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Kristy H (1252 KP) rated Better Together in Books
Jun 10, 2021
A cute albeit long read about family and finding yourself
Jamie and Siri wind up at the same Re-Discover Yourself Retreat at Colorado because their lives are both slowly crumbling. Jamie is an aspiring comic in LA, but she can't seem to make it through her set without throwing up. She's been kicked out of her apartment and is back at home, stuck living under her famous father's oppressive thumb. As for Siri, ballet is her entire life. But when she suffers a career-ending injury, everything she's planned for falls apart. Jamie and Siri also happen to be sisters. They've grown up entirely apart: Jamie lives with their dad in LA and Siri with their mom in New Jersey. When they reunite at the retreat, they decide to switch places and seek revenge on their estranged parents. With the help of a little magic (yes, actual magic), Jamie shows up in New Jersey, looking just like Siri and Siri arrives in LA, looking like Jamie. Before they know it, Siri's hanging out with (and falling for) Jamie's best friend Dawn. And independent Jamie might be making an actual attachment with Zarar, their instructor from camp. But can Jamie and Siri set out to do what they planned--right their childhood wrongs?
"The day everything fell apart three months ago, I tripped into this anger ditch, and I can't seem to find my way out." -Siri
I stumbled across this book because it was billed as The Parent Trap meets Freaky Friday and well, sign me up. To me, there's not a ton of The Parent Trap here, as the goal isn't to reunite Siri and Jamie's parents, but rather seek some sort of vengeance on them, as they basically split the kids up when they were six and four and then each parent abandoned one of the siblings. Jamie and Siri never saw each other again, and Siri's mom told her Jamie was imaginary. So, um, yeah she has some baggage. The parents come across as pretty hideous here, to tell you the truth! (Reexamining The Parent Trap as an adult and parent is quite eye-opening!)
Also, reading some of the other reviews for this book, apparently there is some sort of rating controversy and issue with the author? I had no clue about any of this. I have no idea who Christine Riccio is. I am one of those people who dislikes videos of all kinds. News article is only a video? Won't watch. I don't even really like Instagram reels let alone Youtube. I don't even love that my car has a backup camera. So whatever drama surrounds this book totally escapes me. If you don't like a book about magic, I guess don't read a book about magic? I thought this was pretty cute. Anyway, just a disclaimer, I guess, that my review has nothing to do with any of whatever that drama is.
You need to go into BETTER TOGETHER prepared to suspend a little disbelief if you want to fully enjoy it. There is magic involved--a happy haunted trail at the retreat that leads to the sisters looking like each other. Jamie and Siri already look really similar, so it didn't seem like maybe they needed that? (You don't in the The Parent Trap, this purist says!) Then there is their terrible parents. It's sort of hard to believe people that awful exist.
But if you accept the magic and the awful parents, this is a cute book. Is it weird? Sure. But it was definitely better than I expected after reading all the hater reviews. I liked Jamie and Siri. They were flawed (pretty expected after those parents) but funny. There's some great bisexual representation and while the book is about family, forgiveness, and reuniting, there's some sweet side romantic plots, too. Siri and Dawn were pretty adorable. And Zarar, their canoe instructor who winds up in New York, is just a cutie. Siri and Dawn each have a grandparent living near/with them who offers some great comedic relief, as well.
The story is told from Jamie and Siri's perspectives and sometimes it takes a moment to remember which sister is speaking, though the chapters are labeled. As the book progresses, you get more used to which sister is which. Siri has a very annoying quirk where she says things like "intercoursing" instead of the f-word, which grew old quickly. The book was long--there definitely could have been some cutting down.
Still, this was a cute read and I enjoyed Siri and Jamie's story and watching each of them come into their own. I have Riccio's first book on my shelf, and I'll definitely pick it up at some point. 3.5 stars.
I received a copy of this book from Wednesday Books and Netgalley, along with Goodreads, in return for an unbiased review. Look for BETTER TOGETHER on 06/01/2021!
"The day everything fell apart three months ago, I tripped into this anger ditch, and I can't seem to find my way out." -Siri
I stumbled across this book because it was billed as The Parent Trap meets Freaky Friday and well, sign me up. To me, there's not a ton of The Parent Trap here, as the goal isn't to reunite Siri and Jamie's parents, but rather seek some sort of vengeance on them, as they basically split the kids up when they were six and four and then each parent abandoned one of the siblings. Jamie and Siri never saw each other again, and Siri's mom told her Jamie was imaginary. So, um, yeah she has some baggage. The parents come across as pretty hideous here, to tell you the truth! (Reexamining The Parent Trap as an adult and parent is quite eye-opening!)
Also, reading some of the other reviews for this book, apparently there is some sort of rating controversy and issue with the author? I had no clue about any of this. I have no idea who Christine Riccio is. I am one of those people who dislikes videos of all kinds. News article is only a video? Won't watch. I don't even really like Instagram reels let alone Youtube. I don't even love that my car has a backup camera. So whatever drama surrounds this book totally escapes me. If you don't like a book about magic, I guess don't read a book about magic? I thought this was pretty cute. Anyway, just a disclaimer, I guess, that my review has nothing to do with any of whatever that drama is.
You need to go into BETTER TOGETHER prepared to suspend a little disbelief if you want to fully enjoy it. There is magic involved--a happy haunted trail at the retreat that leads to the sisters looking like each other. Jamie and Siri already look really similar, so it didn't seem like maybe they needed that? (You don't in the The Parent Trap, this purist says!) Then there is their terrible parents. It's sort of hard to believe people that awful exist.
But if you accept the magic and the awful parents, this is a cute book. Is it weird? Sure. But it was definitely better than I expected after reading all the hater reviews. I liked Jamie and Siri. They were flawed (pretty expected after those parents) but funny. There's some great bisexual representation and while the book is about family, forgiveness, and reuniting, there's some sweet side romantic plots, too. Siri and Dawn were pretty adorable. And Zarar, their canoe instructor who winds up in New York, is just a cutie. Siri and Dawn each have a grandparent living near/with them who offers some great comedic relief, as well.
The story is told from Jamie and Siri's perspectives and sometimes it takes a moment to remember which sister is speaking, though the chapters are labeled. As the book progresses, you get more used to which sister is which. Siri has a very annoying quirk where she says things like "intercoursing" instead of the f-word, which grew old quickly. The book was long--there definitely could have been some cutting down.
Still, this was a cute read and I enjoyed Siri and Jamie's story and watching each of them come into their own. I have Riccio's first book on my shelf, and I'll definitely pick it up at some point. 3.5 stars.
I received a copy of this book from Wednesday Books and Netgalley, along with Goodreads, in return for an unbiased review. Look for BETTER TOGETHER on 06/01/2021!
