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Night Reader Reviews (683 KP) rated Voice of the Elders in Books
Jan 9, 2020
Honest Review for Free Copy of Book
Contains spoilers, click to show
The Voice of the Elders by Greg Ripley is a very well written book that anyone who has a strong connection with earth and nature would be drawn to right away. This is well received as the book puts a lot of focus on the harder topics of what we face with global warming and as a race if we do not start thinking about sustainability as a complete way of life. It also brings to light the idea that even if sustainability is the best for the planet as whole companies such as big oil and nuclear power may not be all that interested because it takes profit away from them, showing just how harmful human greed can be.
The book also mentions many aspects from different religions and cultures, along with their moral views. Christian theology is even mentioned in the same paragraph as the threefold version of the Golden Rule which many would attribute to the Pagans or more specifically the religion of Wicca. However, a lot of talk in the book revolves around Chinese Daoism and somewhat in-depth at that. This lost me at a few different places but not for long as the ideas were also explained fairly well. I believe the average reader should be able to at least the get gist of what is being said during the conversations.
The basic idea of the book is that the Earth is in major trouble. As humans, our greed and lack of concern for our environment is killing our planet as it is already too late to reverse these effects unless we do something big really quick. A meeting is being held at the United Nations to address these concerns and that is where the reader first meets the main character Rohini. It is also where the Elders are first introduced into the story. Without giving too much away to the interested reader I feel like I can safely say that the Elders tell the World Leaders about what can be done to save the Earth and propose a plan where the Earth will send ambassadors to the world of the Elders.
Rohini is chosen to be one of these ambassadors and is brought before the world on TV when all of those selected to be ambassadors are introduced. This is when trouble starts, those against the Elders and the sustainability programs launch their first direct attack and kill most of the ambassadors and the President forcing Rohini, her trainer Jane, and Jane’s friend Guangming into hiding as suspects while waiting for their names to be cleared.
Overall the book is very well written and I failed to find any major editorial flaws in it. Still, I rate this book to be 2 out of 4 stars. This is because while I loved seeing Rohini grow spiritually and increase her personal connection with the Earth I found the book lacking. The last five-chapter or so felt rushed like Greg Ripley got bored or wasn’t sure how to pull everything together. I guess more of what I am trying to say is with how amazingly detailed the rest of the book was the end felt haphazardly thrown together. Now if this were the first in a series I would change my rating to a 3 providing that a few things got explained better such as who exactly the “Others” are (not going to say anything more about them without risking a spoiler) and what happens with the Earth and the Elders.
The book also mentions many aspects from different religions and cultures, along with their moral views. Christian theology is even mentioned in the same paragraph as the threefold version of the Golden Rule which many would attribute to the Pagans or more specifically the religion of Wicca. However, a lot of talk in the book revolves around Chinese Daoism and somewhat in-depth at that. This lost me at a few different places but not for long as the ideas were also explained fairly well. I believe the average reader should be able to at least the get gist of what is being said during the conversations.
The basic idea of the book is that the Earth is in major trouble. As humans, our greed and lack of concern for our environment is killing our planet as it is already too late to reverse these effects unless we do something big really quick. A meeting is being held at the United Nations to address these concerns and that is where the reader first meets the main character Rohini. It is also where the Elders are first introduced into the story. Without giving too much away to the interested reader I feel like I can safely say that the Elders tell the World Leaders about what can be done to save the Earth and propose a plan where the Earth will send ambassadors to the world of the Elders.
Rohini is chosen to be one of these ambassadors and is brought before the world on TV when all of those selected to be ambassadors are introduced. This is when trouble starts, those against the Elders and the sustainability programs launch their first direct attack and kill most of the ambassadors and the President forcing Rohini, her trainer Jane, and Jane’s friend Guangming into hiding as suspects while waiting for their names to be cleared.
Overall the book is very well written and I failed to find any major editorial flaws in it. Still, I rate this book to be 2 out of 4 stars. This is because while I loved seeing Rohini grow spiritually and increase her personal connection with the Earth I found the book lacking. The last five-chapter or so felt rushed like Greg Ripley got bored or wasn’t sure how to pull everything together. I guess more of what I am trying to say is with how amazingly detailed the rest of the book was the end felt haphazardly thrown together. Now if this were the first in a series I would change my rating to a 3 providing that a few things got explained better such as who exactly the “Others” are (not going to say anything more about them without risking a spoiler) and what happens with the Earth and the Elders.
