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Chris Sawin (602 KP) rated Last Looks (2022) in Movies
Feb 5, 2022
Charlie Hunnam (1 more)
Mel Gibson
Interesting side characters that don't pay off (1 more)
Ultimately a boring mystery
"Last Looks" (2022) Review: A Bland, Overstuffed Mystery
In Last Looks, Charlie Waldo (Charlie Hunnam) is a retired cop and former LAPD officer. He ghosted everyone he knew, parked a trailer on the top of a mountain, got rid of nearly everything he owned, and now lives a life of solitude off the grid. Waldo seems genuinely happy surrounded by nothing but nature and his chickens until his new simplistic life is interrupted by his on again and off again ex-girlfriend Lorena (Morena Baccarin) asks for Waldo’s help on a new case.
Alistair Pinch (Mel Gibson) is a talented and accomplished actor whose drinking pushes him to erratic behavior. Pinch is the prime suspect when his wife is murdered. It’s up to Waldo to come out of retirement to prove Pinch’s innocence despite his reluctance to take the case.
Based on the 2018 crime, mystery novel of the same name, Last Looks is written by Howard Michael Gould (who wrote the book and the screenplay) and directed by Tim Kirkby (Action Point). The film attempts to be quirky and funny while offering its audience something intriguing and entertaining; something along the lines of Rian Johnson’s Brick, Shane Black’s Kiss Kiss Bang Bang, or David Robert Mitchell’s Under the Silver Lake.
The biggest draw is that Waldo literally just gets his ass kicked the entire film. It’s repeatedly mentioned that Waldo is rusty in all aspects of investigating, so that likely plays a part of it. But he is knocked down and knocked out more times than you can count throughout the film. One of the only interesting aspects of the film is that Waldo is consistently given signs that he shouldn’t take this case. He’s threatened by gangsters, Pinch is arrested almost immediately after Waldo shows up in Los Angeles, and Lorena disappears without a trace. It may be as simple as Waldo still having a thing for Lorena, but you like to think that it’s also because she’d only ask him for help with a case that deserves his attention.
Last Looks is an odd film. The performances from Charlie Hunnam and Mel Gibson are relatively solid, but it’s as if they’re wasting all of their talent being trapped within the walls of a trampled and soggy paper bag. Waldo encounters all of these eccentric characters as you follow his investigation from his perspective, but it feels like it goes nowhere once it’s all said and done. In the grand scheme of things, Last Looks is boring. There’s no real humor here. The entire film can be summed up as watching Charlie Hunnam stand around and talk and get punched in the face consistently over the course of two hours.
There are some peculiar cameos in Last Looks. Method Man mostly appears in internet videos watched on a mobile phone while Dominic Monaghan shows up as a vape smoking lawyer only to never be seen again after one brief bike rack encounter. Jacob Scipio has a great introductory sequence as a gangster named Don Q who is troubled by deciding whether to get a Kindle or a Nook and then his character kind of fizzles out after that despite being featured prominently in the supporting cast. Don Q has a connection to Lorena that starts off as intriguing with a disappointing payoff.
Jayne White (Lucy Fry) is Gaby Pinch’s, Alistair’s daughter, preschool teacher and her inclusion in the story is a complete mess. White flirts with Waldo from the start, so you know where that’s going but her connection to Alistair and what that branches off into seems overly complicated for the grand scheme of things.
Last Looks is a mysterious stew that experiments with flavorful ingredients throughout its two hour duration. The film ultimately collapses under its own potential resulting in a bland and flavorless concoction. Every side character is just interesting enough to pique your interest and the film is written in a way where it seems like everyone is a suspect, but every potentially exciting aspect fizzles out before it has a chance to light up the sky; like a really expensive firecracker that turns out to be a dud. The film may be worth a look for Mel Gibson’s flashy, boisterous, and drunkenly absurd performance. The mystery in Last Looks is essentially comparable trying to discover the expiration date on a can of mystery meat that has lost its label; it may be life threatening but is otherwise a bore to experience by others.
Alistair Pinch (Mel Gibson) is a talented and accomplished actor whose drinking pushes him to erratic behavior. Pinch is the prime suspect when his wife is murdered. It’s up to Waldo to come out of retirement to prove Pinch’s innocence despite his reluctance to take the case.
Based on the 2018 crime, mystery novel of the same name, Last Looks is written by Howard Michael Gould (who wrote the book and the screenplay) and directed by Tim Kirkby (Action Point). The film attempts to be quirky and funny while offering its audience something intriguing and entertaining; something along the lines of Rian Johnson’s Brick, Shane Black’s Kiss Kiss Bang Bang, or David Robert Mitchell’s Under the Silver Lake.
The biggest draw is that Waldo literally just gets his ass kicked the entire film. It’s repeatedly mentioned that Waldo is rusty in all aspects of investigating, so that likely plays a part of it. But he is knocked down and knocked out more times than you can count throughout the film. One of the only interesting aspects of the film is that Waldo is consistently given signs that he shouldn’t take this case. He’s threatened by gangsters, Pinch is arrested almost immediately after Waldo shows up in Los Angeles, and Lorena disappears without a trace. It may be as simple as Waldo still having a thing for Lorena, but you like to think that it’s also because she’d only ask him for help with a case that deserves his attention.
Last Looks is an odd film. The performances from Charlie Hunnam and Mel Gibson are relatively solid, but it’s as if they’re wasting all of their talent being trapped within the walls of a trampled and soggy paper bag. Waldo encounters all of these eccentric characters as you follow his investigation from his perspective, but it feels like it goes nowhere once it’s all said and done. In the grand scheme of things, Last Looks is boring. There’s no real humor here. The entire film can be summed up as watching Charlie Hunnam stand around and talk and get punched in the face consistently over the course of two hours.
