novel and have been opened up to the world of Joe Hill’s writing. I will definitely be reading more of his stuff.
BankofMarquis (1832 KP) rated Interstellar (2014) in Movies
Aug 9, 2018
Another top notch cinematic experience by the best director of our time
2014's INTERSTELLAR is one of Christopher Nolan's most ambitious works - and that is saying alot. It also is one of his best. Nolan - and his brother, the screenwriter of this film, Jonathan Nolan - wanted to make a "real" science fiction film, with the emphasis on the science, so they enlisted the help of noted theoretical physicist, Dr. Kip Thorne to ensure that they were not violating any established physical laws and that all speculations would spring from science and not fantasy.
And, for the most part, they succeed.
Following the adventures of "everyman" Cooper (if you call a farmer who is also a top notch astronaut, pilot and engineer an everyman), Interstellar tells of an Earth of the not-too-distant future that is running out of food and mankind must find a new planet to inhabit or else face extinction. Talked into leaving his family and heading into space, Cooper must face the challenges of his mission while fighting the emotions of leaving his family behind on a dying world.
As Cooper, Matthew McConaughey (at the height of his "McConnaissance") is perfectly cast as this "everyman". He brings the right balance of charisma, heroism, emotional maturity, intelligence and a "down to earth" behavior that has us rooting for him from the start. His acting is at the highest level and is matched, beat by beat by Jessica Chastain and (surprisingly to me at the time) Anne Hathaway as a fellow astronaut/scientist.
The special effects, worlds, circumstances, narrow escapes and deflating defeats are all handled in typical top-notch Nolan fashion, but it is the emotional stakes - specifically between McConaughey and Chastain (as his grown up daughter) are what keeps this film "grounded" and rises it above the standard sci-fi fair.
Nolan regular Michael Caine, the always great John Lithgow, Wes Bentley, Ellen Burstyn, a "before he was famous" Timothee Chalamet, another "before he was famous" David Oyelowo, Casey Affleck and a "surprise apperance" by a very famous "A" lister (who I will not name, so as not to ruin it) are all equally as good and give the proceedings the gravitas it needs.
Special notice needs to be made of the performance of Bill Irwin as the robot TARS (all space movies need a robot, right?). He performs the puppetry of the robot (Nolan wished to do everything as "practical" as possible) and adds large doses of humanity - and humor - to this non-human.
Another bit of special notice needs to be given to frequent Nolan collaborator - the brilliant Composer Hans Zimmer. He was tasked by Nolan to create a "unique" score - one that does not rely heavily on crescendoing strings and horns - and he succeeds tremendously with a hauntingly, melodic and driving score that heightens - but never overpowers - the scenes playing on the screen.
The decision as to whether or not you like this film will hinge on your "believability" of the final chapter - one where I "went with the flow" and was all right with, but (I'm sure) others will struggle with.
All in all, another top notch film by the best director of our day. If you have never seen INTERSTELLAR - or if you haven't seen it in awhile - I suggest you check it out, you'll be glad you did.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
And, for the most part, they succeed.
Following the adventures of "everyman" Cooper (if you call a farmer who is also a top notch astronaut, pilot and engineer an everyman), Interstellar tells of an Earth of the not-too-distant future that is running out of food and mankind must find a new planet to inhabit or else face extinction. Talked into leaving his family and heading into space, Cooper must face the challenges of his mission while fighting the emotions of leaving his family behind on a dying world.
As Cooper, Matthew McConaughey (at the height of his "McConnaissance") is perfectly cast as this "everyman". He brings the right balance of charisma, heroism, emotional maturity, intelligence and a "down to earth" behavior that has us rooting for him from the start. His acting is at the highest level and is matched, beat by beat by Jessica Chastain and (surprisingly to me at the time) Anne Hathaway as a fellow astronaut/scientist.
The special effects, worlds, circumstances, narrow escapes and deflating defeats are all handled in typical top-notch Nolan fashion, but it is the emotional stakes - specifically between McConaughey and Chastain (as his grown up daughter) are what keeps this film "grounded" and rises it above the standard sci-fi fair.
Nolan regular Michael Caine, the always great John Lithgow, Wes Bentley, Ellen Burstyn, a "before he was famous" Timothee Chalamet, another "before he was famous" David Oyelowo, Casey Affleck and a "surprise apperance" by a very famous "A" lister (who I will not name, so as not to ruin it) are all equally as good and give the proceedings the gravitas it needs.
Special notice needs to be made of the performance of Bill Irwin as the robot TARS (all space movies need a robot, right?). He performs the puppetry of the robot (Nolan wished to do everything as "practical" as possible) and adds large doses of humanity - and humor - to this non-human.
Another bit of special notice needs to be given to frequent Nolan collaborator - the brilliant Composer Hans Zimmer. He was tasked by Nolan to create a "unique" score - one that does not rely heavily on crescendoing strings and horns - and he succeeds tremendously with a hauntingly, melodic and driving score that heightens - but never overpowers - the scenes playing on the screen.
The decision as to whether or not you like this film will hinge on your "believability" of the final chapter - one where I "went with the flow" and was all right with, but (I'm sure) others will struggle with.