Kirk Bage (1775 KP) rated Black Mirror - Season 2 in TV
Mar 3, 2020
Be Right Back - 8
Hayley Atwell, best known as Captain America’s squeeze in the MCU, Carries the emotional weight of this episode in beguiling style. Not for the last time Black Mirror enters the territory of death, grief, loneliness and questions of a tech-aided afterlife. If it were possible to bring a loved one back in physical form, even though we knew it wasn’t really them, would we be tempted to do it? Entirely believable as a concept, considering the amount of data we are storing about ourselves on social media and in other digital ways. Although any kind of clone as good as Domhnall Gleason is a bit far fetched for now. What works here is realising that no matter how good a facsimile is, it is the myriad of tiny details that make a person that we miss the most, even the imperfections. Genuinely moving in its best moments, and a strong start to season 2 in 2013.
White Bear - 7.5
White Bear, the first of the “blind” episodes, where we as viewer are thrown into a situation with no explanation or context, was the first Black Mirror episode I ever watched. I remember being blown away by the dark concept, compelling nature of the minimal narrative, the cunning twist, and the boldness of the statement seemingly being made. So many themes are going on at the same time here: true crime as voyeuristic entertainment; the moral idea of an eye for an eye, brainwashing, and whether torture under any circumstance can be justified, for starters. Looking back, it isn’t the most rounded tale in the canon, or the best acted, but it is certainly very memorable. It also saw the birth of the White Bear symbol, which pops up in other episodes regularly, if paying attention. What is its meaning? The jury is still out!
The Waldo Moment - 6
The political apathy of a nation, and hatred of the personality flaws of our politicians could lead to a figurehead without real policies being elected and revered – it isn’t a very strange idea in 2020 at all. Many younger voters have been incited to demand change, without any idea of what that change should entail. So, in concept, this episode is right on the money. Trouble is it isn’t well written enough to sustain the drama or intrigue in the way the best of the canon do. The shock value is low, and therefore the reaction is “meh, fair enough”. For me, the first real blip in quality control for the series.
White Christmas - 8.5
This was the transition episode that saw Black Mirror make the big money move from Channel 4 to Netflix. Although now bundled into series two, it was a 21 month wait after The Waldo Moment before over 2 million of us settled down to this Christmas gift in 2014. It comes over as an anthology within an anthology, with John Hamm and Rafe Spall telling tales in front of the fire whilst on a “job” together in the cold wilderness of an unknown location. It is laden with ideas of technology back-firing, and is very satisfying in how quickly it moves through the plot points. The chemistry of the two lead men is great; the arrogance of one and the nervousness of the other allowing for some beautiful twists and turns. Essentially, the whole thing is either a re-working of ideas already used, or a precursor to future ideas that will be more fleshed out. Not that it really matters. This is the highest rated individual episode on IMDb, and the reason for that has to be its accessibility. The balance between being creeped out and entertained is just about perfect.
Hayley Atwell, best known as Captain America’s squeeze in the MCU, Carries the emotional weight of this episode in beguiling style. Not for the last time Black Mirror enters the territory of death, grief, loneliness and questions of a tech-aided afterlife. If it were possible to bring a loved one back in physical form, even though we knew it wasn’t really them, would we be tempted to do it? Entirely believable as a concept, considering the amount of data we are storing about ourselves on social media and in other digital ways. Although any kind of clone as good as Domhnall Gleason is a bit far fetched for now. What works here is realising that no matter how good a facsimile is, it is the myriad of tiny details that make a person that we miss the most, even the imperfections. Genuinely moving in its best moments, and a strong start to season 2 in 2013.
White Bear - 7.5
White Bear, the first of the “blind” episodes, where we as viewer are thrown into a situation with no explanation or context, was the first Black Mirror episode I ever watched. I remember being blown away by the dark concept, compelling nature of the minimal narrative, the cunning twist, and the boldness of the statement seemingly being made. So many themes are going on at the same time here: true crime as voyeuristic entertainment; the moral idea of an eye for an eye, brainwashing, and whether torture under any circumstance can be justified, for starters. Looking back, it isn’t the most rounded tale in the canon, or the best acted, but it is certainly very memorable. It also saw the birth of the White Bear symbol, which pops up in other episodes regularly, if paying attention. What is its meaning? The jury is still out!
The Waldo Moment - 6
The political apathy of a nation, and hatred of the personality flaws of our politicians could lead to a figurehead without real policies being elected and revered – it isn’t a very strange idea in 2020 at all. Many younger voters have been incited to demand change, without any idea of what that change should entail. So, in concept, this episode is right on the money. Trouble is it isn’t well written enough to sustain the drama or intrigue in the way the best of the canon do. The shock value is low, and therefore the reaction is “meh, fair enough”. For me, the first real blip in quality control for the series.
