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Darren (1599 KP) rated The Mule (2018) in Movies
Dec 10, 2019
Verdict: Simple & Enjoyable
Story: The Mule starts as Earl Stone (Eastwood) a horticulturist that has spend too much of his life on the road away from his family, missing the major events in his family’s life. After he doesn’t cope with the changes in the market, he is left with nothing and looking like failing his granddaughter Ginny (Farmiga), only for her fiancée Mike (Freeman) offer him a chance to just drive.
With Earl taking the job, it turns out he has been transporting drugs, with Agent Colin Bates (Cooper) and Agent Trevino (Pena) trying to track down anyone smuggling drugs across the border. How long can Earl keep this up before he gets caught, even though he is spending the money on helping the community.
Thoughts on The Mule
Characters – Earl is a horticulturist, he has spent his whole life in this business, which has seen him sacrifice major family events, making him distant to most of his family. He loses his job and is given a chance to become a driver for a cartel, which he soon becomes the most successful in the industry he even gives the money back to the community he has seen struggle for years. Mary is the ex-wife that has finally become tired of the let downs that Earl has left the family with. Ginny is the granddaughter that has been promised money and doesn’t care as long as her grandfather is willing to be there for her on the big days. Agent Bates is fresh to the force he is tasked to try and stop the smuggling and spends most of the time trying to learn about the new mysterious mule for the cartel.
Performances – Clint Eastwood is a joy to watch in this film, he comes off like an everyday older person that just wants to be willing to help people around his life, even though he is filled with regret about his family life. Bradley Cooper doesn’t really get too much time to shine or do anything in his role, while the rest of the cast don’t seem to get that much time to show off their characters.
Story – The story here that follows a retirement aged, he has worked his whole life and ends up becoming a drug mule for a cartel, which sees him becoming one of the most wanted men in America. This is based on a real man that took this role because he enjoyed driving, he isn’t like anybody else they have worked for, but his style makes him harder to track down. The story does use the themes of regretting losing time in life which is clear in the behaviour from Earl along the way. We do have a few plot holes with how the cartel carry out their jobs, because this just seems to end, without any consequences, why would they give up the success they were having too.
Crime – The crime side of the film does feel like just somebody casually taking part in the drug mule business, he is only ever put to a test once he needs to decide his own future.
Settings – The film uses the settings to show the locations that Earl stops along the way, which does make him harder to track.
Scene of the Movie – The last run.
That Moment That Annoyed Me – Nothing seems to happen to the cartel.
Final Thoughts – This is an easy to watch crime story that shows just how one person can casually commit crimes without anybody noticing them.
Overall: Easy Watch.
Story: The Mule starts as Earl Stone (Eastwood) a horticulturist that has spend too much of his life on the road away from his family, missing the major events in his family’s life. After he doesn’t cope with the changes in the market, he is left with nothing and looking like failing his granddaughter Ginny (Farmiga), only for her fiancée Mike (Freeman) offer him a chance to just drive.
With Earl taking the job, it turns out he has been transporting drugs, with Agent Colin Bates (Cooper) and Agent Trevino (Pena) trying to track down anyone smuggling drugs across the border. How long can Earl keep this up before he gets caught, even though he is spending the money on helping the community.
Thoughts on The Mule
Characters – Earl is a horticulturist, he has spent his whole life in this business, which has seen him sacrifice major family events, making him distant to most of his family. He loses his job and is given a chance to become a driver for a cartel, which he soon becomes the most successful in the industry he even gives the money back to the community he has seen struggle for years. Mary is the ex-wife that has finally become tired of the let downs that Earl has left the family with. Ginny is the granddaughter that has been promised money and doesn’t care as long as her grandfather is willing to be there for her on the big days. Agent Bates is fresh to the force he is tasked to try and stop the smuggling and spends most of the time trying to learn about the new mysterious mule for the cartel.
Performances – Clint Eastwood is a joy to watch in this film, he comes off like an everyday older person that just wants to be willing to help people around his life, even though he is filled with regret about his family life. Bradley Cooper doesn’t really get too much time to shine or do anything in his role, while the rest of the cast don’t seem to get that much time to show off their characters.
Story – The story here that follows a retirement aged, he has worked his whole life and ends up becoming a drug mule for a cartel, which sees him becoming one of the most wanted men in America. This is based on a real man that took this role because he enjoyed driving, he isn’t like anybody else they have worked for, but his style makes him harder to track down. The story does use the themes of regretting losing time in life which is clear in the behaviour from Earl along the way. We do have a few plot holes with how the cartel carry out their jobs, because this just seems to end, without any consequences, why would they give up the success they were having too.
Crime – The crime side of the film does feel like just somebody casually taking part in the drug mule business, he is only ever put to a test once he needs to decide his own future.
Settings – The film uses the settings to show the locations that Earl stops along the way, which does make him harder to track.
Scene of the Movie – The last run.
