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Bob Mann (459 KP) rated Little Women (2019) in Movies
Jan 3, 2020 (Updated Jan 3, 2020)
Saoirse Ronan - just mesmeric. What screen presence! (2 more)
Great supporting cast.
Alexandre Desplat soundtrack.
"God hasn't met my will yet"
Greta Gerwig's follow up to her Oscar-praised "Lady Bird" from 2017 looks set to repeat the job this year. For it's nothing short of a masterpiece of cinema.
Louisa M. Alcott's semi-autobiographical novel has been filmed before (in 1949 and 1994, together with a number of other TV versions). I've not seen any of these previous versions and (as a literary philistine) I've never read the book either. So the story was new to me and drew me in perfectly.
The March sisters - Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh) and the youngest Beth (Eliza Scanlen) - are being brought up by their mother (Laura Dern) and Aunt (Meryl Streep) while their father (Bob Odenkirk) is away fighting in the Civil War. Also providing a helping hand is the rich neighbour Mr Lawrence (Chris Cooper), whose good-looking but indolent son 'Laurie' (Timothée Chalamet) has had the hots for tom-boy Jo for many years.
Each of the girls has a talent: for Jo it's writing, with her struggling to get her work past the grumpy publisher Mr Dashwood (Tracy Letts, from "Le Mans '66"); for Meg it's acting; for Amy it's painting; and for Beth it's music.
The film follows the lives, loves, successes and misfortunes of the sisters over two periods, split 7 years apart. It's a bumpy ride for some.
It struck me, as the big green BBFC certificate flashed onto the screen, how rare it is to find a "U - Suitable for all" (UK) certificate on a film these days. This is a film that the whole family *could* go and see. My only reservation here would be the way the film zips in and out of the two time periods at will. This might confuse the hell out of younger children. The subject matter of one part of the story may also disturb sensitive kids.
It's a really old-fashioned film - full of melodrama, love, unrequited love, death, charity, ambition and kindness - that builds to a feel-good ending that was totally corny but felt perfect in every way. We need more of this in our lives.
Wow. Just wow. The Oscar Best Actress categories are going to be a bloodied battlefield this year! There have been some GREAT roles for women on screen in the last year, and the Academy will have a job on their hands to narrow the long-list to the short-list this year. I would have tentatively forecast that Renée Zellweger might have had the Best Actor Oscar wrapped up for "Judy". But then here comes Saoirse Ronan. With phenomenal screen presence, she lights up every single scene she's in. Emma Watson and Florence Pugh are great actresses (and both here stand a stab at the Supporting Actress category), but your gaze always falls straight back to Ronan's reaction.
It's also a wonderful performance for newcomer Eliza Scanlen as the youngster Beth: I heard director Greta Gerwig comment (on Edith Bowman's excellent Soundtracking podcast) that Eliza needed less lighting than anyone else on set as she was "naturally luminous"!
Again lodging a cracking performance is the versatile Timothée Chalomet.... does the young chap make a bad film?
When you get to the end of the "cast bit", and you haven't mentioned Meryl Streep and Laura Dern yet, that says a lot!
What comes across more than anything else is just how apt this story is today to the 'girl power' times that we are currently living through. Jo in particular is the rebel of her day, fighting against the conformity of what it was in the time to be an independent woman, and specifically an independent working woman. Some of Alcott's words from the book could even today act as a rallying cry to those looking for greater change.
My reviewing year has certainly got off to a bang with this one. It's a glorious movie, utterly absorbing with ravishing cinematography by Yorick Le Saux and a brilliant soundtrack by Alexandre Desplat: both I suspect likely to feature in Oscar nominations. It's also likely to be nominated in other technical categories including Production Design, Costume and Hair & Makeup.
And I predict that this is inevitably going to be a Christmas favourite to match "The Sound of Music" and "It's a Wonderful Life" in future years.
Comes with a highly recommended tag from me.
(For the full graphical review, please visit the One Mann's Movies site here - https://bob-the-movie-man.com/2019/01/03/one-manns-movies-film-review-little-women-2019/. Thanks.)
Louisa M. Alcott's semi-autobiographical novel has been filmed before (in 1949 and 1994, together with a number of other TV versions). I've not seen any of these previous versions and (as a literary philistine) I've never read the book either. So the story was new to me and drew me in perfectly.
The March sisters - Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh) and the youngest Beth (Eliza Scanlen) - are being brought up by their mother (Laura Dern) and Aunt (Meryl Streep) while their father (Bob Odenkirk) is away fighting in the Civil War. Also providing a helping hand is the rich neighbour Mr Lawrence (Chris Cooper), whose good-looking but indolent son 'Laurie' (Timothée Chalamet) has had the hots for tom-boy Jo for many years.