There are some peculiar cameos in Last Looks. Method Man mostly appears in internet videos watched on a mobile phone while Dominic Monaghan shows up as a vape smoking lawyer only to never be seen again after one brief bike rack encounter. Jacob Scipio has a great introductory sequence as a gangster named Don Q who is troubled by deciding whether to get a Kindle or a Nook and then his character kind of fizzles out after that despite being featured prominently in the supporting cast. Don Q has a connection to Lorena that starts off as intriguing with a disappointing payoff.
Jayne White (Lucy Fry) is Gaby Pinch’s, Alistair’s daughter, preschool teacher and her inclusion in the story is a complete mess. White flirts with Waldo from the start, so you know where that’s going but her connection to Alistair and what that branches off into seems overly complicated for the grand scheme of things.
Last Looks is a mysterious stew that experiments with flavorful ingredients throughout its two hour duration. The film ultimately collapses under its own potential resulting in a bland and flavorless concoction. Every side character is just interesting enough to pique your interest and the film is written in a way where it seems like everyone is a suspect, but every potentially exciting aspect fizzles out before it has a chance to light up the sky; like a really expensive firecracker that turns out to be a dud. The film may be worth a look for Mel Gibson’s flashy, boisterous, and drunkenly absurd performance. The mystery in Last Looks is essentially comparable trying to discover the expiration date on a can of mystery meat that has lost its label; it may be life threatening but is otherwise a bore to experience by others.
Chris Sawin (602 KP) rated The Unbearable Weight of Massive Talent (2022) in Movies
Apr 24, 2022
The performances of Nicolas Cage and Pedro Pascal. (1 more)
A simple concept wrapped in a ton of adult humor.
Could be a bit too meta at times. (1 more)
The second half of the film isn't quite as good as the first half.
The R-Rated Action Comedy of a Lifetime
Nicolas Cage portrays an exaggerated version of himself in The Unbearable Weight of Massive Talent. In the film, Nick Cage is struggling as an actor. He’s in a crazy amount of debt, he can’t find steady work, and his ex-wife Olivia (Sharon Horgan) and daughter Addy (Anna MacDonald) feel like he’s too full of himself to fit them into his life. Nick contemplates retiring from acting altogether and is intending to do so after an awkward $1 million gig of being on an island as the guest of honor at a birthday party.
But the birthday is for a gargantuan Nicolas Cage super fan named Javi Gutierrez (Pedro Pascal). Javi and Nick become fast friends, but the CIA abducts Nick one evening and informs him that Javi is actually an arms dealer that is responsible for the kidnapping of the daughter of an anti-crime politician. Nick becomes torn between snitching for the government and seeing where his newfound friendship with Javi goes, which revolves around Nick having the most fun he’s had in years.
What makes The Unbearable Weight of Massive Talent so entertaining is the bromance between Nicolas Cage and Pedro Pascal. The two seem like legitimate best friends and there’s essentially chemistry with the two actors as soon as they meet each other on screen. As Nick Cage, the real Cage is totally self-absorbed as the character. He’s blinded by his own interests and what he has going on in his life to really understand or pay attention to anyone else. The whole world revolves around Nick Cage. Meanwhile, Javi is more humble. He has so much Nicolas Cage memorabilia that his room devoted to him could be considered as a museum or shrine to the actor. The two surprisingly have a lot in common and end up being hilarious together.
The first hour of the film is basically the Cage and Pascal show with the two running around like idiots in the best kind of way. Nick and Javi bond over Paddington 2, possibly making a movie together, and doing acid together. The acid taking sequence in general is probably the funniest part of the film, especially with their uncontrollable paranoia and Pascal’s fake laughing.
The remaining 47 minutes is devoted to the two men attempting to kill one another. Nick believing that Javi is this guns dealing madman and Javi discovering that Nick has been working with the CIA. The film snowballs further and further into ridiculous territory and you just gobble it up because it’s so great. The R-rated action comedy is loaded with incredibly detailed movie references and Nicolas Cage being funnier than he has ever been.
Pedro Pascal has dabbled in comedy since leaving Game of Thrones and it has never really worked out. He was the best part of The Bubble, which dropped on Netflix earlier this month, but that’s not saying much since the film was so bad. This is the first time Pascal has gotten to showcase his comedic chops in a film that is legitimately funny, surprisingly sentimental, and enormously entertaining from beginning to end.
Throughout the film, Nick Cage argues with Nicky – the younger and more successful version of himself from Wild at Heart. Nicky is basically the devil on Nick Cage’s shoulder as he encourages him to take more risks and do whatever he wants simply because he is Nick freaking Cage. It’s incredible seeing two versions of Cage argue and interact on screen, but it nearly melts your brain from simply being too awesome for our Nicolas Cage admiring brains to process.
It certainly seems like The Unbearable Weight of Massive Talent will have a deeper impact on you if you’re at least somewhat of a fan of Nicolas Cage’s work, but could also be amusing for fans of absurd adult comedies. Pedro Pascal is the humorous wingman we all wish we could have; soft spoken and yet a priceless factor in the overall ludicrous nature of the film. Meanwhile, Nicolas Cage continues to reign supreme as a talented lunatic at the top of his game. The Unbearable Weight of Massive Talent is an outrageous and uproarious expedition into hilarity and absurdity. Nicolas Cage and Pedro Pascal are an unlikely yet brilliant comical duo that will have you rolling on the sticky movie theater floor with laughter.
But the birthday is for a gargantuan Nicolas Cage super fan named Javi Gutierrez (Pedro Pascal). Javi and Nick become fast friends, but the CIA abducts Nick one evening and informs him that Javi is actually an arms dealer that is responsible for the kidnapping of the daughter of an anti-crime politician. Nick becomes torn between snitching for the government and seeing where his newfound friendship with Javi goes, which revolves around Nick having the most fun he’s had in years.