That Moment That Annoyed Me – Nothing seems to happen to the cartel.
Final Thoughts – This is an easy to watch crime story that shows just how one person can casually commit crimes without anybody noticing them.
Overall: Easy Watch.
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Kristy H (1252 KP) rated George and Lizzie in Books
Oct 29, 2020
This is the seventh book in my #atozchallenge! I'm challenging myself to read a book from my shelves that starts with each letter of the alphabet.
In high school, Lizzie made a choice--one she soon regrets--participating in something called the Great Game. The event alters the course of her life forever, along with a passionate relationship that ends in college. These moments, plus the influence of Lizzie's psychologist parents, who offer her little support as a kid, turn her into a melancholy and unfulfilled adult. Her husband, George, however, comes from a happy childhood with loving parents. He adores his family and they him. He also worships Lizzie, giving the two an unbalanced marriage. Can George and Lizzie survive an union on such unequal ground?
I'll confess that this book was not what I was expecting--I thought it was going to be a cheerful love story and a pick-me-up. It is a love story, though, all the same. George loves Lizzie. Lizzie, though, is lost in a love from the past. I'm not going to lie: Lizzie is a very frustrating character and a hard one for whom to care. She doesn't appreciate George, nor, really, much of her life. Now, she was truly saddled with terrible parents, so you have to grant her that. Her fixation on her past relationship makes you want to shake her, though.
"And because for years and years the voices in her head never let Lizzie forget that the Great Game had been a stupid idea right from the beginning and that she'd been an idiot for participating in it, her past was always there, a living thing. It shaped her present and future."
And of, of course, there is the Great Game--the event from high school which alters Lizzie's future. We can understand why Lizzie is Lizzie, but we can't always forgive her for her Lizzie type ways. Also, please note, there are a lot of football references in this book. A lot. I like football, but I'm not sure everyone who picks up a book like this will feel the same.
The story of George and Lizzie is told in very short vignettes (each with a title) that slowly move forward in time and alternate with Lizzie's past, mainly focusing on the Great Game, which so defined her life. This format takes much getting used to. There is no linear story here, but tiny bits and pieces of narrative from George and Lizzie. I almost abandoned the book when I first started--I couldn't get in the groove (and honestly, it's depressing). When I reluctantly returned to it a few days later, more prepared for the format, I could read it more easily.
In the end, I can't say I enjoyed this story. If I rated it purely on "like" factor, it would probably be a two-star read. Incorporating in Lizzie's life experiences and how a few things slowly grew on me, I'm giving this three stars, but only barely. (Also, I have real issues with how many kids from Lizzie's high school football team went on to the NFL. Maybe it's possible, but it seems insane.) 3 stars, but only eked out when they brought the chains out on the field to measure (too much?).
In high school, Lizzie made a choice--one she soon regrets--participating in something called the Great Game. The event alters the course of her life forever, along with a passionate relationship that ends in college. These moments, plus the influence of Lizzie's psychologist parents, who offer her little support as a kid, turn her into a melancholy and unfulfilled adult. Her husband, George, however, comes from a happy childhood with loving parents. He adores his family and they him. He also worships Lizzie, giving the two an unbalanced marriage. Can George and Lizzie survive an union on such unequal ground?
I'll confess that this book was not what I was expecting--I thought it was going to be a cheerful love story and a pick-me-up. It is a love story, though, all the same. George loves Lizzie. Lizzie, though, is lost in a love from the past. I'm not going to lie: Lizzie is a very frustrating character and a hard one for whom to care. She doesn't appreciate George, nor, really, much of her life. Now, she was truly saddled with terrible parents, so you have to grant her that. Her fixation on her past relationship makes you want to shake her, though.
"And because for years and years the voices in her head never let Lizzie forget that the Great Game had been a stupid idea right from the beginning and that she'd been an idiot for participating in it, her past was always there, a living thing. It shaped her present and future."
And of, of course, there is the Great Game--the event from high school which alters Lizzie's future. We can understand why Lizzie is Lizzie, but we can't always forgive her for her Lizzie type ways. Also, please note, there are a lot of football references in this book. A lot. I like football, but I'm not sure everyone who picks up a book like this will feel the same.
The story of George and Lizzie is told in very short vignettes (each with a title) that slowly move forward in time and alternate with Lizzie's past, mainly focusing on the Great Game, which so defined her life. This format takes much getting used to. There is no linear story here, but tiny bits and pieces of narrative from George and Lizzie. I almost abandoned the book when I first started--I couldn't get in the groove (and honestly, it's depressing). When I reluctantly returned to it a few days later, more prepared for the format, I could read it more easily.
In the end, I can't say I enjoyed this story. If I rated it purely on "like" factor, it would probably be a two-star read. Incorporating in Lizzie's life experiences and how a few things slowly grew on me, I'm giving this three stars, but only barely. (Also, I have real issues with how many kids from Lizzie's high school football team went on to the NFL. Maybe it's possible, but it seems insane.) 3 stars, but only eked out when they brought the chains out on the field to measure (too much?).