Bob Mann (459 KP) rated The Big Sick (2017) in Movies
Sep 29, 2021
Just what the doctor ordered: a charming and thoughtful summer comedy.
Romance and comedy work together beautifully on film: love is innately ridiculous after all! But mix in a dramatic element – particularly a serious medical emergency – to a Rom Com and you walk a dangerous line between on the one hand letting the drama overwhelm the comedy ( “Well! I don’t feel like laughing now!”) and on the other hand diverging into shockingly mawkish finger-down-the-throat sentimentality. Fortunately the new comedy – “The Big Sick” – walks that line to perfection.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Kumail Nanjiani plays (who’d have thought it?) Kumail, a Pakistani-born comic-cum-Uber-driver struggling to get recognised on the Chicago comedy circuit. His performances mix traditional stand-up at a club with a rather po-faced one-man show where he explains at length the culture of Pakistan (Naan-splaining?), including intricate detail on the fielding positions and strategies of cricket. Kumail is heckled during a show by the young and perky Emily (Zoe Kazan, the middle daughter from “It’s Complicated”). Lust blossoms (mental note: stand up comedy seems a fabulous strategy for picking up women) and lust turns to romance as the pair grow closer to each other.
A surging romance. Uber gets love from A to B.
Unfortunately Kumail is aware of something Emily isn’t: his strictly Muslim parents Sharmeen and Azmat (Anupam Kher and Zenobia Schroff) believe in arranged marriages to ‘nice Pakistani girls’ and a relationship with – let alone a marriage to – Emily risks disgrace and familial exile. A medical crisis brings Kumail further into dispute, this time with Emily’s parents Beth and Terry (Holly Hunter and Ray Romano).
Stand-up is, I assert, a very nationalistic thing. It is a medium hugely dependant on context and while I’m sure great British comics like Peter Kay and Eddie Izzard might rate as only a 4 or a 5 out of 10 for most Americans, so most American stand-up comics tend to leave me cold. And perhaps it’s also a movie-thing, that stand-up on the big screen just doesn’t work well? Either way, the initial comedy-club scenes rather left me cold. (And I don’t think most of them were SUPPOSED to be particularly bad – since they seemed to fill the seats each night). As a result I thought this was a “comedy” that wasn’t going to be for me.
Stand up and be counted. Kumail Nanjiani doing the circuit.
But once Nanjiani and Kazan got together the chemistry was immediate and palpable and the duo completely won me round. Kazan in particular is a vibrant and joyous actress who I would love to see a lot more of: this should be a breakout movie for her.
Broader, but none less welcome, comedy is to be found in Kumail’s family home as his mother introduces serial Pakistani girls to the dinner table.
Holly Hunter (“Broadcast News” – one of my favourite films) and Ray Romano are also superb, delivering really thoughtful and nuanced performances that slowly unpeel the stresses inherent in many long-term marriages. The relationship that develops between Kumail and Beth is both poignant and truly touching.
Where the script succeeds is in never quite making the viewer comfortable about where the movie is going and whether the film will end with joy or heartbreak. And you will find no spoilers here!
So is it a comedy classic? Well, no, not quite. What’s a bit disappointing is that for a film as culturally topical as this, the whole question of Islamophobia in Trump’s America is juggled like a hot potato. Aside from one memorable scene in the club, with a redneck heckler, and an excruciating exchange about 9/11 between Kumail and Terry, the subject is completely ignored. This is a shame. The script (by Nanjiani and Emily Gordon) would have benefited enormously from some rather braver “Thick of It” style input from the likes of Armando Iannucci.
I also have to despair at the movie’s marketing executives who came up with this title. FFS! I know “East is East” has already gone, but could you have possibly come up with a less appealing title? I guess the title does serve one useful purpose in flagging up potential upset for those with bad historical experiences of intensive care. (Like “The Descendants” this is what we would term in our family #notaShawFamilyfilm).
Overall though this film, directed by Michael Showalter (no, me neither!) and produced by Judd Apatow (whose name gets the biggest billing), is a fun and engaging movie experience that comes highly recommended. A delightful antidote to the summer blockbuster season. The end titles also bring a delightful surprise (that I’ve seen spoiled since by some reviews) that was moving and brought added depth to the drama that had gone before.
More Hollywood please, more.
Zuky the BookBum (15 KP) rated Baby Doll in Books
Mar 15, 2018
Firstly Id like to thank Netgalley and Random House UK, Cornerstone for the opportunity to read this book.
<b><i>BABY DOLL is the most tense thriller you will read this year.</b></i> no it isnt.
<b>1.5 stars</b>
I was looking forward to giving this a read, it sounded like an exciting thriller; woman escapes from her captor and now shes trying to rebuild her life and future. But it doesnt really start out that way everything kind of falls into place for Lily in the first few pages and so you think, is this going to be as exciting as I first hoped? Well the answer to that is no, its not.
Its all very over the top. <i>Every single thing</i> Abby & Lily do is grossly OTT. I mean I dont personally know how I, or my family would react if something like this happened but it all seems very overplayed, cliche and cheesy.
<img src="https://media.giphy.com/media/MGmnFOZRFRo4w/giphy.gif"; width="370" height="220" alt="yaaaawn"/>
Its also a bit ridiculous, not the kidnapping and abuse, of course <b>thats</b> not, but everything else is. The town seems raving mad, no wonder no one noticed a psychopath in their midst! I mean for one, this town needs to sort out its police force, theyre <b>so</b> unprofessional! <spoiler>Sleeping around and beating people to a pulp. Stupid. <b>PLUS</b> Why were they unable to get Abby off of Rick when she was stabbing him? It felt like they were all just standing around and watching her until they thought, OK thatll do now.</spoiler>
I dont think Overton did a particularly good job at portraying the characters. They all seemed very wooden and lifeless. I found them all to be extremely childish, shallow and very selfish and so couldnt connect with any of them. They also felt completely fake, like the things they did and said were not something you could imagine a real person doing or saying. We were supposed to empathise with Lily but it just wasnt possible for me, she was cold and boring and I think the multiple POVs was a bad call on Overtons part because it means we cant spend that time getting to know the character and instead have to put up with everyone else's junk <i>(cough cough the mother's affair cough cough)</i> that we dont care about, which disconnects us entirely from the story. I would go so far as to say I felt this story was more about idiotic Abby than it was about boring ol Lily. We also couldnt attach to Lily because this book moved so ridiculously fast! I couldnt keep up, whats the rush?
I dont think this was very well written either, it all seemed very rushed. Also, why was Eve called Eve one minute and Mom the next? And why couldnt Abby call Mr Hanson by his actual name? We get it, he was your teacher, but youre an adult now, with a kid and this man ruined your sister's life, would you really be calling him Mr Hanson all the time. It was like I was reading the POV of a 6 year old.