All in all, another top notch film by the best director of our day. If you have never seen INTERSTELLAR - or if you haven't seen it in awhile - I suggest you check it out, you'll be glad you did.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
Phillip McSween (751 KP) rated Ant-Man and the Wasp (2018) in Movies
Oct 2, 2018
Solid and Light
The micro-sized superhero is back on a new adventure with old friends.
Acting: 10
Beginning: 10
Ant-Man and the Wasp gets off to a solid start that grabs your attention from jump. The players are re-introduced fairly quickly and it’s not long before you remember why you missed this portion of the Marvel Cinematic Universe. While I felt there were definitely some big shoes to fill following behind and an Avengers film (and we all remember how that started, sorry Hulk), the first ten minutes left a big smile on my face.
Characters: 10
The gang is back and in full effect. Scott Lang (Paul Rudd) is just a man trying to live out his house arrest sentence so he can be free to spend more time with his daughter. He packs a hilarity and sincerity that I’ve come to appreciate in all of Rudd’s roles. He is a star…but this film wouldn’t survive without Luis (Michael Pena). He’s frantic, clueless, and gives out way too many details every chance he gets. He innocently has no filter and it makes for some serious rib-splitting moments. Just thinking about it now makes me want to go back for a rewatch.
Cinematography/Visuals: 10
Hands-down some of the best special effects you will see in a Marvel film. I have immense respect for the larger-than-life setpieces they create when the characters are ant-sized. It’s like an entirely different world a la Honey I Shrunk the Kids. The transition from large-to-small and vice versa is seamless, making for perfect action sequences.
Conflict: 10
The film has everything you could want from an action standpoint. Car chases? Check. Fight scenes? Top notch. Superhero action? Yes please!
I’ve seen some critics come down on the fact that the villain was less of a threat than previous Marvel films, but I believe the villain matched perfectly with the overall tone of this sequel. Besides, how do you follow up on Thanos? You go completely in the opposite direction. Last thing to note: Ghost wasn’t exactly a slouch. She kicked some serious butt throughout and had some great scenes.
Genre: 7
I think this has more to do with where the genre has come rather than a knock on the film itself. In a genre where the stakes are higher than ever, the screen is packed with stars, and more films are driving a point home with an actual message, Ant-Man and the Wasp is more of a light-hearted romp that doesn’t serve to take itself too seriously. It’s a fun film that does fun better than most.
Memorability: 9
Perfect blend of action and comedy. The film succeeds by staying in its lane and doing what it does best. The action sequences are creative and fresh while the storytelling comes at you in such a hilarious way, it makes itself stand out. No spoilers, just know you’re in for a treat.
Pace: 10
Plot: 7
Resolution: 10
Overall: 93
Looking for some good family fun that will keep you entertained and laughing. Don’t miss Ant-Man and the Wasp. Hands down one of the best films I have seen in 2018.
Acting: 10
Beginning: 10
Ant-Man and the Wasp gets off to a solid start that grabs your attention from jump. The players are re-introduced fairly quickly and it’s not long before you remember why you missed this portion of the Marvel Cinematic Universe. While I felt there were definitely some big shoes to fill following behind and an Avengers film (and we all remember how that started, sorry Hulk), the first ten minutes left a big smile on my face.
Characters: 10
The gang is back and in full effect. Scott Lang (Paul Rudd) is just a man trying to live out his house arrest sentence so he can be free to spend more time with his daughter. He packs a hilarity and sincerity that I’ve come to appreciate in all of Rudd’s roles. He is a star…but this film wouldn’t survive without Luis (Michael Pena). He’s frantic, clueless, and gives out way too many details every chance he gets. He innocently has no filter and it makes for some serious rib-splitting moments. Just thinking about it now makes me want to go back for a rewatch.
Cinematography/Visuals: 10
Hands-down some of the best special effects you will see in a Marvel film. I have immense respect for the larger-than-life setpieces they create when the characters are ant-sized. It’s like an entirely different world a la Honey I Shrunk the Kids. The transition from large-to-small and vice versa is seamless, making for perfect action sequences.
Conflict: 10
The film has everything you could want from an action standpoint. Car chases? Check. Fight scenes? Top notch. Superhero action? Yes please!
I’ve seen some critics come down on the fact that the villain was less of a threat than previous Marvel films, but I believe the villain matched perfectly with the overall tone of this sequel. Besides, how do you follow up on Thanos? You go completely in the opposite direction. Last thing to note: Ghost wasn’t exactly a slouch. She kicked some serious butt throughout and had some great scenes.
Genre: 7
I think this has more to do with where the genre has come rather than a knock on the film itself. In a genre where the stakes are higher than ever, the screen is packed with stars, and more films are driving a point home with an actual message, Ant-Man and the Wasp is more of a light-hearted romp that doesn’t serve to take itself too seriously. It’s a fun film that does fun better than most.
Memorability: 9
Perfect blend of action and comedy. The film succeeds by staying in its lane and doing what it does best. The action sequences are creative and fresh while the storytelling comes at you in such a hilarious way, it makes itself stand out. No spoilers, just know you’re in for a treat.
Pace: 10
Plot: 7
Resolution: 10
Overall: 93
Looking for some good family fun that will keep you entertained and laughing. Don’t miss Ant-Man and the Wasp. Hands down one of the best films I have seen in 2018.