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Writing (3 more)
No character development
Too many inconsistencies
Too many chapters
Errin Stowell's new novel series starts with Covet Not which is about a middle-aged lawyer named Sam Sparks - - - who is referred to as Sparks nearly the entire story - - - whose fiancee goes missing and he then becomes the prime suspect. Before everything happens though, readers see that Sparks spends his time trying to defend the elderly from home foreclosures as a small-time lawyer.
If this sounds like a synopsis for a John Grisham novel, you wouldn't be far off because Stowell has the potential to be the next one. This is only the first novel I've read by Stowell, but the one thing I noticed mostly in this story was the amount of inconsistencies and amateur writing mistakes; with better editing and consistency, his books could very well hit mainstream.
Also, Covet Not had so many chapters, so much so that scenes were chopped in half and made into entirely new chapters. The book ended up having 48 chapters within 158 pages. This amount could have easily been shortened and helped with the flow of the story if Stowell had just continued onwards with scenes rather then cutting them short or just skipping parts completely.
The novel starts with a man called Skinny who is enjoying his growing infamy on the dark web (he records himself murdering women then uploads it for his audience to enjoy). Here is how Stowell describes Skinny's thought process:
" Skinny took a black ski mask from the duffel bag and put it on before carrying the bag into the camera's frame and placing it near the woman. He began unpacking other items from the bag. It was slow work, deliberately slow for the camera. Skinny intended to have a before and after view for each tool. It was important to show the proper use of tools. The viewers always appreciated that. "
When we switch over to Sparks, we find him after a long day of work, speaking with a journalist named Gina, his fiancee, who is telling him one of her co-workers stole her story, but no one has heard from her in two days. Yet, they both agree that she's probably holed up with one of the producers, and instead, get into a small argument about Sparks never supporting Gina - - - a constant habit of arguing is almost every interaction between the two throughout the entire novel.
Soon after, Sparks introduces us to his uncle Jimmy, who is being housed at a retirement home: " The old man was seated in a wheelchair; his left leg had been amputated just below the knee a few years before, the result of allowing an ingrown toenail to fester to gangrene. Jimmy's barrel chest and solid upper body contrasted with his wasting legs. "
As Sparks continues to visit his uncle in the retirement home, he keeps running into a cute nurse named Darlene, who quickly sets her sights on him. She goes so far out of her way to get Sparks and Gina to separate that she sends him nude photos of herself from a burner phone. Fortunately, Sparks has bigger fish to fry when he hears over his car radio that Gina's co-worker was now being treated as a missing person case, causing Sparks to quickly jump to the conclusion that Gina possibly was responsible for it.
However, Stowell throws in an expected curveball by making our villain, Skinny, work at the retirement home. When he comes in to take care of a patient while Sparks is present, it's too easy to guess that this patient was going to end up dead soon. Sparks, expectedly, has a bad feeling about this male nurse, but dismisses it and believes that the patient died by natural causes. Life goes on.
Stowell's novel, with a great plot, was just too focused on ending the story, that after page 50, it seemed as if Stowell didn't care what happened to these characters, just as long as he finished the book. At one point, readers are told that Sparks doesn't drink alcohol, but it's never explained why he doesn't which would have given a bite of character development; another scene, Sparks finds a phone, but doesn't want to give it to police, instead he states that he has a 'friend' in the police department who can go through it as a favor, but this 'friend' is completely forgotten, as if Sparks never mentioned him, and the former is left dumbfounded as to how to get into the phone.
There's a story here and characters that could be more well-rounded, but I honestly found myself not caring the least bit about any of the characters' well-being, especially Sparks - - - someone who comes off as inept, someone who has to be told what to do in order for anything to get done - - - he's like a lost child running blindly throughout the book. The story needs to be longer with more emphasis given to mundane scenes that will allow readers to chew on a piece of Sparks' daily life because, by the end of the book, we needed a full picture of every major character, not a Jackson Pollock.
If this sounds like a synopsis for a John Grisham novel, you wouldn't be far off because Stowell has the potential to be the next one. This is only the first novel I've read by Stowell, but the one thing I noticed mostly in this story was the amount of inconsistencies and amateur writing mistakes; with better editing and consistency, his books could very well hit mainstream.
Also, Covet Not had so many chapters, so much so that scenes were chopped in half and made into entirely new chapters. The book ended up having 48 chapters within 158 pages. This amount could have easily been shortened and helped with the flow of the story if Stowell had just continued onwards with scenes rather then cutting them short or just skipping parts completely.