I admit the twist was quite a shock and I hadnt seen <i>that</i> particular ending coming about, but I still thought it was a bit silly, hence the extra half a star I gave the book. <spoiler>Can we please note that this (the murder) is like the 5th time in the book when Abby does something for Lily but really shes just being selfish and doing it for herself because she cant get a fucking grip.</spoiler>
Too "family drama" for me. I wanted a fast paced thriller not some sappy, emotional love story. This book was supposed to focus on the broken Lily rebuilding her life with her loving family surrounding her, but instead turned into a ridiculous love triangle story that I couldnt care less about. Give me more of Ricks POV if you must, <b>anything to get me away from twin sisters fighting over one stupid man.</b> Abby was so fucking annoying when it came to Wes, she was so desperately needy for him all the while putting on a stupid I-dont-need-you front. Deal with it Abby, you love him and he loves you, <b>just fucking deal with it.</b>
In the end I skipped the last 10 pages or so, I was done with this book when I was 20% the way through Maybe this would be a good book for people who are into chick-lit/women's fiction - whatever that means, but its not my cup of tea.
<b><i>BABY DOLL is the most tense thriller you will read this year.</b></i> no it isnt.
<b>1.5 stars</b>
I was looking forward to giving this a read, it sounded like an exciting thriller; woman escapes from her captor and now shes trying to rebuild her life and future. But it doesnt really start out that way everything kind of falls into place for Lily in the first few pages and so you think, is this going to be as exciting as I first hoped? Well the answer to that is no, its not.
Its all very over the top. <i>Every single thing</i> Abby & Lily do is grossly OTT. I mean I dont personally know how I, or my family would react if something like this happened but it all seems very overplayed, cliche and cheesy.
<img src="https://media.giphy.com/media/MGmnFOZRFRo4w/giphy.gif"; width="370" height="220" alt="yaaaawn"/>
Its also a bit ridiculous, not the kidnapping and abuse, of course <b>thats</b> not, but everything else is. The town seems raving mad, no wonder no one noticed a psychopath in their midst! I mean for one, this town needs to sort out its police force, theyre <b>so</b> unprofessional! <spoiler>Sleeping around and beating people to a pulp. Stupid. <b>PLUS</b> Why were they unable to get Abby off of Rick when she was stabbing him? It felt like they were all just standing around and watching her until they thought, OK thatll do now.</spoiler>
I dont think Overton did a particularly good job at portraying the characters. They all seemed very wooden and lifeless. I found them all to be extremely childish, shallow and very selfish and so couldnt connect with any of them. They also felt completely fake, like the things they did and said were not something you could imagine a real person doing or saying. We were supposed to empathise with Lily but it just wasnt possible for me, she was cold and boring and I think the multiple POVs was a bad call on Overtons part because it means we cant spend that time getting to know the character and instead have to put up with everyone else's junk <i>(cough cough the mother's affair cough cough)</i> that we dont care about, which disconnects us entirely from the story. I would go so far as to say I felt this story was more about idiotic Abby than it was about boring ol Lily. We also couldnt attach to Lily because this book moved so ridiculously fast! I couldnt keep up, whats the rush?
I dont think this was very well written either, it all seemed very rushed. Also, why was Eve called Eve one minute and Mom the next? And why couldnt Abby call Mr Hanson by his actual name? We get it, he was your teacher, but youre an adult now, with a kid and this man ruined your sister's life, would you really be calling him Mr Hanson all the time. It was like I was reading the POV of a 6 year old.
I admit the twist was quite a shock and I hadnt seen <i>that</i> particular ending coming about, but I still thought it was a bit silly, hence the extra half a star I gave the book. <spoiler>Can we please note that this (the murder) is like the 5th time in the book when Abby does something for Lily but really shes just being selfish and doing it for herself because she cant get a fucking grip.</spoiler>
Too "family drama" for me. I wanted a fast paced thriller not some sappy, emotional love story. This book was supposed to focus on the broken Lily rebuilding her life with her loving family surrounding her, but instead turned into a ridiculous love triangle story that I couldnt care less about. Give me more of Ricks POV if you must, <b>anything to get me away from twin sisters fighting over one stupid man.</b> Abby was so fucking annoying when it came to Wes, she was so desperately needy for him all the while putting on a stupid I-dont-need-you front. Deal with it Abby, you love him and he loves you, <b>just fucking deal with it.</b>
In the end I skipped the last 10 pages or so, I was done with this book when I was 20% the way through Maybe this would be a good book for people who are into chick-lit/women's fiction - whatever that means, but its not my cup of tea.
Gareth von Kallenbach (980 KP) rated The Way Way Back (2013) in Movies
Aug 6, 2019
Prior to the press screening for The Way, Way Back I had little knowledge of the film. Despite the heavy hitters in this film, including Steve Carell, Toni Collette and Sam Rockwell, I did not expect to be amazed by the movie. Even as I entered the theater and the studio reps were handing out sunglasses, t-shirts and beach balls I had little hope for the movie. Typically, great films are not promoted through cheap novelties.
Fortunately for us all, The Way, Way Back turned out to be a surprisingly delightful movie with a lot of heart. IT is way, way better than its marketing campaign, that’s for sure.
The movie centers on 14-year-old Duncan (Liam James), a kind of dorky and awkward teenager whose mother, Pam (Toni Collette), brings him along to an extended summer vacation on the Massachusetts coast. Duncan would rather be spending time with his father than his mother and her unlikeable boyfriend, Trent (Steve Carell), and his stuck up teenage drama-queen daughter, Steph (Zoe Levlin).
Duncan finds little of interest in the small beach town, and immediately feels alienated from the rest of his group. This is until he meets Susanna (AnnaSophia Robb), the brainy, older woman (16) who is staying next door with her hilariously blunt mother, Betty (Allison Janney), a friend of Trent’s. The two teens make an immediate, if not awkward connection, and share in the bond of thinking the town sucks, both being children of divorce, and their families are unbearable.
Aside from Susanna, Duncan finds an even better excuse to disappear and avoid the likes of his would-be family at the local water park, where he develops an unlikely friendship with Owen (Sam Rockwell), owner of Water Wizz. Sensing that Duncan is a lonely, outcast teen looking for place to belong, Owen hires him to work at the water park. Duncan is so alienated from his family that he doesn’t even bother mention to them that he is employed. Instead, he pretends to that he is just hanging out all day not really doing anything.
If this all sounds eerily familiar, it’s because The Way, Way Back follows a formula that most standard-issue summer vacation/coming of age movie does. But familiar isn’t always bad. The Way, Way Back has genuinely funny humor to it, and the characters are very relatable. It wouldn’t surprise me to find out that you were comparing them to others in your life, or that you may have met along the way. I know I was.