What makes The Unbearable Weight of Massive Talent so entertaining is the bromance between Nicolas Cage and Pedro Pascal. The two seem like legitimate best friends and there’s essentially chemistry with the two actors as soon as they meet each other on screen. As Nick Cage, the real Cage is totally self-absorbed as the character. He’s blinded by his own interests and what he has going on in his life to really understand or pay attention to anyone else. The whole world revolves around Nick Cage. Meanwhile, Javi is more humble. He has so much Nicolas Cage memorabilia that his room devoted to him could be considered as a museum or shrine to the actor. The two surprisingly have a lot in common and end up being hilarious together.
The first hour of the film is basically the Cage and Pascal show with the two running around like idiots in the best kind of way. Nick and Javi bond over Paddington 2, possibly making a movie together, and doing acid together. The acid taking sequence in general is probably the funniest part of the film, especially with their uncontrollable paranoia and Pascal’s fake laughing.
The remaining 47 minutes is devoted to the two men attempting to kill one another. Nick believing that Javi is this guns dealing madman and Javi discovering that Nick has been working with the CIA. The film snowballs further and further into ridiculous territory and you just gobble it up because it’s so great. The R-rated action comedy is loaded with incredibly detailed movie references and Nicolas Cage being funnier than he has ever been.
Pedro Pascal has dabbled in comedy since leaving Game of Thrones and it has never really worked out. He was the best part of The Bubble, which dropped on Netflix earlier this month, but that’s not saying much since the film was so bad. This is the first time Pascal has gotten to showcase his comedic chops in a film that is legitimately funny, surprisingly sentimental, and enormously entertaining from beginning to end.
Throughout the film, Nick Cage argues with Nicky – the younger and more successful version of himself from Wild at Heart. Nicky is basically the devil on Nick Cage’s shoulder as he encourages him to take more risks and do whatever he wants simply because he is Nick freaking Cage. It’s incredible seeing two versions of Cage argue and interact on screen, but it nearly melts your brain from simply being too awesome for our Nicolas Cage admiring brains to process.
It certainly seems like The Unbearable Weight of Massive Talent will have a deeper impact on you if you’re at least somewhat of a fan of Nicolas Cage’s work, but could also be amusing for fans of absurd adult comedies. Pedro Pascal is the humorous wingman we all wish we could have; soft spoken and yet a priceless factor in the overall ludicrous nature of the film. Meanwhile, Nicolas Cage continues to reign supreme as a talented lunatic at the top of his game. The Unbearable Weight of Massive Talent is an outrageous and uproarious expedition into hilarity and absurdity. Nicolas Cage and Pedro Pascal are an unlikely yet brilliant comical duo that will have you rolling on the sticky movie theater floor with laughter.
Annie Chanse (15 KP) rated Shadows & Dreams in Books
Dec 19, 2017
Review** spoiler alert ** *Warning: contains spoilers, bad words, and quite a long rant*
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
Movie Metropolis (309 KP) rated Coco (2017) in Movies
Jun 10, 2019
Has pixar got it's mojo back?
Pixar has been on something of a downward trend of late, and that’s something I never thought I’d say. As much as it hurts, films like Cars 3, Finding Dory and The Good Dinosaur just don’t cut the mustard when compared to some of the studio’s greats.
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
BankofMarquis (1832 KP) rated The Graduate (1967) in Movies
Jun 16, 2019
Career Defining Turn by Bancroft
On the surface, THE GRADUATE is a story of a young college graduate who has an affair with an older woman. But look beneath the surface and this film becomes much, much more.
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Directed by Mike Nichols, THE GRADUATE tells the tale of Benjamin Braddock a recent College Graduate who returns home to figure out what to do with his life. He enters the film in a malaise and is paralyzed into inaction by no clear direction to his life. Taking advantage of this young man's vulnerability, family friend, Mrs. Robinson, seduces Benjamin but Benjamin realizes that he is in love with Mrs. Robinson's daughter, Elaine.
Sounds pretty straight forward, right? But under the smart, understated Direction of Mike Nichols (who won an Oscar for his work), this film becomes much, much more - subverting the notion of love and lust while driving a narrative that shines a light on the generational gap between parents and adult children in a time of great change in America - oh...and doing it in a subtly comedic way (the screenplay was wonderfully written by the great Buck Henry who makes a cameo in this film as a Hotel clerk).
Nichols, smartly, casts then relative unknown Dustin Hoffman as Benjamin because he was able to play the comedy of the awkwardness of the character (especially early on in the seduction/sex scenes with Mrs. Robinson) as well as showing emotion in emotionlessness. His Benjamin is empty - but not lacking of personality or interest - a tough tightrope to walk, but Hoffman plays it well and earned an Academy Award nomination for his work. His character does become...if I'm being honest...less interesting and more "stalker-ish" (certainly from a 21st Century perspective) as he pursues Elaine in the 2nd half of the film, so this diminishes this performance just a bit.
Also earning an Academy Award nomination is Anne Bancroft who dons a career-defining role as Mrs. Robinson. She was having trouble with the part until Director Nichols reminded her that Mrs. Robinson is seducing Benjamin not out of love or lust, but out of anger at the direction her life has drifted. We find out that Mrs. Robinson was an Art Major in College but gave up anything resembling a career when she got pregnant shortly before marrying Mr. Robinson. You can see the seething anger and resentment in the way Bancroft performs this character, with just a tinge of regret. This is a woman trying to take some control over her life - by controlling her relationship with Benjamin. And, when Benjamin decides it is time to take control of his own life, she resents it and digs her claws in deeper. It is a tour-de-force performance, one of the all-time great female performances in film.
The third side to this triangle is Elaine Robinson and as written - and portrayed by Katherine Ross - this is the most problematic of the characters. Elaine appears to be a well adjusted young woman finishing off her college career and is forced into a "date" with Benjamin at the insistence of Benjamin's parents and Elaine's father (Elaine's mother - Mrs. Robinson - is, understandably, silent on this). There is a good scene in the middle of the film where Benjamin and Elaine make a connection (which spurs Benjamin into his obsession with Elaine) but I couldn't really see what was in it for Elaine. Sure, there is the "break away from the carefully crafted life that my parents have set up for me" angle (and, surely, her desire to NOT marry the pre-Med student that she is engaged to lines right up with that) but I just didn't understand/buy her infatuation with Benjamin. Despite this, Ross earned the 3rd acting Nomination from this film.