The novel starts with a man called Skinny who is enjoying his growing infamy on the dark web (he records himself murdering women then uploads it for his audience to enjoy). Here is how Stowell describes Skinny's thought process:
" Skinny took a black ski mask from the duffel bag and put it on before carrying the bag into the camera's frame and placing it near the woman. He began unpacking other items from the bag. It was slow work, deliberately slow for the camera. Skinny intended to have a before and after view for each tool. It was important to show the proper use of tools. The viewers always appreciated that. "
When we switch over to Sparks, we find him after a long day of work, speaking with a journalist named Gina, his fiancee, who is telling him one of her co-workers stole her story, but no one has heard from her in two days. Yet, they both agree that she's probably holed up with one of the producers, and instead, get into a small argument about Sparks never supporting Gina - - - a constant habit of arguing is almost every interaction between the two throughout the entire novel.
Soon after, Sparks introduces us to his uncle Jimmy, who is being housed at a retirement home: " The old man was seated in a wheelchair; his left leg had been amputated just below the knee a few years before, the result of allowing an ingrown toenail to fester to gangrene. Jimmy's barrel chest and solid upper body contrasted with his wasting legs. "
As Sparks continues to visit his uncle in the retirement home, he keeps running into a cute nurse named Darlene, who quickly sets her sights on him. She goes so far out of her way to get Sparks and Gina to separate that she sends him nude photos of herself from a burner phone. Fortunately, Sparks has bigger fish to fry when he hears over his car radio that Gina's co-worker was now being treated as a missing person case, causing Sparks to quickly jump to the conclusion that Gina possibly was responsible for it.
However, Stowell throws in an expected curveball by making our villain, Skinny, work at the retirement home. When he comes in to take care of a patient while Sparks is present, it's too easy to guess that this patient was going to end up dead soon. Sparks, expectedly, has a bad feeling about this male nurse, but dismisses it and believes that the patient died by natural causes. Life goes on.
Stowell's novel, with a great plot, was just too focused on ending the story, that after page 50, it seemed as if Stowell didn't care what happened to these characters, just as long as he finished the book. At one point, readers are told that Sparks doesn't drink alcohol, but it's never explained why he doesn't which would have given a bite of character development; another scene, Sparks finds a phone, but doesn't want to give it to police, instead he states that he has a 'friend' in the police department who can go through it as a favor, but this 'friend' is completely forgotten, as if Sparks never mentioned him, and the former is left dumbfounded as to how to get into the phone.
There's a story here and characters that could be more well-rounded, but I honestly found myself not caring the least bit about any of the characters' well-being, especially Sparks - - - someone who comes off as inept, someone who has to be told what to do in order for anything to get done - - - he's like a lost child running blindly throughout the book. The story needs to be longer with more emphasis given to mundane scenes that will allow readers to chew on a piece of Sparks' daily life because, by the end of the book, we needed a full picture of every major character, not a Jackson Pollock.
Movie Metropolis (309 KP) rated Life Of Pi (2012) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Ang Lee has directed some very artistic and emotionally charged films in his career and his new movie, Life of Pi is certainly no exception. But can his take on Yann Martel’s 2001 novel of the same name live up to his usual high standards?
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
Bob Mann (459 KP) rated Little Women (2019) in Movies
Jan 3, 2020 (Updated Jan 3, 2020)
Saoirse Ronan - just mesmeric. What screen presence! (2 more)
Great supporting cast.
Alexandre Desplat soundtrack.
"God hasn't met my will yet"
Greta Gerwig's follow up to her Oscar-praised "Lady Bird" from 2017 looks set to repeat the job this year. For it's nothing short of a masterpiece of cinema.
Louisa M. Alcott's semi-autobiographical novel has been filmed before (in 1949 and 1994, together with a number of other TV versions). I've not seen any of these previous versions and (as a literary philistine) I've never read the book either. So the story was new to me and drew me in perfectly.
The March sisters - Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh) and the youngest Beth (Eliza Scanlen) - are being brought up by their mother (Laura Dern) and Aunt (Meryl Streep) while their father (Bob Odenkirk) is away fighting in the Civil War. Also providing a helping hand is the rich neighbour Mr Lawrence (Chris Cooper), whose good-looking but indolent son 'Laurie' (Timothée Chalamet) has had the hots for tom-boy Jo for many years.
Each of the girls has a talent: for Jo it's writing, with her struggling to get her work past the grumpy publisher Mr Dashwood (Tracy Letts, from "Le Mans '66"); for Meg it's acting; for Amy it's painting; and for Beth it's music.
The film follows the lives, loves, successes and misfortunes of the sisters over two periods, split 7 years apart. It's a bumpy ride for some.
It struck me, as the big green BBFC certificate flashed onto the screen, how rare it is to find a "U - Suitable for all" (UK) certificate on a film these days. This is a film that the whole family *could* go and see. My only reservation here would be the way the film zips in and out of the two time periods at will. This might confuse the hell out of younger children. The subject matter of one part of the story may also disturb sensitive kids.
It's a really old-fashioned film - full of melodrama, love, unrequited love, death, charity, ambition and kindness - that builds to a feel-good ending that was totally corny but felt perfect in every way. We need more of this in our lives.