In fact, the film’s undeniable charm lies in its appealing, and not so appealing, characters, all portrayed excellently by a cast with a surprising amount of credibility for a film of this genre. James, a relatively new name, plays Duncan superbly, displaying the sort of low self-esteem that drives other kids to mock him. Anyone who does, or has, ever retreated into a lonely, nerdy, self-absorbed world will understand his angst and immediately attach themselves to Duncan. Especially in the early scenes that Duncan shares with Susanna, who obviously terrifies him with her confidence and beauty.
Rockwell steals every scene he is in as the ever-wisecracking Owen. He is your typical summer comedy character that you see in every film of this sort – the fast-talking adult male prankster whom all the kids flock to – but Rockwell plays the part with great depth. Beneath all of his bravado and clowning, there is clearly a man who has a lot of soul and cares about those around him. This side of Owen is brought out by Caitlin (Maya Rudolph), Owen’s park manager and sometimes girlfriend.
Carell takes on an unusual to most role as Trent, the films antagonist, if there really is one in this genre. He is one of the guys who is kind of a jerk, but not enough for you to really hate. Collette plays her part well, but doesn’t really get a significant amount of focus in the film. The funniest character of the fill is the over-the-top inappropriate Betty, a mom with a mean steak who does her best to embarrass her children and make everyone cringe with her nosy questions and open sexual frankness. Janney plays her with perfect comic timing.
I spoke with a friend, who also screened this movie, and he felt the movie played it too safe. He wanted it to explore the film’s darker themes more (family dysfunction, career frustration, teenage alienation) with much more insight. The one point I did agree with him was that Collette’s character was too underwritten to fully explain Pam’s tense relationships with, well… everyone. This is accentuated by the ending of the film where based on the buildup, I expected a much different action from her.
Still, The Way, Way Back is a delightful and smartly funny film that is sure to entertain you, and has a bit more gravitas than most summer comedies. I can tell you that I will be sporting my white “Ray-Ban”-esque sunglasses.
Fortunately for us all, The Way, Way Back turned out to be a surprisingly delightful movie with a lot of heart. IT is way, way better than its marketing campaign, that’s for sure.
The movie centers on 14-year-old Duncan (Liam James), a kind of dorky and awkward teenager whose mother, Pam (Toni Collette), brings him along to an extended summer vacation on the Massachusetts coast. Duncan would rather be spending time with his father than his mother and her unlikeable boyfriend, Trent (Steve Carell), and his stuck up teenage drama-queen daughter, Steph (Zoe Levlin).
Duncan finds little of interest in the small beach town, and immediately feels alienated from the rest of his group. This is until he meets Susanna (AnnaSophia Robb), the brainy, older woman (16) who is staying next door with her hilariously blunt mother, Betty (Allison Janney), a friend of Trent’s. The two teens make an immediate, if not awkward connection, and share in the bond of thinking the town sucks, both being children of divorce, and their families are unbearable.
Aside from Susanna, Duncan finds an even better excuse to disappear and avoid the likes of his would-be family at the local water park, where he develops an unlikely friendship with Owen (Sam Rockwell), owner of Water Wizz. Sensing that Duncan is a lonely, outcast teen looking for place to belong, Owen hires him to work at the water park. Duncan is so alienated from his family that he doesn’t even bother mention to them that he is employed. Instead, he pretends to that he is just hanging out all day not really doing anything.
If this all sounds eerily familiar, it’s because The Way, Way Back follows a formula that most standard-issue summer vacation/coming of age movie does. But familiar isn’t always bad. The Way, Way Back has genuinely funny humor to it, and the characters are very relatable. It wouldn’t surprise me to find out that you were comparing them to others in your life, or that you may have met along the way. I know I was.
In fact, the film’s undeniable charm lies in its appealing, and not so appealing, characters, all portrayed excellently by a cast with a surprising amount of credibility for a film of this genre. James, a relatively new name, plays Duncan superbly, displaying the sort of low self-esteem that drives other kids to mock him. Anyone who does, or has, ever retreated into a lonely, nerdy, self-absorbed world will understand his angst and immediately attach themselves to Duncan. Especially in the early scenes that Duncan shares with Susanna, who obviously terrifies him with her confidence and beauty.
Rockwell steals every scene he is in as the ever-wisecracking Owen. He is your typical summer comedy character that you see in every film of this sort – the fast-talking adult male prankster whom all the kids flock to – but Rockwell plays the part with great depth. Beneath all of his bravado and clowning, there is clearly a man who has a lot of soul and cares about those around him. This side of Owen is brought out by Caitlin (Maya Rudolph), Owen’s park manager and sometimes girlfriend.
Carell takes on an unusual to most role as Trent, the films antagonist, if there really is one in this genre. He is one of the guys who is kind of a jerk, but not enough for you to really hate. Collette plays her part well, but doesn’t really get a significant amount of focus in the film. The funniest character of the fill is the over-the-top inappropriate Betty, a mom with a mean steak who does her best to embarrass her children and make everyone cringe with her nosy questions and open sexual frankness. Janney plays her with perfect comic timing.
I spoke with a friend, who also screened this movie, and he felt the movie played it too safe. He wanted it to explore the film’s darker themes more (family dysfunction, career frustration, teenage alienation) with much more insight. The one point I did agree with him was that Collette’s character was too underwritten to fully explain Pam’s tense relationships with, well… everyone. This is accentuated by the ending of the film where based on the buildup, I expected a much different action from her.
Still, The Way, Way Back is a delightful and smartly funny film that is sure to entertain you, and has a bit more gravitas than most summer comedies. I can tell you that I will be sporting my white “Ray-Ban”-esque sunglasses.
JT (287 KP) rated The Raid 2 (2014) in Movies
Mar 10, 2020
Stop….pause….take a breath, you’ll need to catch it after witnessing one of the finest action films made for some time.
The follow up to The Raid packs an even harder punch, with our hero Rama (Iko Uwais) sent undercover to bring down a crime family and uncover yet more police corruption.
The first film was simplistic enough, a SWAT team enter a building and (without the use of an elevator) must navigate their way up to the top floor to bring down a powerful but mediocre drug lord. Praised for its gritty no holds barred fight sequences, and perfectly timed action it was nothing short of a hit.
Part 2 follows practically from where the last ended, Rama is hurried away to a secluded location and given the rundown explaining that all his efforts were for nothing, but that he still has a big part to play. Although he doesn’t have much of a choice in the matter.
The-Raid-2-Gareth-Evans
To keep his family safe he has to get close to the arrogant son of a mob boss, Ucok (Arifin Putra), and to do this must infiltrate a prison by committing a high profile crime that will get him noticed by the mafia top brass. What is only supposed to be a few months turns into a couple of years, giving Rama more than enough time to get right under the skin of Ucok.
The storyline isn’t anything unique with shades of Infernal Affairs about it, police corruption, undercover cops and feuding mafia families probably seem all too familiar but director Gareth Evans lays it out in such a way that the similarities end right there.