Each of the girls has a talent: for Jo it's writing, with her struggling to get her work past the grumpy publisher Mr Dashwood (Tracy Letts, from "Le Mans '66"); for Meg it's acting; for Amy it's painting; and for Beth it's music.
The film follows the lives, loves, successes and misfortunes of the sisters over two periods, split 7 years apart. It's a bumpy ride for some.
It struck me, as the big green BBFC certificate flashed onto the screen, how rare it is to find a "U - Suitable for all" (UK) certificate on a film these days. This is a film that the whole family *could* go and see. My only reservation here would be the way the film zips in and out of the two time periods at will. This might confuse the hell out of younger children. The subject matter of one part of the story may also disturb sensitive kids.
It's a really old-fashioned film - full of melodrama, love, unrequited love, death, charity, ambition and kindness - that builds to a feel-good ending that was totally corny but felt perfect in every way. We need more of this in our lives.
Wow. Just wow. The Oscar Best Actress categories are going to be a bloodied battlefield this year! There have been some GREAT roles for women on screen in the last year, and the Academy will have a job on their hands to narrow the long-list to the short-list this year. I would have tentatively forecast that Renée Zellweger might have had the Best Actor Oscar wrapped up for "Judy". But then here comes Saoirse Ronan. With phenomenal screen presence, she lights up every single scene she's in. Emma Watson and Florence Pugh are great actresses (and both here stand a stab at the Supporting Actress category), but your gaze always falls straight back to Ronan's reaction.
It's also a wonderful performance for newcomer Eliza Scanlen as the youngster Beth: I heard director Greta Gerwig comment (on Edith Bowman's excellent Soundtracking podcast) that Eliza needed less lighting than anyone else on set as she was "naturally luminous"!
Again lodging a cracking performance is the versatile Timothée Chalomet.... does the young chap make a bad film?
When you get to the end of the "cast bit", and you haven't mentioned Meryl Streep and Laura Dern yet, that says a lot!
What comes across more than anything else is just how apt this story is today to the 'girl power' times that we are currently living through. Jo in particular is the rebel of her day, fighting against the conformity of what it was in the time to be an independent woman, and specifically an independent working woman. Some of Alcott's words from the book could even today act as a rallying cry to those looking for greater change.
My reviewing year has certainly got off to a bang with this one. It's a glorious movie, utterly absorbing with ravishing cinematography by Yorick Le Saux and a brilliant soundtrack by Alexandre Desplat: both I suspect likely to feature in Oscar nominations. It's also likely to be nominated in other technical categories including Production Design, Costume and Hair & Makeup.
And I predict that this is inevitably going to be a Christmas favourite to match "The Sound of Music" and "It's a Wonderful Life" in future years.
Comes with a highly recommended tag from me.
(For the full graphical review, please visit the One Mann's Movies site here - https://bob-the-movie-man.com/2019/01/03/one-manns-movies-film-review-little-women-2019/. Thanks.)
Kirk Bage (1775 KP) rated Okja (2017) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
Okja (pronounced ok-cha, as far as I can discern from hearing it said) was a film I had on my radar from its release, but it took the impetus of Parasite and director Bong Joon Ho winning the Oscar to kick me into settling down to watch it. It is the kind of film I would have seen as a matter of course when I worked at the beloved Cameo Cinema, Edinburgh, back in the day… but the kind of film it takes me a while to get around to these days.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.
Kirk Bage (1775 KP) rated Marriage Story (2019) in Movies
Mar 3, 2020
To say I found this hard to watch could not be more understated. Any adult that has risked their whole life on a true love that runs its course and then fails must surely feel the same. It happens to most of us once or twice in a lifetime, and resonates forever. Such is the level of truth and sadness on display in Noah Baumbach’s beautifully written and directed tale of two people in turmoil, whose biggest obstacle is not one another, but the dispassion and ineffectiveness of legality, and even friends and family, to resolve big issues of a personal nature.
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
As with the obvious reference point of the seminal take on divorce, Robert Benton’s 1979 Oscar winner Kramer Vs. Kramer, the point is not at all about taking sides and choosing a winner… because everyone loses in a break-up. The only thing you can hope is that it doesn’t tear the child / children apart, and that at least some memory of the love that once was isn’t entirely forgotten. You also hope that you will survive, once you realise you are not part of a whole any more, and you must now figure out who you are and where to go. Even the grief of death is sometimes not as devastating. And this beyond mature film acknowledges that.
Not that it is all doom and gloom. There is some real humour and joy wrapped up inside the detail of Marriage Story’s script. As you would expect from the guy who gave us the massively under-rated The Squid and the Whale, from 2005. It assumes an emotional intelligence similar to the best films of Woody Allen, with which he clearly shares some sense of creative style and sensibility. But let’s not open that can of worms at this juncture.