Wow. Just wow. The Oscar Best Actress categories are going to be a bloodied battlefield this year! There have been some GREAT roles for women on screen in the last year, and the Academy will have a job on their hands to narrow the long-list to the short-list this year. I would have tentatively forecast that Renée Zellweger might have had the Best Actor Oscar wrapped up for "Judy". But then here comes Saoirse Ronan. With phenomenal screen presence, she lights up every single scene she's in. Emma Watson and Florence Pugh are great actresses (and both here stand a stab at the Supporting Actress category), but your gaze always falls straight back to Ronan's reaction.
It's also a wonderful performance for newcomer Eliza Scanlen as the youngster Beth: I heard director Greta Gerwig comment (on Edith Bowman's excellent Soundtracking podcast) that Eliza needed less lighting than anyone else on set as she was "naturally luminous"!
Again lodging a cracking performance is the versatile Timothée Chalomet.... does the young chap make a bad film?
When you get to the end of the "cast bit", and you haven't mentioned Meryl Streep and Laura Dern yet, that says a lot!
What comes across more than anything else is just how apt this story is today to the 'girl power' times that we are currently living through. Jo in particular is the rebel of her day, fighting against the conformity of what it was in the time to be an independent woman, and specifically an independent working woman. Some of Alcott's words from the book could even today act as a rallying cry to those looking for greater change.
My reviewing year has certainly got off to a bang with this one. It's a glorious movie, utterly absorbing with ravishing cinematography by Yorick Le Saux and a brilliant soundtrack by Alexandre Desplat: both I suspect likely to feature in Oscar nominations. It's also likely to be nominated in other technical categories including Production Design, Costume and Hair & Makeup.
And I predict that this is inevitably going to be a Christmas favourite to match "The Sound of Music" and "It's a Wonderful Life" in future years.
Comes with a highly recommended tag from me.
(For the full graphical review, please visit the One Mann's Movies site here - https://bob-the-movie-man.com/2019/01/03/one-manns-movies-film-review-little-women-2019/. Thanks.)
Louisa M. Alcott's semi-autobiographical novel has been filmed before (in 1949 and 1994, together with a number of other TV versions). I've not seen any of these previous versions and (as a literary philistine) I've never read the book either. So the story was new to me and drew me in perfectly.
The March sisters - Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh) and the youngest Beth (Eliza Scanlen) - are being brought up by their mother (Laura Dern) and Aunt (Meryl Streep) while their father (Bob Odenkirk) is away fighting in the Civil War. Also providing a helping hand is the rich neighbour Mr Lawrence (Chris Cooper), whose good-looking but indolent son 'Laurie' (Timothée Chalamet) has had the hots for tom-boy Jo for many years.
Each of the girls has a talent: for Jo it's writing, with her struggling to get her work past the grumpy publisher Mr Dashwood (Tracy Letts, from "Le Mans '66"); for Meg it's acting; for Amy it's painting; and for Beth it's music.
The film follows the lives, loves, successes and misfortunes of the sisters over two periods, split 7 years apart. It's a bumpy ride for some.
It struck me, as the big green BBFC certificate flashed onto the screen, how rare it is to find a "U - Suitable for all" (UK) certificate on a film these days. This is a film that the whole family *could* go and see. My only reservation here would be the way the film zips in and out of the two time periods at will. This might confuse the hell out of younger children. The subject matter of one part of the story may also disturb sensitive kids.
It's a really old-fashioned film - full of melodrama, love, unrequited love, death, charity, ambition and kindness - that builds to a feel-good ending that was totally corny but felt perfect in every way. We need more of this in our lives.
Wow. Just wow. The Oscar Best Actress categories are going to be a bloodied battlefield this year! There have been some GREAT roles for women on screen in the last year, and the Academy will have a job on their hands to narrow the long-list to the short-list this year. I would have tentatively forecast that Renée Zellweger might have had the Best Actor Oscar wrapped up for "Judy". But then here comes Saoirse Ronan. With phenomenal screen presence, she lights up every single scene she's in. Emma Watson and Florence Pugh are great actresses (and both here stand a stab at the Supporting Actress category), but your gaze always falls straight back to Ronan's reaction.
It's also a wonderful performance for newcomer Eliza Scanlen as the youngster Beth: I heard director Greta Gerwig comment (on Edith Bowman's excellent Soundtracking podcast) that Eliza needed less lighting than anyone else on set as she was "naturally luminous"!
Again lodging a cracking performance is the versatile Timothée Chalomet.... does the young chap make a bad film?
When you get to the end of the "cast bit", and you haven't mentioned Meryl Streep and Laura Dern yet, that says a lot!
What comes across more than anything else is just how apt this story is today to the 'girl power' times that we are currently living through. Jo in particular is the rebel of her day, fighting against the conformity of what it was in the time to be an independent woman, and specifically an independent working woman. Some of Alcott's words from the book could even today act as a rallying cry to those looking for greater change.