Credit all 3 of these performances to Director Nichols who finds the right balance in every scene along with an interesting visual style that punctuates the loneliness and isolation that Benjamin is feeling. Add to that the haunting songs/sounds of the Simon and Garfunkel soundtrack - just about the only music in this film - and you have a funny, haunting and important film that is an interesting look at a time in America (the late '60's) where great change was happening and the "Generation Gap" was never more noticeable.
One last note - I LOVED the closing shot of this film. Nichols let the camera roll just a little longer than the actors expected and the look on their faces change, subtly, from surety of their decision and direction to a more "unsure" look. It is a perfect, ambiguous, way to end and I applaud Nichols for making this strong choice.
Come for the seduction, stay for the subtle humor and to watch a Director at the top of his game.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (ofMarquis)
Heather Cranmer (2721 KP) rated Tempestuous (Twisted Lit #1) in Books
Jun 7, 2018
(This review can be found on my blog, <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>, in September).
I read Exposure (Twisted Lit #2) first (review up in a couple of days), and while I enjoyed that one better, Tempestuous is still a good read. I can't comment on how much alike it is to The Tempest by Shakespeare because I've never read that play by Shakespeare.
Miranda Prospero used to be a popular girl, but after one of her ideas gets people in trouble, she becomes a social pariah. One night, while working at the hot dog stand in the mall, there's a horrible snowstorm, and everyoen is locked in the mall overnight including Miranda and her former friends and ex-boyfriend. As she plots revenge against them, there's also a series of break-ins going on at the mall. It doesn't take long for Miranda to realize that the thief is also locked in the mall. Miranda must learn what's important or else she may be in more trouble.
I love the cover! I love how plain it is, yet how artistic it is at the same time. The colors go together really well, and I love the little soda cup on the cover.
The title is fantastic because not only is this a retelling of The Tempest by Shakespeare, but it also describes the weather in the book as well as Miranda's life at the moment.
I thought the world building was alright and the setting fantastic. I've always wondered what it would be like to be stuck in a mall. I'd probably hate it, but I'd like to imagine it'd be like what Miranda's night was like. I just kind of found it hard to believe that people would just go into any closed shop willy nilly for supplies and loot. I also found it kind of hard to believe that key holders would just open their shops for people. I would've loved to have more back story on Miranda's fall from grace. I would've liked the book to open up with her being part of the popular crowd, and then read about her incident that lead her to be a social outcast, followed by the story I just read. Yes, it would make a longer book, but I think I would've found that super interesting.
The pacing is alright in this book. I didn't devour this book so to speak. I wasn't bored with it, and the pacing is by no means slow, I just didn't get as interested in it as I have with other books.
I like the whole plot about being stuck in a mall and wondering what's going to happen that night. There are many subplots like how Miranda reacts to her former friends and ex-boyfriend, her love life, her friendships and other decisions. I like how there was also the subplot involving a thief locked inside the mall with everyone. I must admit that I was trying to find out who the thief was (and getting it wrong) throughout the book. I only realized who the thief was when Miranda did.
I felt that the characters were written well. I could totally understand about Miranda wanting revenge on those who shamed her and bullied her. I'm not condoning revenge by no means, but I could relate to that feeling. I loved how down to Earth Miranda seemed and how much she cared for people. Caleb came across as being a little bit of a dork, but that's what I loved about him! His dorkiness was actually kind of cute! I also loved how Chad was athletic, but the authors didn't make him out to be some brainless jock. Chad was actually a very sweet and caring guy, and I loved him. My favorite character was Ariel though. I loved her naivety and innocence. I loved how she seemed to find beauty in everything. I just wanted to hug Ariel a lot throughout the book.
I enjoyed the dialogue. None of it felt forced which was good. Everything flowed smoothly, and I found myself even laughing at some of the dialogue (because it was meant to be funny, not because it was bad or anything). There are a few swear words in the book, but nothing major.
Overall, Tempestuous is a fun story that lets you live a night being stuck in a mall with it's likable characters, great dialogue and interesting plot.
I'd recommend this book to those aged 14+ who want to read something with characters that they can relate to.
I'd give Tempestuous (Twisted Lit #1) by Kim Askew & Amy Helmes a 3.75 out of 5.
(I received this book for free from the authors for a giveaway. I was not required to write a review).
I read Exposure (Twisted Lit #2) first (review up in a couple of days), and while I enjoyed that one better, Tempestuous is still a good read. I can't comment on how much alike it is to The Tempest by Shakespeare because I've never read that play by Shakespeare.
Miranda Prospero used to be a popular girl, but after one of her ideas gets people in trouble, she becomes a social pariah. One night, while working at the hot dog stand in the mall, there's a horrible snowstorm, and everyoen is locked in the mall overnight including Miranda and her former friends and ex-boyfriend. As she plots revenge against them, there's also a series of break-ins going on at the mall. It doesn't take long for Miranda to realize that the thief is also locked in the mall. Miranda must learn what's important or else she may be in more trouble.
I love the cover! I love how plain it is, yet how artistic it is at the same time. The colors go together really well, and I love the little soda cup on the cover.
The title is fantastic because not only is this a retelling of The Tempest by Shakespeare, but it also describes the weather in the book as well as Miranda's life at the moment.