The idea that Scarlett Johansson can even be thought of as a double Oscar nominee this year may be galling to some naysayers, but it comes as no surprise to me at all. Despite a career touching on the lighter side of cinema, there are some bold artistic choices in there too, and personally I have always seen that potential. As Nicole, she not only creates a fully rounded character different from anything I have ever seen her do; believable and interesting in every way, but also holds her own against one of the major talents working in film today – Mr Adam Driver. And that is no mean feat! Another balance comparison that can be made to the epic battle of Streep Vs Hoffman, decades before. And as with Streep before her, there are moments where we entirely see her side of things and stop questioning male vs female politics and just see the person battling underneath it all.
However, and not remotely because I am likely to relate to the male point of view, the work Adam Driver is doing here is close to transcendent! I have made no secret of wanting Joaquin Phoenix to win every accolade going for his turn in Joker. And what a shame the two have to be compared, because Driver’s work here is second to none! I find it so completely exciting for the future of cinema that he is out there doing his thing – evidently, it is about as breath-taking as screen acting has ever been!
It is not only his ability to convey vulnerability and humanity in every role he takes on; it his control that really impresses. To such an extent that I begin to wonder if there is anything he could not do better than 99% of anyone working today, if well cast. Make no mistake, at any level, this is one of hell of a talent, making the right choices in the roles he does at almost every crossroads. Consider the latest Star Wars trilogy without him, and ponder what weak popcorn fare it might have been without him?
Marriage Story as a complete piece is worthy of dissection and multiple re-watches. I am happy to say that, only hours after seeing it myself. There simply isn’t a doubt. As a serious commentary on break-ups then it may be, at the moment, tertiary in my mind to both the aforementioned Kramer Vs Kramer and the sickeningly sad Blue Valentine. But, it is perhaps more real than either of those, and will certainly build in my psyche as time passes.
In conclusion: Yes! I have no inclination to fault it. And may have more to say at a different point…
Phillip McSween (751 KP) rated Bad Boys II (2003) in Movies
Apr 2, 2020
Decent but Definitely the Worst of the Trilogy
Narcotics detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) are back getting into a heap of shit as they try and take down an ecstasy ring.
Acting: 9
You have to love the performances of Lawrence and Smith as they know how to carry a movie between the two of them. Their chemistry is amazing and they do a wonderful job of balancing each other out, particularly in this film were Smith is more of a shoot-first type while Lawrence’s role is about finding peace and zen. Joe Pantoliano makes a return as Captain Howard, making me crack up everytime he opens his mouth to yell at Lowrey and Burnett for screwing up yet again.
The one role I just couldn’t let sneak past was Jordi Molla playing Johnny Tapia. Terrible doesn’t even begin to describe his performance. It feels too cliche and way overdone, detracting from important scenes at times. Wasn’t a fan in the slightest.
Beginning: 7
While I did appreciate the action at the beginning of the movie, there was just too much going on for me to really settle in and get into it. It’s hard to really understand up from down in the first ten minutes which carries on as the movie progresses as well. Less can be more sometimes, but it feels like in this instance, director Michael Bay called for more of everything.
Characters: 9
Cinematography/Visuals: 6
Bad Boys II has its moments cinematically. The mortuary scene and the scene in the abandoned house are two that really stand out for me. They were shot in such a way that they are hard to forget. From an overall standpoint, I am not a fan of the overdose of slowmo that Bay loves to do. It becomes tedious to the brain and drags the movie out longer than it needs to be. And this movie already has enough time constraints as it is.
Conflict: 10
Action abounds in this second installment from shootouts to car chases to explosions on top of explosions. If you are an action junky, this movie will not disappoint. As much as I rag on Bay (and, no he’s not my favorite director), he knows how to make a scene pop and make traditional action sets feel extremely original. Even as I’m typing this, I can’t forget the highway scene where the bad guys have hijacked a car-carrying truck and they start to release the cars as they speed down the highway. It’s absolute calamity.
Entertainment Value: 7
Memorability: 8
Pace: 7
Bay does his best to keep things fresh, but it’s hard to hide from the fact that this is all about action then dialogue then right back to action. It gets a bit repetitive at times, but I will also admit that it may have something to do with the fact that I’ve watched a shit ton of movies recently (what else is new?). When Cuba gets mentioned and you realize the movie is only two thirds of the way over when it should be finished, that’s when things really slowed down for me even more. You can absolutely cut thirty minutes from this movie and it would be phenomenal, possibly a classic.
Plot: 6
Decent enough story, but nothing that’s going to win an Oscar. I felt corners were cut in spots as there were times where I was trying to figure out, “Why the hell is this happening now?” I also didn’t appreciate some of the cheats, which is a term I use to refer to spots in the movie that conveniently happen for the sake of it being a good scene. Again, cut a half hour of this movie and I might be feeling differently overall.