My reviewing year has certainly got off to a bang with this one. It's a glorious movie, utterly absorbing with ravishing cinematography by Yorick Le Saux and a brilliant soundtrack by Alexandre Desplat: both I suspect likely to feature in Oscar nominations. It's also likely to be nominated in other technical categories including Production Design, Costume and Hair & Makeup.
And I predict that this is inevitably going to be a Christmas favourite to match "The Sound of Music" and "It's a Wonderful Life" in future years.
Comes with a highly recommended tag from me.
(For the full graphical review, please visit the One Mann's Movies site here - https://bob-the-movie-man.com/2019/01/03/one-manns-movies-film-review-little-women-2019/. Thanks.)
Kauai GyPSy Guide Driving Tour
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GyPSy Guide GPS driving tour of Kauai is an excellent way to enjoy a sightseeing trip to explore the...
Bob Mann (459 KP) rated The Hate U Give (2018) in Movies
Sep 28, 2021
It’s a turf war on a global scale.
I saw this as part of a “Secret Cinema” event by Cineworld cinemas in the UK. That’s where you go to see a pre-release movie without knowing what it is going to be. It’s an interesting litmus test for a) a movie’s upfront marketing appeal (how many people get up and walk out when the BBFC title appears) and b) the “grab ’em early” appeal of the movie itself (how many people get up and walk out during the first 20 minutes of so).
I’m afraid this movie didn’t do very well on either a) or b) at my showing: about 20 people left immediately, and more tellingly about another 20 people left in the first half hour. There’s a reason for that: the first half hour of this film is goddamn awful!
Starr Carter (Amandla Stenberg) is a sixteen year-old resident of Garden Heights, a black neighbourhood in a US city, where she lives with her younger brother and step-brother. Their parents Maverick (Russell Hornsby, “Fences“) and Lisa (Regina Hall) are devoting all of their energies to “break the cycle” and get their kids out of the neighbourhood and off to college and better futures. As such, the kids attend not the rough-house local school but a much more upper-class establishment: there Starr has to play a different role, with links to her origins being kept hidden even from her white boyfriend Chris (K.J. Apa).
But all that changes when her boyhood friend Khalil (Algee Smith) is shot and killed in a police stop-and-search. As the only witness, and with Khalil linked to local gang lord King (Anthony Mackie), Starr’s anonymous world is about to get a national focus shone onto it.
Man… I hate voiceovers in films and always have. So I really hated the start of this film which has Starr narrating ABSOLUTELY EVERYTHING (“Blah, blah, blah..”): no audience discovery is required. It also starts with a sort of highschool romance vibe, but not one that’s well done with kissing (“Blah, blah, blah..”) while the local Mean Girls look on (“Blah, blah”) then with Starr’s friends trying to act street (“blah, blah”) while Starr tries not to be street, all to the constant droning of Starr’s voiceover (“Blah, blah, blah..”). (I never walk out of movies…. but I can kind of understand the rationale of those who did).
Fortunately the voiceover then largely recedes (it only pops up with occasional staccato “thoughts”, before storming back for a “blah, blah” finale). And with the shooting, the film takes on a much more interesting slant, giving Amandla Stenberg a chance to really shine.
I have commented on Ms Stenberg before: she was the only really good thing in the recent “The Darkest Minds“. Here she exhibits a tremendous range from the delighted (her smile is radiant and seems astonishingly unforced) to the heartbroken and furious. There’s also a really strong supporting cast with great turns from Hornsby, Hall, Mackie and Smith. Hornsby in particular I found great as the Dad desperately tutoring his kids in military (but loving) fashion to avoid his mistakes.
For me, this seemed to be a surprisingly atypical view of a black ghetto-living family. A scene set in a diner is genuinely touching at emphasising the loving and close-knit nature of the Carter family.
Where I will struggle here is in trying to interpret my overall feelings about the film. As a white, older male person I have three degrees of separation from Starr’s perspective. And these are undoubtedly difficult issues to juggle with. The riots that happened recently in towns like Ferguson ape the activities on screen uncomfortably. Your sympathies might lie to some degree with the unfortunate white police officer (Drew Starkey); sympathies supported by the views of Starr’s police officer uncle Carlos (Common): until Starr points out via a punchy question that you REALLY shouldn’t feel like that… and your views are brought up with a jolt.
Aside from the rights and wrongs of the incident, there’s a frustrating dichotomy at play in the film with black and white communities wanting to be treated equally but never wanting to be treated the same. “You don’t SEE me” wails Starr. “I see you” replies Chris (as if James Cameron was directing!) But does he really? Without colour, I do not consider myself to be remotely capable of fully understanding Starr’s perspective on life. It made me want to read the source novel by Angie Thomas to try to get better insight.