The story delves deeper into several subplots all of which trail off on their own, but they don’t hamper the overall narrative or confuse things in a way which will make the film harder to follow and at an ass numbing 150 minutes that might be easier said than done.
Then there is the inclusion of three of the badest characters you’re ever likely to see. Hammer Girl, whose special moves entail ripping people in two with claw hammers, Baseball Bat Man, you can probably guess his unique ability and then The Assassin, who armed with a pair of kerambits’ is a silent but very much a deadly force.
There’s returning actor Yayan Ruhian who played Mad Dog in the first film but who has reappeared here as an ass-kicking hobo aiding one of the families, but ends up in the crosshairs of an instigated war were blood hasn’t been spilt in over ten years.
Evans cuts from the action with dramatic undertones, of which the performances are very good, its the gratuitous violence that Raid fans will have shelled out their money for. It’s wince-inducing on another level, whether it’s getting an arm snapped in half, a pelvis dislocated or a hammer ripped through someone’s cheek you’ll probably find yourself twisting and turning in your seat.
the-raid-2-berandal-26
The choreography is mesmerising as Evans interlocks a Godfather-like tale with action that doesn’t give you enough time to look away from the screen. From a mass prison yard scrap, an epic car chase where back seat driving takes on a whole different meaning and a jaw-dropping kitchen fight finale, it’s a film that will live long in the action memory.
Leaving the confines of a tower block behind the action and story run riot through lush green marshes, back streets and bars to city streets. The editing is short and sharp like a punch to the head, moving gracefully enough that it doesn’t judder the explosive action or disjoint the scenes of real drama.
It’s thoroughly entertaining which has justified all the hype beforehand, wonderfully shot and exhilarating throughout Evans will have his work cut out to make sure that The Raid 3 caps an action trilogy masterclass.
The follow up to The Raid packs an even harder punch, with our hero Rama (Iko Uwais) sent undercover to bring down a crime family and uncover yet more police corruption.
The first film was simplistic enough, a SWAT team enter a building and (without the use of an elevator) must navigate their way up to the top floor to bring down a powerful but mediocre drug lord. Praised for its gritty no holds barred fight sequences, and perfectly timed action it was nothing short of a hit.
Part 2 follows practically from where the last ended, Rama is hurried away to a secluded location and given the rundown explaining that all his efforts were for nothing, but that he still has a big part to play. Although he doesn’t have much of a choice in the matter.
The-Raid-2-Gareth-Evans
To keep his family safe he has to get close to the arrogant son of a mob boss, Ucok (Arifin Putra), and to do this must infiltrate a prison by committing a high profile crime that will get him noticed by the mafia top brass. What is only supposed to be a few months turns into a couple of years, giving Rama more than enough time to get right under the skin of Ucok.
The storyline isn’t anything unique with shades of Infernal Affairs about it, police corruption, undercover cops and feuding mafia families probably seem all too familiar but director Gareth Evans lays it out in such a way that the similarities end right there.
The story delves deeper into several subplots all of which trail off on their own, but they don’t hamper the overall narrative or confuse things in a way which will make the film harder to follow and at an ass numbing 150 minutes that might be easier said than done.
Then there is the inclusion of three of the badest characters you’re ever likely to see. Hammer Girl, whose special moves entail ripping people in two with claw hammers, Baseball Bat Man, you can probably guess his unique ability and then The Assassin, who armed with a pair of kerambits’ is a silent but very much a deadly force.
There’s returning actor Yayan Ruhian who played Mad Dog in the first film but who has reappeared here as an ass-kicking hobo aiding one of the families, but ends up in the crosshairs of an instigated war were blood hasn’t been spilt in over ten years.
Evans cuts from the action with dramatic undertones, of which the performances are very good, its the gratuitous violence that Raid fans will have shelled out their money for. It’s wince-inducing on another level, whether it’s getting an arm snapped in half, a pelvis dislocated or a hammer ripped through someone’s cheek you’ll probably find yourself twisting and turning in your seat.
the-raid-2-berandal-26
The choreography is mesmerising as Evans interlocks a Godfather-like tale with action that doesn’t give you enough time to look away from the screen. From a mass prison yard scrap, an epic car chase where back seat driving takes on a whole different meaning and a jaw-dropping kitchen fight finale, it’s a film that will live long in the action memory.
Leaving the confines of a tower block behind the action and story run riot through lush green marshes, back streets and bars to city streets. The editing is short and sharp like a punch to the head, moving gracefully enough that it doesn’t judder the explosive action or disjoint the scenes of real drama.
It’s thoroughly entertaining which has justified all the hype beforehand, wonderfully shot and exhilarating throughout Evans will have his work cut out to make sure that The Raid 3 caps an action trilogy masterclass.
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BankofMarquis (1832 KP) rated Ticket to paradise (2022) in Movies
Nov 10, 2022
Charismatic Leads Saves This Underwritten Film
Have you watched one of the two ABBA Musical MAMA MIA films (MAMA MIA or MAMA MIA: HERE WE GO AGAIN) and thought to yourself, “I want more of this, but with no music”.
If so, do I have a film for you.
The George Clooney/Julie Roberts Romantic Family Comedy TICKET TO PARADISE is a slight, somewhat fun lightweight film that won’t eat up too many brain cells while watching, but you’ll walk away satisfied and entertained if this sort of thing is in your wheelhouse. It is a movie geared towards older adults who just want to get away from the world and watch beautiful people in beautiful costumes tromping around beautiful scenery.
Written and Directed by Ol Parker (MAMA MIA: HERE WE GO AGAIN, naturally), TICKET TO PARADISE tells the tale of an unhappily divorced couple (Clooney and Roberts, of course) who must overcome their differences and join together to stop their daughter from a hasty marriage - a mistake they both think they made when they married each other.
The opening of this movie is frenetic and tries just a bit too hard to establish the hate/hate competitive relationship between these 2 characters. Roberts fairs better in this part as she settles into her character fairly quickly - and she becomes the rock of the film. From the get go you understand her character and when all else fails in a scene, you know that Roberts will be there to rescue things. It is a steady, sturdy performance that shows that Roberts “still has it” as a movie star.
Clooney has more of a rollercoaster of a performance. For my tastes he tries to hard to be comedically funny in the first part of the film (a fault of his that can be scene in such Clooney comedic failures as O BROTHER WHERE ART THOU and BURN AFTER READING), but once we get past the initial scenes, Clooney settles down to be a somewhat comedic version of the calm, suave and sophisticated Clooney that we have grown to know and love.
The supporting characters are underwritten and are thin and nondescript with character arcs that really go nowhere. This is a shame for Billie Lourd (as the Best Friend of Clooney and Roberts’ daughter) and the couple that plays the grooms parents were interesting characters that could have/should have been fleshed out more.