Resolution: 4
The end was not only mad corny, but it didn’t feel like a real resolution. Not sure what they were going for here, but it didn’t work. The end didn’t really justify the length of what it took to get there.
Overall: 73
I know I know. You read through this review and it almost sounds like I hated Bad Boys II. Truth is, it wasn’t terrible. Would it be the first action movie I recommend? Absolutely not. On the flipside, I can definitely think of many that were worse. At the risk of losing all credibility (as if I had any to begin with), I actually enjoyed this movie more than I did The French Connection. Fight me.
Acting: 9
You have to love the performances of Lawrence and Smith as they know how to carry a movie between the two of them. Their chemistry is amazing and they do a wonderful job of balancing each other out, particularly in this film were Smith is more of a shoot-first type while Lawrence’s role is about finding peace and zen. Joe Pantoliano makes a return as Captain Howard, making me crack up everytime he opens his mouth to yell at Lowrey and Burnett for screwing up yet again.
The one role I just couldn’t let sneak past was Jordi Molla playing Johnny Tapia. Terrible doesn’t even begin to describe his performance. It feels too cliche and way overdone, detracting from important scenes at times. Wasn’t a fan in the slightest.
Beginning: 7
While I did appreciate the action at the beginning of the movie, there was just too much going on for me to really settle in and get into it. It’s hard to really understand up from down in the first ten minutes which carries on as the movie progresses as well. Less can be more sometimes, but it feels like in this instance, director Michael Bay called for more of everything.
Characters: 9
Cinematography/Visuals: 6
Bad Boys II has its moments cinematically. The mortuary scene and the scene in the abandoned house are two that really stand out for me. They were shot in such a way that they are hard to forget. From an overall standpoint, I am not a fan of the overdose of slowmo that Bay loves to do. It becomes tedious to the brain and drags the movie out longer than it needs to be. And this movie already has enough time constraints as it is.
Conflict: 10
Action abounds in this second installment from shootouts to car chases to explosions on top of explosions. If you are an action junky, this movie will not disappoint. As much as I rag on Bay (and, no he’s not my favorite director), he knows how to make a scene pop and make traditional action sets feel extremely original. Even as I’m typing this, I can’t forget the highway scene where the bad guys have hijacked a car-carrying truck and they start to release the cars as they speed down the highway. It’s absolute calamity.
Entertainment Value: 7
Memorability: 8
Pace: 7
Bay does his best to keep things fresh, but it’s hard to hide from the fact that this is all about action then dialogue then right back to action. It gets a bit repetitive at times, but I will also admit that it may have something to do with the fact that I’ve watched a shit ton of movies recently (what else is new?). When Cuba gets mentioned and you realize the movie is only two thirds of the way over when it should be finished, that’s when things really slowed down for me even more. You can absolutely cut thirty minutes from this movie and it would be phenomenal, possibly a classic.
Plot: 6
Decent enough story, but nothing that’s going to win an Oscar. I felt corners were cut in spots as there were times where I was trying to figure out, “Why the hell is this happening now?” I also didn’t appreciate some of the cheats, which is a term I use to refer to spots in the movie that conveniently happen for the sake of it being a good scene. Again, cut a half hour of this movie and I might be feeling differently overall.
Resolution: 4
The end was not only mad corny, but it didn’t feel like a real resolution. Not sure what they were going for here, but it didn’t work. The end didn’t really justify the length of what it took to get there.
Overall: 73
I know I know. You read through this review and it almost sounds like I hated Bad Boys II. Truth is, it wasn’t terrible. Would it be the first action movie I recommend? Absolutely not. On the flipside, I can definitely think of many that were worse. At the risk of losing all credibility (as if I had any to begin with), I actually enjoyed this movie more than I did The French Connection. Fight me.
Heather Cranmer (2721 KP) rated Small Spaces (Small Spaces #1) in Books
Jul 29, 2019
I love creepy books, so when I came across Small Spaces by Katherine Arden, it immediately caught my attention. I don't normally read middle grade fiction, but I do make an exception for middle grade horror, and I'm really glad I had the chance to read Small Spaces.
Olivia, or Ollie as she prefers, is in middle school. She loves reading and books, so when she comes across a sobbing lady getting ready to throw a book in a river, she steals it before the woman has a chance to do so. Ollie thinks the book she stole is just a creepy ghost story, but she soon realizes it is anything but fiction! When her class goes on a field trip to a farm, Ollie realizes just how true the book is. When the field trip bus breaks down in the middle of nowhere, Ollie and two friends decided to leave the bus fearing that they may be in even worse danger if they stay on the bus. With the help of her broken watch from her deceased mother, Ollie must be very careful if she wants to return home unscathed.