I thought the world building was alright and the setting fantastic. I've always wondered what it would be like to be stuck in a mall. I'd probably hate it, but I'd like to imagine it'd be like what Miranda's night was like. I just kind of found it hard to believe that people would just go into any closed shop willy nilly for supplies and loot. I also found it kind of hard to believe that key holders would just open their shops for people. I would've loved to have more back story on Miranda's fall from grace. I would've liked the book to open up with her being part of the popular crowd, and then read about her incident that lead her to be a social outcast, followed by the story I just read. Yes, it would make a longer book, but I think I would've found that super interesting.
The pacing is alright in this book. I didn't devour this book so to speak. I wasn't bored with it, and the pacing is by no means slow, I just didn't get as interested in it as I have with other books.
I like the whole plot about being stuck in a mall and wondering what's going to happen that night. There are many subplots like how Miranda reacts to her former friends and ex-boyfriend, her love life, her friendships and other decisions. I like how there was also the subplot involving a thief locked inside the mall with everyone. I must admit that I was trying to find out who the thief was (and getting it wrong) throughout the book. I only realized who the thief was when Miranda did.
I felt that the characters were written well. I could totally understand about Miranda wanting revenge on those who shamed her and bullied her. I'm not condoning revenge by no means, but I could relate to that feeling. I loved how down to Earth Miranda seemed and how much she cared for people. Caleb came across as being a little bit of a dork, but that's what I loved about him! His dorkiness was actually kind of cute! I also loved how Chad was athletic, but the authors didn't make him out to be some brainless jock. Chad was actually a very sweet and caring guy, and I loved him. My favorite character was Ariel though. I loved her naivety and innocence. I loved how she seemed to find beauty in everything. I just wanted to hug Ariel a lot throughout the book.
I enjoyed the dialogue. None of it felt forced which was good. Everything flowed smoothly, and I found myself even laughing at some of the dialogue (because it was meant to be funny, not because it was bad or anything). There are a few swear words in the book, but nothing major.
Overall, Tempestuous is a fun story that lets you live a night being stuck in a mall with it's likable characters, great dialogue and interesting plot.
I'd recommend this book to those aged 14+ who want to read something with characters that they can relate to.
I'd give Tempestuous (Twisted Lit #1) by Kim Askew & Amy Helmes a 3.75 out of 5.
(I received this book for free from the authors for a giveaway. I was not required to write a review).
Andy Meakin (5 KP) rated Thor: Ragnarok (2017) in Movies
Jul 11, 2018
Thor-oughly entertaining.
Thor has always come across as the weaker of the Marvel film series’. The first film was well made, but never really demanded a repeat watch. The second, whilst not as bad as some people will attest, still felt more like a stop gap filler. You can’t blame the casting for the feeling of nonchalance that the films, so far, have delivered. Hemsworth is great in the role, and the support cast have always given their all, from Hiddleston as Loki, to Anthony Hopkins as Odin. But the stories have just felt superfluous, generic, and lacking in anything fantastical or mystical. In addition they have made the same error that DC made when they adapted Green Lantern – they spent too much time on Earth! You see, there are enough super-hero films that focus on a threat to Earth, so even though you could argue that it is faithful to the comics to have Thor defending Midgard against some mythical enemy, it has the unfortunate effect of making it seem just a little too…familiar. Wisely the decision was made for this third film to break away from Midgard, and go ‘cosmic’ with the story – and the end result is a damn sight better as a result.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
Louise (64 KP) rated A Court of Thorns and Roses in Books
Jul 2, 2018 (Updated Oct 16, 2018)
Contains spoilers, click to show
Feyre is the sole breadwinner for her family,with two sisters and her father to feed she trains herself to hunt. When out hunting on one of the coldest days in winter, she finds she has competition in the form of a wolf, hungry and knowing that she won’t get her chance again for a while she kills the wolf and her prey. She manages to sell the pelt from the wolf she killed and gets a pretty penny too but days later a beast/lion crashes through her door demanding to know who killed the wolf and that the killer must live in the immortal lands by the Fae law or die. When Feyre is taken to land of immortals (Prythian) she is shocked to see how beautiful everything is and also that her captor is not a beast but a handsome High Fae that is known as Tamlin. As Feyre grows to be more accustomed with her surroundings and finds a mutual interest with Tamlin, their companionship evolves into something more… A LOT MORE! There is a sickness that is spreading causing the fae to become weak, Feyre wants to help to stop this sickness but first she has to find….HER!
Why oh why have I waited so long to read this? I am always the last one on the hype train, but this didn’t disappoint me and is worth all the hype.
This is the first Sarah J Maas book that I have read and now I have a thirst for more. I don’t read a lot of retellings as I have this feeling that they are going to be totally different from the original. This really did feel like beauty and the beast with a twist and faeries. I have not read a lot of books involving fae, so I didn’t know what to expect but with Maas’ descriptive writing I was able to gather a good idea of what they looked like.
I had a hard time getting into this book, I don’t read a lot of fantasy and where I am so new to the genre I was a little worried that I wasn’t going to know what was going on. There are a lot of characters in this book and different types of Fae and creatures which was definitely interesting. I needn’t have worried as after reading this book I really wanted to delve into more fantasy, where anything can happen, where you have all types of creatures and just let your imagination go wild.
Feyre is a huntress, she is fearless, courageous, stubborn and a pretty good protagonist, however saying that some of the things she did, just made me shake my head and shout WHY? at my book. She would do some pretty stupid stuff and get herself into trouble even when she was warned by Tamlin that she shouldn’t do something or stay away.
Tamlin is the lord/high fae of the spring court and is able to shape shift into the lion/beast that Feyre encountered back in the mortal lands. He’s brooding, secretive, stubborn like Feyre and handsome obviously. I am100% team Tamlin, you grow to love him and the interactions between him and Feyre
Lucien, I was not sure about him, he was funny in parts but then he did things that put Feyre in jeopardy, however he had more of a back story to him which was interesting but I wasn’t a massive fan of his.