Directed by George Tillman Jr., it’s undoubtedly a mixed bag, but I came down in the end on the side of it being good rather than bad… it has certainly had me thinking for a couple of days. The clumsy voiceovers and story elements in the opening and closing scenes mask a number of parallel and interesting story strands that generate conflicting thoughts about the state of race relations in today’s America. Jackson sang “It doesn’t matter if you’re black or white”: and it really shouldn’t, but actually in some quarters, it clearly still does.
I’m afraid this movie didn’t do very well on either a) or b) at my showing: about 20 people left immediately, and more tellingly about another 20 people left in the first half hour. There’s a reason for that: the first half hour of this film is goddamn awful!
Starr Carter (Amandla Stenberg) is a sixteen year-old resident of Garden Heights, a black neighbourhood in a US city, where she lives with her younger brother and step-brother. Their parents Maverick (Russell Hornsby, “Fences“) and Lisa (Regina Hall) are devoting all of their energies to “break the cycle” and get their kids out of the neighbourhood and off to college and better futures. As such, the kids attend not the rough-house local school but a much more upper-class establishment: there Starr has to play a different role, with links to her origins being kept hidden even from her white boyfriend Chris (K.J. Apa).
But all that changes when her boyhood friend Khalil (Algee Smith) is shot and killed in a police stop-and-search. As the only witness, and with Khalil linked to local gang lord King (Anthony Mackie), Starr’s anonymous world is about to get a national focus shone onto it.
Man… I hate voiceovers in films and always have. So I really hated the start of this film which has Starr narrating ABSOLUTELY EVERYTHING (“Blah, blah, blah..”): no audience discovery is required. It also starts with a sort of highschool romance vibe, but not one that’s well done with kissing (“Blah, blah, blah..”) while the local Mean Girls look on (“Blah, blah”) then with Starr’s friends trying to act street (“blah, blah”) while Starr tries not to be street, all to the constant droning of Starr’s voiceover (“Blah, blah, blah..”). (I never walk out of movies…. but I can kind of understand the rationale of those who did).
Fortunately the voiceover then largely recedes (it only pops up with occasional staccato “thoughts”, before storming back for a “blah, blah” finale). And with the shooting, the film takes on a much more interesting slant, giving Amandla Stenberg a chance to really shine.
I have commented on Ms Stenberg before: she was the only really good thing in the recent “The Darkest Minds“. Here she exhibits a tremendous range from the delighted (her smile is radiant and seems astonishingly unforced) to the heartbroken and furious. There’s also a really strong supporting cast with great turns from Hornsby, Hall, Mackie and Smith. Hornsby in particular I found great as the Dad desperately tutoring his kids in military (but loving) fashion to avoid his mistakes.
For me, this seemed to be a surprisingly atypical view of a black ghetto-living family. A scene set in a diner is genuinely touching at emphasising the loving and close-knit nature of the Carter family.
Where I will struggle here is in trying to interpret my overall feelings about the film. As a white, older male person I have three degrees of separation from Starr’s perspective. And these are undoubtedly difficult issues to juggle with. The riots that happened recently in towns like Ferguson ape the activities on screen uncomfortably. Your sympathies might lie to some degree with the unfortunate white police officer (Drew Starkey); sympathies supported by the views of Starr’s police officer uncle Carlos (Common): until Starr points out via a punchy question that you REALLY shouldn’t feel like that… and your views are brought up with a jolt.
Aside from the rights and wrongs of the incident, there’s a frustrating dichotomy at play in the film with black and white communities wanting to be treated equally but never wanting to be treated the same. “You don’t SEE me” wails Starr. “I see you” replies Chris (as if James Cameron was directing!) But does he really? Without colour, I do not consider myself to be remotely capable of fully understanding Starr’s perspective on life. It made me want to read the source novel by Angie Thomas to try to get better insight.
Directed by George Tillman Jr., it’s undoubtedly a mixed bag, but I came down in the end on the side of it being good rather than bad… it has certainly had me thinking for a couple of days. The clumsy voiceovers and story elements in the opening and closing scenes mask a number of parallel and interesting story strands that generate conflicting thoughts about the state of race relations in today’s America. Jackson sang “It doesn’t matter if you’re black or white”: and it really shouldn’t, but actually in some quarters, it clearly still does.
Zuky the BookBum (15 KP) rated Her Every Fear in Books
Mar 15, 2018
Read my review here: https://bookbumzuky.wordpress.com/
NOW AVAILABLE!
<b><i>Face it. Accept it. Float with it. Let time pass.</i></b>
Kate, our anxiety riddled main character, has just flat swapped with her American cousin in order to boost her confidence and try to escape her haunted past for a little while, but as soon as she arrives at her cousin's luxurious apartment, things begin to go sour. Her new next door neighbour has been murdered, and her secretive American cousin seems to the main suspect.