I did enjoy the plot of Small Spaces. I felt like I was reading a R.L. Stine novel! Katherine Arden did such a fantastic job with this story in keeping it interesting. There were a few times were the story felt a little disjointed with what was going on as it sometimes seemed as if Small Spaces wanted to be more of a ghost story other than what it actually was. However, it was still a great plot! There was one plot twist I didn't see coming which I thought was great considering I'm an adult, and this is a middle grade story. Usually I can figure out the plot twists, but not this time! One thing that got me wondering is how all these 11 and 12 year old kids each had their own cell phone. I know it's not impossible for a whole class of junior high children to have a cell phone, but it just seems improbable. While most of my questions were answered, I was left pondering over the ending as to why more questions weren't asked by the police or the parents. Another question I had, I won't go into detail because of spoilers, but it pertained to the kids and the water. I'll just leave it at that. Although Small Spaces is a series, it can be read as a standalone as there is no cliff hanger ending.
The pacing for Small Spaces starts out a bit slow, but it picks up quickly to a fantastic pace a few chapters in. It stays at a decent pace for the majority of the book until it slows a little bit towards the ending. I wouldn't say the pacing lets the book down in any way though.
I felt all the characters in Small Spaces were written very well especially as the main characters were written as middle schoolers. I felt every character was solid. I didn't really care for Ollie's personality though. For the first half of the book, especially, she came across as a bully. As this book is aimed towards kids that are impressionable, it kind of irked me that the main character was a little mean to others. I liked Brian. I thought he seemed like he'd be a great kid in real life. I admire how he wasn't ashamed to show his emotions at certain times. My favorite character was Coco. Coco had just moved from the city to Ollie's middle school. She seemed really vulnerable, yet Ollie was mean to her a lot of the time. I just wanted to hug and protect Coco. She was such a sweet girl to everyone unlike Ollie. Coco came across as a happy go lucky girl.
Trigger warnings in Small Spaces besides being a scary story include death, minor violence, a minor profanity (one of the characters says hell), ghosts, and bullying.
All in all, Small Spaces is a fantastic scary read despite some minor flaws. It's got such a great spooky plot and characters that feel realistic. I would definitely recommend Small Spaces by Katherine Arden to everyone aged 10+ who love to be spooked! R.L. Stine better watch out; Katherine Arden could give him a run for his money judging by this book! Even though Small Spaces can stand on its own, I will definitely be reading the next book in the Small Spaces series.
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(Thank you to Netgalley for providing me with an eBook of Small Spaces by Katherine Arden in exchange for an honest and unbiased review.)
Olivia, or Ollie as she prefers, is in middle school. She loves reading and books, so when she comes across a sobbing lady getting ready to throw a book in a river, she steals it before the woman has a chance to do so. Ollie thinks the book she stole is just a creepy ghost story, but she soon realizes it is anything but fiction! When her class goes on a field trip to a farm, Ollie realizes just how true the book is. When the field trip bus breaks down in the middle of nowhere, Ollie and two friends decided to leave the bus fearing that they may be in even worse danger if they stay on the bus. With the help of her broken watch from her deceased mother, Ollie must be very careful if she wants to return home unscathed.
I did enjoy the plot of Small Spaces. I felt like I was reading a R.L. Stine novel! Katherine Arden did such a fantastic job with this story in keeping it interesting. There were a few times were the story felt a little disjointed with what was going on as it sometimes seemed as if Small Spaces wanted to be more of a ghost story other than what it actually was. However, it was still a great plot! There was one plot twist I didn't see coming which I thought was great considering I'm an adult, and this is a middle grade story. Usually I can figure out the plot twists, but not this time! One thing that got me wondering is how all these 11 and 12 year old kids each had their own cell phone. I know it's not impossible for a whole class of junior high children to have a cell phone, but it just seems improbable. While most of my questions were answered, I was left pondering over the ending as to why more questions weren't asked by the police or the parents. Another question I had, I won't go into detail because of spoilers, but it pertained to the kids and the water. I'll just leave it at that. Although Small Spaces is a series, it can be read as a standalone as there is no cliff hanger ending.
The pacing for Small Spaces starts out a bit slow, but it picks up quickly to a fantastic pace a few chapters in. It stays at a decent pace for the majority of the book until it slows a little bit towards the ending. I wouldn't say the pacing lets the book down in any way though.
I felt all the characters in Small Spaces were written very well especially as the main characters were written as middle schoolers. I felt every character was solid. I didn't really care for Ollie's personality though. For the first half of the book, especially, she came across as a bully. As this book is aimed towards kids that are impressionable, it kind of irked me that the main character was a little mean to others. I liked Brian. I thought he seemed like he'd be a great kid in real life. I admire how he wasn't ashamed to show his emotions at certain times. My favorite character was Coco. Coco had just moved from the city to Ollie's middle school. She seemed really vulnerable, yet Ollie was mean to her a lot of the time. I just wanted to hug and protect Coco. She was such a sweet girl to everyone unlike Ollie. Coco came across as a happy go lucky girl.