Rhysand he is good looking and he knows it, but he is devious and you are left wondering whose side he is really on. He is definitely a likeable character and seen as a contender for Feyre’s affections
Aramantha! What a bitch! What a badass! She is a great villain, she is pure evil and I loved it. She has everyone wrapped around her finger, she was cunning and sly.
I loved the romance in this book, it is verging on new adult with some scenes that are quite steamy between Feyre and Tamlin. There is a build up to the romance and so much tension between the two its palpable. Feyre despises Tamlin at first and then they find mutual interests(art) and become closer.
And for people who have read the book if you were like me. I was shouting at Feyre, at my book…..JUST SAY IT! SAY IT! And then afterwards WHY OH WHY DIDN’T YOU SAY IT!(Hopefully you know what I am on about)
I will definitely be continuing on with the sequel I need more Tamlin and the world. Sarah J Maas you legend!
If you are looking for a YA retelling that has a twist and makes it its own then you should definitely pick this up. If you love romance with tension then pick this book,it’s definitely an all the feels kinda book.
I rated this 4.25 out of 5 stars
Why oh why have I waited so long to read this? I am always the last one on the hype train, but this didn’t disappoint me and is worth all the hype.
This is the first Sarah J Maas book that I have read and now I have a thirst for more. I don’t read a lot of retellings as I have this feeling that they are going to be totally different from the original. This really did feel like beauty and the beast with a twist and faeries. I have not read a lot of books involving fae, so I didn’t know what to expect but with Maas’ descriptive writing I was able to gather a good idea of what they looked like.
I had a hard time getting into this book, I don’t read a lot of fantasy and where I am so new to the genre I was a little worried that I wasn’t going to know what was going on. There are a lot of characters in this book and different types of Fae and creatures which was definitely interesting. I needn’t have worried as after reading this book I really wanted to delve into more fantasy, where anything can happen, where you have all types of creatures and just let your imagination go wild.
Feyre is a huntress, she is fearless, courageous, stubborn and a pretty good protagonist, however saying that some of the things she did, just made me shake my head and shout WHY? at my book. She would do some pretty stupid stuff and get herself into trouble even when she was warned by Tamlin that she shouldn’t do something or stay away.
Tamlin is the lord/high fae of the spring court and is able to shape shift into the lion/beast that Feyre encountered back in the mortal lands. He’s brooding, secretive, stubborn like Feyre and handsome obviously. I am100% team Tamlin, you grow to love him and the interactions between him and Feyre
Lucien, I was not sure about him, he was funny in parts but then he did things that put Feyre in jeopardy, however he had more of a back story to him which was interesting but I wasn’t a massive fan of his.
Rhysand he is good looking and he knows it, but he is devious and you are left wondering whose side he is really on. He is definitely a likeable character and seen as a contender for Feyre’s affections
Aramantha! What a bitch! What a badass! She is a great villain, she is pure evil and I loved it. She has everyone wrapped around her finger, she was cunning and sly.
I loved the romance in this book, it is verging on new adult with some scenes that are quite steamy between Feyre and Tamlin. There is a build up to the romance and so much tension between the two its palpable. Feyre despises Tamlin at first and then they find mutual interests(art) and become closer.
And for people who have read the book if you were like me. I was shouting at Feyre, at my book…..JUST SAY IT! SAY IT! And then afterwards WHY OH WHY DIDN’T YOU SAY IT!(Hopefully you know what I am on about)
I will definitely be continuing on with the sequel I need more Tamlin and the world. Sarah J Maas you legend!
If you are looking for a YA retelling that has a twist and makes it its own then you should definitely pick this up. If you love romance with tension then pick this book,it’s definitely an all the feels kinda book.
I rated this 4.25 out of 5 stars
The Chairport (1 KP) rated Mission: Impossible - Fallout (2018) in Movies
Aug 4, 2018
Real action (3 more)
Real stunts
Fantastically scored
Beautiful locations and cinematography
Pay the admission, accept this mission!
(Review from www.thechairport.com)When the Mission Impossible film franchise started it had a slightly rocky start. After a great first film, the second film fell short of the mark. Watching those first two films now you can see how different they are to the Mission we know now. Ever since the second Mission film, ever since JJ Abrams and the Bad Robot team took over, the Mission franchise has been ageing like a fine wine. Actually, it’s been ageing like Tom Cruise. Fallout, the sixth film in the Mission franchise is the best yet and easily one of the best action films of all time and it’s all thanks to its real action.
Mission Impossible: Fallout follows Ethan Hunt as he and his crew lose some plutonium they are trying to recover. The bad guys trying to use the plutonium are The Apostles, a spin-off group from Rogue Nation’s Syndicate. This time the IMF team are joined by a ruthless CIA agent, Walker played by Henry Cavill, who is there to ensure that the team retrieve the plutonium. The bad guys this time around, The Apostles, follow Solomon Lane’s thinking that to get peace the world must first experience a great suffering. With that line ringing throughout the IMF’s ears, the team is off on a race against time to stop The Apostles.
Fallout is filled with action and as far as action movies come, this film really takes the cake. Tom Cruise is just the man that everyone wants to be, as in he really seems like he can do anything. In the current state of cinema any other filmmaking team would’ve made this film with CGI effects all over yet Cruise and Fallout’s director, Christopher McQuarrie, have decided to do everything for real and it’s that element alone that makes the film.
There are moments in Fallout where you just sit there astonished by what you’re seeing happen in front of you. You feel shivers and the need to applause at the opening ten minutes of the film, your eye’s dash across the screen as you’re watching Cruise’s Ethan Hunt race through oncoming traffic in Paris and you’ll find yourself simply flabbergasted as you watch Cruise do anything at all in the helicopter sequence that you’ve definitely already heard about.