The script and Direction by Parker are nothing special. It’s not bad but it also doesn’t elevate the proceedings above the pleasantness that it is - with one key exception. About 1/3 of the way through the film, Clooney launches into a monologue about how he and Roberts’ seemingly wonderful love fell apart, leading to divorce. It is a beautifully shot and directed scene and Clooney absolutely nails the speech mixing in anger and regret skillfully. This scene made me sit up in my chair thinking that maybe this film was taking a deeper, more dramatic turn at this point and it is shifting from a RomCom to a family drama.
But, alas, we head into a scene where Clooney and Roberts get drunk and shenanigans ensue. True…it looks like good friends Clooney and Roberts are having a good time playing with each other in the beautiful location of this film…but this fun never really translates to the audience.
The perfect airplane film - there is no intricate plot points that you’ll miss if you dose off for a moment or 2 - but perfectly, acceptably entertaining, this TICKET TO PARADISE could be worse…but could have been better.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
If so, do I have a film for you.
The George Clooney/Julie Roberts Romantic Family Comedy TICKET TO PARADISE is a slight, somewhat fun lightweight film that won’t eat up too many brain cells while watching, but you’ll walk away satisfied and entertained if this sort of thing is in your wheelhouse. It is a movie geared towards older adults who just want to get away from the world and watch beautiful people in beautiful costumes tromping around beautiful scenery.
Written and Directed by Ol Parker (MAMA MIA: HERE WE GO AGAIN, naturally), TICKET TO PARADISE tells the tale of an unhappily divorced couple (Clooney and Roberts, of course) who must overcome their differences and join together to stop their daughter from a hasty marriage - a mistake they both think they made when they married each other.
The opening of this movie is frenetic and tries just a bit too hard to establish the hate/hate competitive relationship between these 2 characters. Roberts fairs better in this part as she settles into her character fairly quickly - and she becomes the rock of the film. From the get go you understand her character and when all else fails in a scene, you know that Roberts will be there to rescue things. It is a steady, sturdy performance that shows that Roberts “still has it” as a movie star.
Clooney has more of a rollercoaster of a performance. For my tastes he tries to hard to be comedically funny in the first part of the film (a fault of his that can be scene in such Clooney comedic failures as O BROTHER WHERE ART THOU and BURN AFTER READING), but once we get past the initial scenes, Clooney settles down to be a somewhat comedic version of the calm, suave and sophisticated Clooney that we have grown to know and love.
The supporting characters are underwritten and are thin and nondescript with character arcs that really go nowhere. This is a shame for Billie Lourd (as the Best Friend of Clooney and Roberts’ daughter) and the couple that plays the grooms parents were interesting characters that could have/should have been fleshed out more.
The script and Direction by Parker are nothing special. It’s not bad but it also doesn’t elevate the proceedings above the pleasantness that it is - with one key exception. About 1/3 of the way through the film, Clooney launches into a monologue about how he and Roberts’ seemingly wonderful love fell apart, leading to divorce. It is a beautifully shot and directed scene and Clooney absolutely nails the speech mixing in anger and regret skillfully. This scene made me sit up in my chair thinking that maybe this film was taking a deeper, more dramatic turn at this point and it is shifting from a RomCom to a family drama.
But, alas, we head into a scene where Clooney and Roberts get drunk and shenanigans ensue. True…it looks like good friends Clooney and Roberts are having a good time playing with each other in the beautiful location of this film…but this fun never really translates to the audience.
The perfect airplane film - there is no intricate plot points that you’ll miss if you dose off for a moment or 2 - but perfectly, acceptably entertaining, this TICKET TO PARADISE could be worse…but could have been better.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated Biutiful (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
At times, it's difficult to summarize your thoughts about a specific film. It isn't because the film is necessarily so good or bad that it's beyond words, but because you're unsure how to feel about said film until the credits finally roll. Biutiful is such a film.
The film revolves around Uxbal, portrayed by Javier Bardem (No Country For Old Men) sporting a mullet, so expectations are already high. Uxbal has just been diagnosed with terminal prostate cancer, but isn't ready to leave this world. His two children are still young and Uxbal feels that their mother, who's more interested in partaking in promiscuous behavior while dealing with a bipolar disorder, isn't fit to take care of their children. Meanwhile Uxbal supports his family by partnering with both the Chinese and African street merchants that are in the country illegally. Together they sell pirated movies and cheap knockoffs of clothing and accessories made by Chinese men, women, and children that live in a warehouse used as a sweatshop. To top it off, Uxbal has the ability to communicate with the dead and is called upon to help people who have recently passed to let go and move on to the other side. Although hesitant at first, Uxbal has every intention of getting his affairs in order, reconciling his marriage, and making sure his children have someone to take care of them after he's gone. Unfortunately, things don't always go as planned.
Biutiful, its spelling having a simple yet somewhat brilliant explanation, features a lot of symbolism that will go over viewers heads. It also is incredibly similar to Iñárritu's previous works such as 21 Grams and Babel in both style and tone, but is the director's first film to be presented in Spanish. The drama is beyond bleak and practically hopeless. The out of tune soundtrack, the rocks Uxbal gives to his children, and people clutching to the ceiling will leave many scratching their heads. Many ideas seem to be hinted at, but are never fully fleshed out like reflections and shadows moving out of sync from their source. However, the film is driven by Bardem's emotionally draining, physical, and all around powerful performance.
The scene that really makes the entire film worthwhile is the scene in the Chinese warehouse right before Uxbal visits his brother's strip club. It's the most effective, long-lasting, and memorable scene in the film. In the same breath though, what was up with the sound? It was like it was purposely terrible at certain points in the film. At times, it seemed significant to showcase the sound of the characters' heartbeats, but just felt sloppy the one or two other times it occurred. There were also quite a few memorable quotes in the film including, "It's dangerous to trust a man who's hungry."
Biutiful is an unusual drama that is both confusing at times and ridiculously intriguing at others. A vigorously passionate performance by Javier Bardem may not be enough to save what is otherwise a sometimes mindboggling and hellacious journey through the eyes of what seems like the most unlucky man in the world. Even in comparison to his other works, Biutiful seems even more bleak and dreary than Iñárritu's other works. What's bizarre is that the film does give you a strange sense of hope. No matter how bad you think your life currently is or was, this film proves that it can always be worse even if the presentation is more than a little mentally and emotionally exhausting. It's also interesting to note that even though the film leans more to the bizarre side while being downright depressing, it does make a long-lasting impression and sticks with you as you contemplate scenes and occurrences in the film days after you've seen it.