Trigger warnings in Small Spaces besides being a scary story include death, minor violence, a minor profanity (one of the characters says hell), ghosts, and bullying.
All in all, Small Spaces is a fantastic scary read despite some minor flaws. It's got such a great spooky plot and characters that feel realistic. I would definitely recommend Small Spaces by Katherine Arden to everyone aged 10+ who love to be spooked! R.L. Stine better watch out; Katherine Arden could give him a run for his money judging by this book! Even though Small Spaces can stand on its own, I will definitely be reading the next book in the Small Spaces series.
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(Thank you to Netgalley for providing me with an eBook of Small Spaces by Katherine Arden in exchange for an honest and unbiased review.)
Gareth von Kallenbach (980 KP) rated By The Sea (2015) in Movies
Aug 6, 2019
Today, we have yet another film that strays from ‘the norm’. A film that not only stars one of the most beloved celebrity couples on the planet but also harkens back to the Italian dramatic films of the late 1960s/early 70s. It most definitely qualifies as an ‘art house’ film.
Since the world saw Angelina Jolie and Brad Pitt together in ‘Mr. & Mrs. Smith’ it has awaited the day when the couple would appear together again in another film. Although it’s not the sequel to THAT film many had hoped for, it is most definitely and intriguing look at how the couple appear together in a movie in a completely genre with the creative control Angelina had.
‘By the Sea’ stars Angelina Jolie Pitt, Brad Pitt, Mélanie Laurent, Melvil Poupaud, Niels Arestrup, and Richard Bohringer. The film was also written, directed, and co-produced by Angelina with Brad Pitt serving as co-producer.
The film opens in the south of France in the mid-1970s. Roland (Brad Pitt), a writer from New York City and his wife Vannessa (Angelina Jolie Pitt), a former dancer, have traveled to a seaside town to quote,”Get away from it all”. Their marriage is strained and there is a distance between the two that is sometimes obvious to those around them and hidden at other times. The trip is clearly an effort by them to reconnect with one another but they spend much of their time apart once they get settled. Rolland is attempting to write another book but he cannot find anything as inspiration and Vanessa is using drugs and alcohol to numb the pain of a recent trauma. When they’re not spending their time alone they associate with some of the towns more colorful characters including the local barkeeper/cafe owner, the hotel manager, and a newlywed couple who are spending their honeymoon not only in the same town but in the room next door. One night, just when it seems like the strain of their marriage will finally snap a bizarre occurrence in their hotel room leads to a reconnection despite its volatile nature.
First off, I have not seen all the films that Angelina and Brad have appeared in but I must say I the both of them were almost completely unrecognizable in the way they portray the characters. Second, I believe this is Angelina’s second run as director and if this film and her previous film ‘Unbroken’ are any Indiction I believe we’ll see her directing movies in the future more than acting.
This film was a true homage the the Italian dramatic films of the 1970s I mentioned earlier.
The only way I believe they could’ve ‘replicated’ that so precisely would be to have filmed the movie with the cameras and equipment available to film makers during that period. Christian Berger the film’s cinematographer used mostly natural light throughout the filming process which was also one of the most impressive qualities of the movie which is not done nearly enough with modern film in my opinion.
Not everyone is going to like this film. It’s quite unique when put side by side with ‘modern day American movies’. Even if you are a die hard fan of either Angelina and or Brad’s work that alone might not save the film in your eyes. Some critics are calling this film a ‘vanity project’ on the part of Jolie and Pitt. I find that to be ridiculous. No sane person would’ve made that accusation against Humphrey Bogart and Lauren Bacall. Everyone’s been screaming for Angelina and Brad to make another film together. Big deal if they want to have creative control over it too. They’re both accomplished actors and decided to put together a film themselves and and get other accomplished cast and crew members to sign on for the project. Honestly what the hell more do the critics want? If you are a fan of foreign movies or curious about the second acting collaboration between the husband and wife power couple though you should see it. I’d actually recommend checking out one or two films from the genre/era it represents before going to see this one.
The film is rated R and clocks in at 132 minutes. I’d recommend catching it at a small indie or art house theater and make sure you grab some snacks and a drink for this one. It opens in all the major theaters Friday the 18th of November but you can catch in those smaller theaters now.
It’s not my normal ‘cup of coffee’ but I will give the film 4 stars.