<b>This <i>could</i> have been <i>so</i> good.</b> Swansons last hit novel, <a href="https://www.goodreads.com/review/show/1427280826">The Kind Worth Killing</a> (aw look at my baby review) was so goddamn exciting and thrilling but this was completely missing whatever spark the other had. A co-reviewer (Maxi/Slothreads) commented that this book was uninspired and I couldnt have put that any better myself, hence why Im quoting it. This had potential to work and be great but I feel like Swanson was pushed for time by his editors on this and spewed out whatever came to mind first. I know I sound like a total arse for saying that but Im just really disappointed in this novel! <b>Warning: some spoilers ahead.</b>
Lets start off by talking about our uninteresting characters. Kate suffers from anxiety disorder, made a lot worse by a terrifying incident she had with her ex boyfriend, so she decides to travel across the pond and into her cousin's apartment. While anxiety is something Im all too familiar with, I dont actually have any sympathy for Kate, as were supposed to. If she was really as damaged as she is made out to be, I find it very hard to believe she would move to America for 6 months all by herself, make friends and chat with everyone she comes across and sleep with a guy, Alan, whos admitted to be a creepy window watcher after 3 days of knowing him. Next comes ol cousin Corbin whos a cliche jock. Swanson makes him out to be the guilt ridden, caring man but after the revelation of his bad deeds in the past, how are we supposed to like him or feel sorry for him? It makes all the empathetic talk from him seem so creepy. Our only interesting character is, of course, the psycho. A bit of an over-the-top, cliche psycho, but at least worth reading about.
My <b>main</b> issue with this novel is the repetition of scenes. Our narrator chops and changes several times in the novel, so were often presented with a retelling of what weve already been told by another narrator. Id say that at least 25% of this book is a repeat of a part weve already read, so it gets very tedious, very quickly. Another issue with this novel is the lack of plot twist, I mean, there is a plot twist, but its not that exciting and it happens early on in the novel, so the rest of the book plays out exactly how you would expect it to. Can I also quickly just complain about the unnecessary focus on the fact that Alan is Jewish? It made me uncomfortable. And that Swanson should have done some more research into England because we dont have £100 notes.
This novel had great potential, but in the end, it was a let down. The ending was terribly mediocre and then the remaining chapters were a waste of time to read, they really could have been removed.
Thanks to Netgalley and Faber & Faber Ltd for giving me the opportunity to read this in exchange for an honest review.
NOW AVAILABLE!
<b><i>Face it. Accept it. Float with it. Let time pass.</i></b>
Kate, our anxiety riddled main character, has just flat swapped with her American cousin in order to boost her confidence and try to escape her haunted past for a little while, but as soon as she arrives at her cousin's luxurious apartment, things begin to go sour. Her new next door neighbour has been murdered, and her secretive American cousin seems to the main suspect.
<b>This <i>could</i> have been <i>so</i> good.</b> Swansons last hit novel, <a href="https://www.goodreads.com/review/show/1427280826">The Kind Worth Killing</a> (aw look at my baby review) was so goddamn exciting and thrilling but this was completely missing whatever spark the other had. A co-reviewer (Maxi/Slothreads) commented that this book was uninspired and I couldnt have put that any better myself, hence why Im quoting it. This had potential to work and be great but I feel like Swanson was pushed for time by his editors on this and spewed out whatever came to mind first. I know I sound like a total arse for saying that but Im just really disappointed in this novel! <b>Warning: some spoilers ahead.</b>
Lets start off by talking about our uninteresting characters. Kate suffers from anxiety disorder, made a lot worse by a terrifying incident she had with her ex boyfriend, so she decides to travel across the pond and into her cousin's apartment. While anxiety is something Im all too familiar with, I dont actually have any sympathy for Kate, as were supposed to. If she was really as damaged as she is made out to be, I find it very hard to believe she would move to America for 6 months all by herself, make friends and chat with everyone she comes across and sleep with a guy, Alan, whos admitted to be a creepy window watcher after 3 days of knowing him. Next comes ol cousin Corbin whos a cliche jock. Swanson makes him out to be the guilt ridden, caring man but after the revelation of his bad deeds in the past, how are we supposed to like him or feel sorry for him? It makes all the empathetic talk from him seem so creepy. Our only interesting character is, of course, the psycho. A bit of an over-the-top, cliche psycho, but at least worth reading about.
My <b>main</b> issue with this novel is the repetition of scenes. Our narrator chops and changes several times in the novel, so were often presented with a retelling of what weve already been told by another narrator. Id say that at least 25% of this book is a repeat of a part weve already read, so it gets very tedious, very quickly. Another issue with this novel is the lack of plot twist, I mean, there is a plot twist, but its not that exciting and it happens early on in the novel, so the rest of the book plays out exactly how you would expect it to. Can I also quickly just complain about the unnecessary focus on the fact that Alan is Jewish? It made me uncomfortable. And that Swanson should have done some more research into England because we dont have £100 notes.
This novel had great potential, but in the end, it was a let down. The ending was terribly mediocre and then the remaining chapters were a waste of time to read, they really could have been removed.
Thanks to Netgalley and Faber & Faber Ltd for giving me the opportunity to read this in exchange for an honest review.