The film revolves around Uxbal, portrayed by Javier Bardem (No Country For Old Men) sporting a mullet, so expectations are already high. Uxbal has just been diagnosed with terminal prostate cancer, but isn't ready to leave this world. His two children are still young and Uxbal feels that their mother, who's more interested in partaking in promiscuous behavior while dealing with a bipolar disorder, isn't fit to take care of their children. Meanwhile Uxbal supports his family by partnering with both the Chinese and African street merchants that are in the country illegally. Together they sell pirated movies and cheap knockoffs of clothing and accessories made by Chinese men, women, and children that live in a warehouse used as a sweatshop. To top it off, Uxbal has the ability to communicate with the dead and is called upon to help people who have recently passed to let go and move on to the other side. Although hesitant at first, Uxbal has every intention of getting his affairs in order, reconciling his marriage, and making sure his children have someone to take care of them after he's gone. Unfortunately, things don't always go as planned.
Biutiful, its spelling having a simple yet somewhat brilliant explanation, features a lot of symbolism that will go over viewers heads. It also is incredibly similar to Iñárritu's previous works such as 21 Grams and Babel in both style and tone, but is the director's first film to be presented in Spanish. The drama is beyond bleak and practically hopeless. The out of tune soundtrack, the rocks Uxbal gives to his children, and people clutching to the ceiling will leave many scratching their heads. Many ideas seem to be hinted at, but are never fully fleshed out like reflections and shadows moving out of sync from their source. However, the film is driven by Bardem's emotionally draining, physical, and all around powerful performance.
The scene that really makes the entire film worthwhile is the scene in the Chinese warehouse right before Uxbal visits his brother's strip club. It's the most effective, long-lasting, and memorable scene in the film. In the same breath though, what was up with the sound? It was like it was purposely terrible at certain points in the film. At times, it seemed significant to showcase the sound of the characters' heartbeats, but just felt sloppy the one or two other times it occurred. There were also quite a few memorable quotes in the film including, "It's dangerous to trust a man who's hungry."
Biutiful is an unusual drama that is both confusing at times and ridiculously intriguing at others. A vigorously passionate performance by Javier Bardem may not be enough to save what is otherwise a sometimes mindboggling and hellacious journey through the eyes of what seems like the most unlucky man in the world. Even in comparison to his other works, Biutiful seems even more bleak and dreary than Iñárritu's other works. What's bizarre is that the film does give you a strange sense of hope. No matter how bad you think your life currently is or was, this film proves that it can always be worse even if the presentation is more than a little mentally and emotionally exhausting. It's also interesting to note that even though the film leans more to the bizarre side while being downright depressing, it does make a long-lasting impression and sticks with you as you contemplate scenes and occurrences in the film days after you've seen it.
Emma @ The Movies (1786 KP) rated Midsommar (2019) in Movies
Jun 20, 2020
Midsommar is listed as "drama, horror, mystery" on IMDb, and you know how I am with horror... but honestly, this is such a bad categorisation to me. If anything it's a psychological drama/thriller. I found nothing in it to be horror-worthy and I definitely wasn't scared at any point. We should probably just create a genre of "weird AF" and put it in that.
Christopher and the lads are planning a trip to Sweden to participate in the mid-summer festival of Pelle's community. After his girlfriend Dani receives some devastating news he invites her along in an empty gesture, the last thing he expects is for her to accept.
When they arrive in the village they're instantly in awe of the idyllic landscape and setting. The community welcomes them with open arms and hallucinogenic substances, but Dani's trip brings up her recent trauma and she's left uneasy. Everything is different here, but they roll with it and try to experience what the members of this community do. As the first ceremony reaches its peak the guests are left shocked and terrified. Can they, should they, battle through their preconceptions and get to the end of the festival? Or should they leave?
Midsommar runs at 2 hours and 27 minutes, that's long for most films. I don't know how this manages to be that long, there really doesn't seem to be enough content for that amount of time. Something worked though, I wasn't bored. Potentially that was through confusion at the bizarreness. I'm hoping someone has worked out how much of the runtime was taken up by silence. It could easily have been cut down. Dani's family issues don't have much of an impact on the story. It certainly didn't need to depict what happened, leaving those bits out would have just meant some changes to imagery later and the beginning would have tightened up a lot.
There's no denying that the setting for the film is beautiful and the sets are intricate and yet understated. It really does illustrate the community's simple living and traditions. That combined with the basic clothing and headdresses all create an innocent and tranquil image for the commune.
Visuals within the film are frustrating, they like a good odd transition. Early on we have a scene that moves from an apartment to an airplane, Dani walks into the apartment's bathroom and we're transitioned into the plane bathroom in a magnificently done shot. It was strange but worked so smoothly. But the transitions eventually became tiring to watch. We also get an overhead sweeping shot of forest that could have been lifted straight from Pet Semetary. Then there's the road shot where the camera turns upside down and films for an inexplicably long amount of time. *sigh*
The audio is something that's interesting to me. At the beginning the music is abrasive and really quite difficult to sit through and that almost certainly, combined with Pugh's wailing, contributed to a couple deciding to leave the screening I was in. There's a significant amount of the film where there's little to no sound at all, but this opening was harsh and while it offers a contrast between the lifestyles in the film it in no way felt beneficial. When we come to Sweden quiet and serene is the overriding sense. The first time we really encounter any noise is during the first ceremony and the audio is muted to reflect the shock of Dani, that felt like it worked. Sadly, that scene had issues for me outside of this moment.
At the festival our group are going to witness an event that only happens every 90 years. This sticks nicely to a life cycle that is explained to them when they're being shown around. Aster did a lot of research on traditions and folklore, lots of it feels authentic if a little busy with different ideas. There are a couple of things that aren't addressed when it comes to their life cycle and the ritual, although this is something that I thought about after seeing it so during the film it's not much of a problem.
I have been trying to finish this review for a week, sometimes I come across ones that are trickier than others and this is one of them. I still don't know how I really feel about Midsommar, what I do know is that I can't rave about it like some people have been. The acting was mediocre, and while the idea was intriguing I feel like the script and the way it was executed didn't appeal to me. I didn't find the brightness of the film and the darkness of the tale combined well to make for a thrilling production. I would much rather see this sort of thing as a grittier crime drama.
As a passing comment though I would like to say that everyone in the screen laughed at the sex scene, and I think everyone should appreciate the penis make-up.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/midsommar-movie-review.html
Christopher and the lads are planning a trip to Sweden to participate in the mid-summer festival of Pelle's community. After his girlfriend Dani receives some devastating news he invites her along in an empty gesture, the last thing he expects is for her to accept.
When they arrive in the village they're instantly in awe of the idyllic landscape and setting. The community welcomes them with open arms and hallucinogenic substances, but Dani's trip brings up her recent trauma and she's left uneasy. Everything is different here, but they roll with it and try to experience what the members of this community do. As the first ceremony reaches its peak the guests are left shocked and terrified. Can they, should they, battle through their preconceptions and get to the end of the festival? Or should they leave?