Since the world saw Angelina Jolie and Brad Pitt together in ‘Mr. & Mrs. Smith’ it has awaited the day when the couple would appear together again in another film. Although it’s not the sequel to THAT film many had hoped for, it is most definitely and intriguing look at how the couple appear together in a movie in a completely genre with the creative control Angelina had.
‘By the Sea’ stars Angelina Jolie Pitt, Brad Pitt, Mélanie Laurent, Melvil Poupaud, Niels Arestrup, and Richard Bohringer. The film was also written, directed, and co-produced by Angelina with Brad Pitt serving as co-producer.
The film opens in the south of France in the mid-1970s. Roland (Brad Pitt), a writer from New York City and his wife Vannessa (Angelina Jolie Pitt), a former dancer, have traveled to a seaside town to quote,”Get away from it all”. Their marriage is strained and there is a distance between the two that is sometimes obvious to those around them and hidden at other times. The trip is clearly an effort by them to reconnect with one another but they spend much of their time apart once they get settled. Rolland is attempting to write another book but he cannot find anything as inspiration and Vanessa is using drugs and alcohol to numb the pain of a recent trauma. When they’re not spending their time alone they associate with some of the towns more colorful characters including the local barkeeper/cafe owner, the hotel manager, and a newlywed couple who are spending their honeymoon not only in the same town but in the room next door. One night, just when it seems like the strain of their marriage will finally snap a bizarre occurrence in their hotel room leads to a reconnection despite its volatile nature.
First off, I have not seen all the films that Angelina and Brad have appeared in but I must say I the both of them were almost completely unrecognizable in the way they portray the characters. Second, I believe this is Angelina’s second run as director and if this film and her previous film ‘Unbroken’ are any Indiction I believe we’ll see her directing movies in the future more than acting.
This film was a true homage the the Italian dramatic films of the 1970s I mentioned earlier.
The only way I believe they could’ve ‘replicated’ that so precisely would be to have filmed the movie with the cameras and equipment available to film makers during that period. Christian Berger the film’s cinematographer used mostly natural light throughout the filming process which was also one of the most impressive qualities of the movie which is not done nearly enough with modern film in my opinion.
Not everyone is going to like this film. It’s quite unique when put side by side with ‘modern day American movies’. Even if you are a die hard fan of either Angelina and or Brad’s work that alone might not save the film in your eyes. Some critics are calling this film a ‘vanity project’ on the part of Jolie and Pitt. I find that to be ridiculous. No sane person would’ve made that accusation against Humphrey Bogart and Lauren Bacall. Everyone’s been screaming for Angelina and Brad to make another film together. Big deal if they want to have creative control over it too. They’re both accomplished actors and decided to put together a film themselves and and get other accomplished cast and crew members to sign on for the project. Honestly what the hell more do the critics want? If you are a fan of foreign movies or curious about the second acting collaboration between the husband and wife power couple though you should see it. I’d actually recommend checking out one or two films from the genre/era it represents before going to see this one.
The film is rated R and clocks in at 132 minutes. I’d recommend catching it at a small indie or art house theater and make sure you grab some snacks and a drink for this one. It opens in all the major theaters Friday the 18th of November but you can catch in those smaller theaters now.
It’s not my normal ‘cup of coffee’ but I will give the film 4 stars.
Gareth von Kallenbach (980 KP) rated Fast Five (2011) in Movies
Aug 7, 2019
The 2011 summer movie season kicks off in high gear with the release of Fast Five the latest installment in the phenomenally popular Fast and Furious series. The movie picks up exactly where the previous film ended with Brian O’ Conner (Paul Walker), orchestrating a daring escape for Dominic Toretto (Vin Diesel).
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
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There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
.
There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.
Neon's Nerd Nexus (360 KP) created a post
Apr 27, 2020
Johnny Marr recommended track Jeepster by T Rex in Electric Boogie 1971 by T Rex in Music (curated)
Pete Thompson (4339 KP) rated The Stand in TV
Feb 10, 2021
I've never written a full review before as I let my score tell the story for the film/TV show in my view and don't like to influence people by what I write, simply put watch it and make your own judgement but with this steaming pile of crap I've had to do this just to get the anger and loathing off my chest.
I heard this was being redone and was looking forward to it having an update and a larger budget than the 94 version (which I love) I thought it wouldn't be as good but would be a solid installment.
I listen to audio books now as I dont get time to read with work and my toddler keeping me busy so I got The Stand to listen to; to get the story back into my head properly and get the juices flowing. I had read it back in the 90s but had forgotten things about it and just had memories of the 94 mini series and had put the scenes from that into the book. Anyway the cast list came out with their characters and just looking through them I said the only 1 that might be ok was Whoopi Goldberg as Mother Abigail. The rest I wasn't keen on and in the case of Larry and The Judge being the wrong race and sex respectively made me irrate and Glen being too young but thought I better wait and see. Oh my god I was proven wrong not being keen was great until I actually watched this mess. Main characters that don't get much screen time Nick, Flagg, Tom, Mother Abigail, Larry and Stu compared to the book and 94 series. Harold gets waaaay too much screen time, Lloyd is just an irritating man child twerp, Tom needs to be punched whats with the hands together bow like he is chinese? And trashcan man oh my word who the hell thought that was the performance required? I can honestly say I wouldnt even swap the peripheral actors from 94 for the main cast in this.