Mission Impossible: Fallout isn’t just simply an insane action blockbuster, it is more than that. Every actor on the screen knows that what they’re in is going to be something revolutionary for cinema and every actor really pulls their weight. Simon Pegg’s comedy is on point, Alec Baldwin’s acting as someone in charge is as good as ever, Henry Cavill being absolutely brutal is scary and cool at the same time. Fallout also has a good amount of female characters in it with Rebecca Ferguson and Michelle Monaghan bringing a lot of well-needed emotion and Vanessa Kirby’s Black Widow bringing a funny yet creepy vibe to the whole occasion.
The story is fairly simple as McQuarrie doesn’t want to isolate the audience, you can definitely see it if you haven’t seen other Mission Films. It’s McQuarrie and his team’s filmmaking that really make the film what it is. The cameraman who does the HALO jump with Tom Cruise deserves many awards and I would be surprised if the film, and its team, didn’t win any awards for filmmaking. If you’ve got free time too then look up how the film was made because it is quite interesting. I mean it’s rare that an action blockbuster would even be nominated but as of right now Fallout is my favourite film of the year, both for how good it is and then researching how it was made. People just don’t put in as much effort as the Mission team have done in films anymore.
Mission Impossible: Fallout is a must-see film. It’s a long film but never really feels like it. It’s a constant chase that will keep you on the edge of your seat and it has twists and turns that you won’t see coming. I was recently reading about how Christopher Nolan wanted The Dark Knight to bring back film instead of everyone filming digitally. Fallout sings a similar message and but its message is for real-life stunts. Mquarrie has evolved in a similar manner to how Nolan evolved between Batman Begins and The Dark Knight. Fallout gave me similar vibes of excitement and intensity and Fallout will leave its mark on you, I’m not sure how I’ll feel watching CGI action from now on. All I know is that making everything real instead of fake isn’t impossible but to repeat the magic that Fallout has, well that’s only something the Mission team can do. Mission accomplished Cruise, mission accomplished.
Score: 5/5
Mission Impossible: Fallout follows Ethan Hunt as he and his crew lose some plutonium they are trying to recover. The bad guys trying to use the plutonium are The Apostles, a spin-off group from Rogue Nation’s Syndicate. This time the IMF team are joined by a ruthless CIA agent, Walker played by Henry Cavill, who is there to ensure that the team retrieve the plutonium. The bad guys this time around, The Apostles, follow Solomon Lane’s thinking that to get peace the world must first experience a great suffering. With that line ringing throughout the IMF’s ears, the team is off on a race against time to stop The Apostles.
Fallout is filled with action and as far as action movies come, this film really takes the cake. Tom Cruise is just the man that everyone wants to be, as in he really seems like he can do anything. In the current state of cinema any other filmmaking team would’ve made this film with CGI effects all over yet Cruise and Fallout’s director, Christopher McQuarrie, have decided to do everything for real and it’s that element alone that makes the film.
There are moments in Fallout where you just sit there astonished by what you’re seeing happen in front of you. You feel shivers and the need to applause at the opening ten minutes of the film, your eye’s dash across the screen as you’re watching Cruise’s Ethan Hunt race through oncoming traffic in Paris and you’ll find yourself simply flabbergasted as you watch Cruise do anything at all in the helicopter sequence that you’ve definitely already heard about.
Mission Impossible: Fallout isn’t just simply an insane action blockbuster, it is more than that. Every actor on the screen knows that what they’re in is going to be something revolutionary for cinema and every actor really pulls their weight. Simon Pegg’s comedy is on point, Alec Baldwin’s acting as someone in charge is as good as ever, Henry Cavill being absolutely brutal is scary and cool at the same time. Fallout also has a good amount of female characters in it with Rebecca Ferguson and Michelle Monaghan bringing a lot of well-needed emotion and Vanessa Kirby’s Black Widow bringing a funny yet creepy vibe to the whole occasion.
The story is fairly simple as McQuarrie doesn’t want to isolate the audience, you can definitely see it if you haven’t seen other Mission Films. It’s McQuarrie and his team’s filmmaking that really make the film what it is. The cameraman who does the HALO jump with Tom Cruise deserves many awards and I would be surprised if the film, and its team, didn’t win any awards for filmmaking. If you’ve got free time too then look up how the film was made because it is quite interesting. I mean it’s rare that an action blockbuster would even be nominated but as of right now Fallout is my favourite film of the year, both for how good it is and then researching how it was made. People just don’t put in as much effort as the Mission team have done in films anymore.
Mission Impossible: Fallout is a must-see film. It’s a long film but never really feels like it. It’s a constant chase that will keep you on the edge of your seat and it has twists and turns that you won’t see coming. I was recently reading about how Christopher Nolan wanted The Dark Knight to bring back film instead of everyone filming digitally. Fallout sings a similar message and but its message is for real-life stunts. Mquarrie has evolved in a similar manner to how Nolan evolved between Batman Begins and The Dark Knight. Fallout gave me similar vibes of excitement and intensity and Fallout will leave its mark on you, I’m not sure how I’ll feel watching CGI action from now on. All I know is that making everything real instead of fake isn’t impossible but to repeat the magic that Fallout has, well that’s only something the Mission team can do. Mission accomplished Cruise, mission accomplished.
Score: 5/5
Gareth von Kallenbach (971 KP) rated Clerks II (2006) in Movies
Aug 14, 2019
In 1994, Writer/Director/Producer Kevin Smith emerged as a talented filmmaker to watch with his independent film Clerks The film was a no holds barred look at the lives of two desk clerks, who toil away behind the counters of a video and convince store.
The film was made on a tight budget with a cast of unknowns who discussed all manner of issues from life, love, and beyond in very graphic and outlandish terms as they go through a very long day and evening on the job.
The film went on to be a darling at Sundance and paved the way from Kevin Smith to do a series of films which featured lovable yet realistic characters trying to understand life, and get by in a world where they do not always seem to fit. Of course the films always had Smith’s trademark ability to discuss topics in new and unique ways that blended raunchy moments with inspired dialogue and genuine emotions.