Midsommar runs at 2 hours and 27 minutes, that's long for most films. I don't know how this manages to be that long, there really doesn't seem to be enough content for that amount of time. Something worked though, I wasn't bored. Potentially that was through confusion at the bizarreness. I'm hoping someone has worked out how much of the runtime was taken up by silence. It could easily have been cut down. Dani's family issues don't have much of an impact on the story. It certainly didn't need to depict what happened, leaving those bits out would have just meant some changes to imagery later and the beginning would have tightened up a lot.
There's no denying that the setting for the film is beautiful and the sets are intricate and yet understated. It really does illustrate the community's simple living and traditions. That combined with the basic clothing and headdresses all create an innocent and tranquil image for the commune.
Visuals within the film are frustrating, they like a good odd transition. Early on we have a scene that moves from an apartment to an airplane, Dani walks into the apartment's bathroom and we're transitioned into the plane bathroom in a magnificently done shot. It was strange but worked so smoothly. But the transitions eventually became tiring to watch. We also get an overhead sweeping shot of forest that could have been lifted straight from Pet Semetary. Then there's the road shot where the camera turns upside down and films for an inexplicably long amount of time. *sigh*
The audio is something that's interesting to me. At the beginning the music is abrasive and really quite difficult to sit through and that almost certainly, combined with Pugh's wailing, contributed to a couple deciding to leave the screening I was in. There's a significant amount of the film where there's little to no sound at all, but this opening was harsh and while it offers a contrast between the lifestyles in the film it in no way felt beneficial. When we come to Sweden quiet and serene is the overriding sense. The first time we really encounter any noise is during the first ceremony and the audio is muted to reflect the shock of Dani, that felt like it worked. Sadly, that scene had issues for me outside of this moment.
At the festival our group are going to witness an event that only happens every 90 years. This sticks nicely to a life cycle that is explained to them when they're being shown around. Aster did a lot of research on traditions and folklore, lots of it feels authentic if a little busy with different ideas. There are a couple of things that aren't addressed when it comes to their life cycle and the ritual, although this is something that I thought about after seeing it so during the film it's not much of a problem.
I have been trying to finish this review for a week, sometimes I come across ones that are trickier than others and this is one of them. I still don't know how I really feel about Midsommar, what I do know is that I can't rave about it like some people have been. The acting was mediocre, and while the idea was intriguing I feel like the script and the way it was executed didn't appeal to me. I didn't find the brightness of the film and the darkness of the tale combined well to make for a thrilling production. I would much rather see this sort of thing as a grittier crime drama.
As a passing comment though I would like to say that everyone in the screen laughed at the sex scene, and I think everyone should appreciate the penis make-up.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/midsommar-movie-review.html
Haley Mathiot (9 KP) rated Seth Baumgartner's Love Manifesto in Books
Apr 27, 2018
Seth Baumgartner’s Love Manifesto by Eric Luper
Genre: YA Fiction
ISBN: 9780061827532
Published: June 1st 2010 by Balzer + Bray
Rating: 4
Seth hasn’t had such a great love life in the past few weeks. His girlfriend dumped him, he saw his father with another woman, and he’s having some friendship problems with his best friend… add to that the fact that his father wants him to win a golf tournament that he really doesn’t care about, he can’t keep a job, and the most unexpected girl on earth starts having feelings for him. Seth starts an anonymous podcast with music and his opinions called The Love Manifesto where he talks about what love is, why we want it, and why we’re stupid enough to keep coming back for more… and he finds some pretty interesting things about love, friendship, family, and himself.
Seth Baumgartner’s Love Manifesto (and I thought my last name was hard to pronounce) was a fun read. It drew me in right away with the writing style and the witty characters. I loved the characters. Up until the end I wasn’t quite sure I really liked Seth that much, because he was doing some pretty stupid things… but in the end when he got his head back on straight and started making the right choices, I saw that he really wasn’t too bad after all. His best friend Dimitri was hilarious (I think he was my favorite… the description on the back of the book of “smut-minded” is pretty accurate.) and his sister Audrey was my kind of gal. You got to love Audrey. Obnoxious, sarcastic, but sweet on her man in subtle ways, and a very good kisser.
The plot was great: it had drama, mystery, and emotion without getting sappy or melodramatic. It takes the reader on quite a ride, so you don’t quite know who the good guy is, and you feel bad for Seth, but it’s not too depressing either.
Although Luper didn’t quite explain or define “love,” he did show it in the characters actions by the end of the story. Even though I was hoping for something a little deeper, he did end the story well and I was satisfied after finishing.
Good writing, great character, fun plot, awesome ending, (and I love the mp3-player cover!) this one will pull you in and keep you hooked from the first page to the last.
Content/recommendation: Some language and sexual innuendoes. Ages 15+
This review is copyright 2010 to Haley Mathiot and Night Owl Reviews.
Genre: YA Fiction
ISBN: 9780061827532
Published: June 1st 2010 by Balzer + Bray
Rating: 4
Seth hasn’t had such a great love life in the past few weeks. His girlfriend dumped him, he saw his father with another woman, and he’s having some friendship problems with his best friend… add to that the fact that his father wants him to win a golf tournament that he really doesn’t care about, he can’t keep a job, and the most unexpected girl on earth starts having feelings for him. Seth starts an anonymous podcast with music and his opinions called The Love Manifesto where he talks about what love is, why we want it, and why we’re stupid enough to keep coming back for more… and he finds some pretty interesting things about love, friendship, family, and himself.
Seth Baumgartner’s Love Manifesto (and I thought my last name was hard to pronounce) was a fun read. It drew me in right away with the writing style and the witty characters. I loved the characters. Up until the end I wasn’t quite sure I really liked Seth that much, because he was doing some pretty stupid things… but in the end when he got his head back on straight and started making the right choices, I saw that he really wasn’t too bad after all. His best friend Dimitri was hilarious (I think he was my favorite… the description on the back of the book of “smut-minded” is pretty accurate.) and his sister Audrey was my kind of gal. You got to love Audrey. Obnoxious, sarcastic, but sweet on her man in subtle ways, and a very good kisser.
The plot was great: it had drama, mystery, and emotion without getting sappy or melodramatic. It takes the reader on quite a ride, so you don’t quite know who the good guy is, and you feel bad for Seth, but it’s not too depressing either.
Although Luper didn’t quite explain or define “love,” he did show it in the characters actions by the end of the story. Even though I was hoping for something a little deeper, he did end the story well and I was satisfied after finishing.
Good writing, great character, fun plot, awesome ending, (and I love the mp3-player cover!) this one will pull you in and keep you hooked from the first page to the last.
Content/recommendation: Some language and sexual innuendoes. Ages 15+
This review is copyright 2010 to Haley Mathiot and Night Owl Reviews.