The original story had a beginning, middle and end. The 94 series did it the same. Welcome to 2020/21 series and a director that thinks he's being clever starting the show at the midway point and having flash backs but only for certain characters at certain times in each episode. Even knowing the book and 94 series didn't help to keep track of where the story was and what time frame. I sst there getting more and more angry at the stupid style but what made it worse is the liberties taken to change the story no tunnel sequence for Larry now a sewer so 80s/90s horror cliche, Mother Abigail is in a retirement home not still living independently in her own home baking her own bread. Nick and Tom being in the same town from the start not meeting on the road in the case for Nick, no sherif and doctor that Nick meets after his beating on the road not in a bar as shown in this version. Video cameras being used by Harold to spy on the committee and to monitor his home were never in the book he read Franny' diary on the road and she breaks into his house 1st not Larry. Randall Flagg is supposed to be feared by the good side but this version is laughable as you barely see him and when he is there there is no feeling of threat and underlying malice from him, I expected a lot better from Skarsgard after his brother knocked it out the park with Stephen Kings IT remake. He just didn't seem to really be arsed about the character and was there for a paycheck.
Anyway sorry for such a long rant but loving the book and 94 series this pile of dog s**t should be scrubbed from all records and forgotten about the only redeeming things it has going for it is the music and thats usually a song just as the episode is about to end and the evil side looks a lot more like it would for people without moral compasses and surpasses the 94 series on this part only.
I give it a 2 / 10 and it only gets that due to the music. A very disappointing reboot when all you had to do was follow a great book with the right casting.
I heard this was being redone and was looking forward to it having an update and a larger budget than the 94 version (which I love) I thought it wouldn't be as good but would be a solid installment.
I listen to audio books now as I dont get time to read with work and my toddler keeping me busy so I got The Stand to listen to; to get the story back into my head properly and get the juices flowing. I had read it back in the 90s but had forgotten things about it and just had memories of the 94 mini series and had put the scenes from that into the book. Anyway the cast list came out with their characters and just looking through them I said the only 1 that might be ok was Whoopi Goldberg as Mother Abigail. The rest I wasn't keen on and in the case of Larry and The Judge being the wrong race and sex respectively made me irrate and Glen being too young but thought I better wait and see. Oh my god I was proven wrong not being keen was great until I actually watched this mess. Main characters that don't get much screen time Nick, Flagg, Tom, Mother Abigail, Larry and Stu compared to the book and 94 series. Harold gets waaaay too much screen time, Lloyd is just an irritating man child twerp, Tom needs to be punched whats with the hands together bow like he is chinese? And trashcan man oh my word who the hell thought that was the performance required? I can honestly say I wouldnt even swap the peripheral actors from 94 for the main cast in this.
The original story had a beginning, middle and end. The 94 series did it the same. Welcome to 2020/21 series and a director that thinks he's being clever starting the show at the midway point and having flash backs but only for certain characters at certain times in each episode. Even knowing the book and 94 series didn't help to keep track of where the story was and what time frame. I sst there getting more and more angry at the stupid style but what made it worse is the liberties taken to change the story no tunnel sequence for Larry now a sewer so 80s/90s horror cliche, Mother Abigail is in a retirement home not still living independently in her own home baking her own bread. Nick and Tom being in the same town from the start not meeting on the road in the case for Nick, no sherif and doctor that Nick meets after his beating on the road not in a bar as shown in this version. Video cameras being used by Harold to spy on the committee and to monitor his home were never in the book he read Franny' diary on the road and she breaks into his house 1st not Larry. Randall Flagg is supposed to be feared by the good side but this version is laughable as you barely see him and when he is there there is no feeling of threat and underlying malice from him, I expected a lot better from Skarsgard after his brother knocked it out the park with Stephen Kings IT remake. He just didn't seem to really be arsed about the character and was there for a paycheck.
Anyway sorry for such a long rant but loving the book and 94 series this pile of dog s**t should be scrubbed from all records and forgotten about the only redeeming things it has going for it is the music and thats usually a song just as the episode is about to end and the evil side looks a lot more like it would for people without moral compasses and surpasses the 94 series on this part only.
I give it a 2 / 10 and it only gets that due to the music. A very disappointing reboot when all you had to do was follow a great book with the right casting.