A few years back I interviewed Kevin Smith in support of his film Jersey Girl and it seemed that he was on the fast track to do films such as The Green Hornet and Fletch Lives. Despite the series of frustrations due to reported studio conflicts over his Superman Lives script, it seemed that Kevin was moving towards larger budget studio films.
Fate can be a funny thing, especially in Hollywood, and while preparing the 10th anniversary DVD edition of Clerks as well as the work on the short-lived Clerks animated series, Smith reportedly became inspired as to what the characters from his breakout film had become ten years further on.
Despite some delays caused by the departure of the Weinstein brothers from Miramax and the reluctance of one of the principal cast members, who was concerned that they would not be able to recapture the magic of the first film, “Clerks II” has arrived and is easily one of the funniest films I have ever seen.
The stars of the first film Dante (Brian O’Halloran), and Randal (Jeff Anderson), now find themselves working at a fast food store called Moobys, and as usual, Randal never finds a shortage of bizarre and outrageous topics to impart his wisdom and theories to a usual shocked Dante. It is learned that Dante is about to work his last shift, as in the morning he is moving to Florida from his New Jersey home, in order to get married and start a new career as a manager at a business owned by his future father in law.
Dante also must contend with his friendship with his manager Becky (Rosario Dawson), who wants to make sure that he is moving and getting married for the right reasons and not because it is expected of him.
Of course there are no shortage of characters in the film who add to the merriment, from the customers, to an employee named Elias (Trevor Fehrman), whose mild mannered ways and bizarre obsession with Lord of the Rings makes him a constant foil for the ever irascible Randal, who never loses interest in finding new ways to give Elias a hard time.
Then there are series favorites Jay and Silent Bob, (Jason: Mewes), and (Kevin Smith). The two slackers and drug dealers have now cleaned up their act. They still sell drugs; they just no longer use them. Jay is also prone to spouting his theories on religion to his customers, as he attempts to pass the faith while passing pot.
The duo feature throughout the film and offer some of the funniest moments in the film including a hilarious parody of The Silence of the Lambs.
As the day and evening plays out, one manner of hilarious and outrageous event after another occurs, which forces Dante and Randal to evaluate their lives, as well as what truly being happy and successful means.
While some may say this film is just a collection of crude humor that would be underscoring the true triumph of the film. Smith once again shows that he can portray flawed but realistic characters with surprising realism and charm. The characters know who they are, and make no apologies for being what society would call rough around the edges or failures they are being true to themselves and it is their frank and blunt ways of communicating that make them real and endear them to the audience.
They face the same issues that most of us have to face in life when we examine the paths we take, as well as the decisions we make and the resulting consequences which underscores the ultimate fact that one must be true to themselves.
A true classic and easily the best film Kevin Smith has ever done do not miss this film.
The film was made on a tight budget with a cast of unknowns who discussed all manner of issues from life, love, and beyond in very graphic and outlandish terms as they go through a very long day and evening on the job.
The film went on to be a darling at Sundance and paved the way from Kevin Smith to do a series of films which featured lovable yet realistic characters trying to understand life, and get by in a world where they do not always seem to fit. Of course the films always had Smith’s trademark ability to discuss topics in new and unique ways that blended raunchy moments with inspired dialogue and genuine emotions.
A few years back I interviewed Kevin Smith in support of his film Jersey Girl and it seemed that he was on the fast track to do films such as The Green Hornet and Fletch Lives. Despite the series of frustrations due to reported studio conflicts over his Superman Lives script, it seemed that Kevin was moving towards larger budget studio films.
Fate can be a funny thing, especially in Hollywood, and while preparing the 10th anniversary DVD edition of Clerks as well as the work on the short-lived Clerks animated series, Smith reportedly became inspired as to what the characters from his breakout film had become ten years further on.
Despite some delays caused by the departure of the Weinstein brothers from Miramax and the reluctance of one of the principal cast members, who was concerned that they would not be able to recapture the magic of the first film, “Clerks II” has arrived and is easily one of the funniest films I have ever seen.
The stars of the first film Dante (Brian O’Halloran), and Randal (Jeff Anderson), now find themselves working at a fast food store called Moobys, and as usual, Randal never finds a shortage of bizarre and outrageous topics to impart his wisdom and theories to a usual shocked Dante. It is learned that Dante is about to work his last shift, as in the morning he is moving to Florida from his New Jersey home, in order to get married and start a new career as a manager at a business owned by his future father in law.
Dante also must contend with his friendship with his manager Becky (Rosario Dawson), who wants to make sure that he is moving and getting married for the right reasons and not because it is expected of him.
Of course there are no shortage of characters in the film who add to the merriment, from the customers, to an employee named Elias (Trevor Fehrman), whose mild mannered ways and bizarre obsession with Lord of the Rings makes him a constant foil for the ever irascible Randal, who never loses interest in finding new ways to give Elias a hard time.
Then there are series favorites Jay and Silent Bob, (Jason: Mewes), and (Kevin Smith). The two slackers and drug dealers have now cleaned up their act. They still sell drugs; they just no longer use them. Jay is also prone to spouting his theories on religion to his customers, as he attempts to pass the faith while passing pot.
The duo feature throughout the film and offer some of the funniest moments in the film including a hilarious parody of The Silence of the Lambs.
As the day and evening plays out, one manner of hilarious and outrageous event after another occurs, which forces Dante and Randal to evaluate their lives, as well as what truly being happy and successful means.
While some may say this film is just a collection of crude humor that would be underscoring the true triumph of the film. Smith once again shows that he can portray flawed but realistic characters with surprising realism and charm. The characters know who they are, and make no apologies for being what society would call rough around the edges or failures they are being true to themselves and it is their frank and blunt ways of communicating that make them real and endear them to the audience.
They face the same issues that most of us have to face in life when we examine the paths we take, as well as the decisions we make and the resulting consequences which underscores the ultimate fact that one must be true to themselves.
A true classic and easily the best film Kevin Smith has ever done do not miss this film.