White Christmas - 8.5
This was the transition episode that saw Black Mirror make the big money move from Channel 4 to Netflix. Although now bundled into series two, it was a 21 month wait after The Waldo Moment before over 2 million of us settled down to this Christmas gift in 2014. It comes over as an anthology within an anthology, with John Hamm and Rafe Spall telling tales in front of the fire whilst on a “job” together in the cold wilderness of an unknown location. It is laden with ideas of technology back-firing, and is very satisfying in how quickly it moves through the plot points. The chemistry of the two lead men is great; the arrogance of one and the nervousness of the other allowing for some beautiful twists and turns. Essentially, the whole thing is either a re-working of ideas already used, or a precursor to future ideas that will be more fleshed out. Not that it really matters. This is the highest rated individual episode on IMDb, and the reason for that has to be its accessibility. The balance between being creeped out and entertained is just about perfect.
Gareth von Kallenbach (971 KP) rated Triple 9 (2016) in Movies
Aug 6, 2019
A crew of bank robbers is strong-armed by the Russian mob to pull off a near impossible heist due the response time of the police. In order to create a larger window, the dirty cops of this crew suggest creating a 999 (police code for “officer down.”) on the other side of town. That is the basic plot of Triple 9. Yet, the tagline for this film is, “The Code on the street is never black and white.” Seems like a different movie which is part of the letdown of Triple 9. It doesn’t know what it wants to be. Is it a heist movie like Heat or The Town? Or is it trying to be a movie about the cops and the rules of the streets like Training Day?
In the beginning, the film sets its self-up to be a smart and stylistic heist film. However shortly after it begins to feel disjointed as it attempts to develop everyone in its ensemble cast to the point where it hurts the story and some excellent performances become forgettable. It’s a shame because somewhere in this film is potentially two excellent separate films. One film about a crew having to complete a heist for the mob to save their lives and loved ones, and another about dirty cops, their partners and the moral ambiguity of the code on the streets. In Triple 9, these two premises never really get developed on one side or the other and thus everything is just left there.
On the heist side, Chiwetel Ejiofor plays ex-mercenary Michael Atwood. Michael is the careful and calculating leader of the crew, but is tied to the Russian mafia through the mother of his son. Michael is constantly being coerced by the Russian Mob Boss, played by Kate Winslet. The two give stellar performances, most notably Winslet who is cold and ruthless in wielding her power, speaking her mind and not caring how the job gets done as long as it gets done.
On the cop side, Anthony Mackie plays dirty police detective Marcus Belmont who becomes partnered with the ex-marine turned rookie detective Chris Allen (Casey Affleck). Belmont feels that the rookie doesn’t respect the streets and his “Do-gooder” “make a difference” attitude is going to get him killed. When Belmont’s heist crewmate Jorge Rodriguez (Clifton Collins Jr.) learns Chris is also the nephew of the Sergeant Detective (Woody Harrelson) investigating the heist crew, Chris becomes the clear candidate to be set up for the Triple 9. (Convenient huh)
Ultimately, as the story plays out it feels we are always arriving at the end of the meeting to plan the coming events. From the planning of the heist, to the set up murder, and to the exit plan, we are just carried through the motions without much motivation of how or why things have to play out the way they do. As a result, I didn’t really care for any of the characters good or bad, unlike other films of this nature. Even Ejiofor’s character Michael, who has his child involved, doesn’t get the opportunity to really show why the rest of the crew respects him and follows him, or why he needs to stay alive for his son, who basically seems better off being taken care of by the Russian mob.
In the end Triple 9 is not a bad movie, it just isn’t really a great one either. It has strong performances by the entire cast and has the makings of something great, but fails to deliver on that opportunity with a disjointed story trying to focus on too many characters. This makes it ultimately forgettable compared to other heist films of similar nature.
In the beginning, the film sets its self-up to be a smart and stylistic heist film. However shortly after it begins to feel disjointed as it attempts to develop everyone in its ensemble cast to the point where it hurts the story and some excellent performances become forgettable. It’s a shame because somewhere in this film is potentially two excellent separate films. One film about a crew having to complete a heist for the mob to save their lives and loved ones, and another about dirty cops, their partners and the moral ambiguity of the code on the streets. In Triple 9, these two premises never really get developed on one side or the other and thus everything is just left there.
On the heist side, Chiwetel Ejiofor plays ex-mercenary Michael Atwood. Michael is the careful and calculating leader of the crew, but is tied to the Russian mafia through the mother of his son. Michael is constantly being coerced by the Russian Mob Boss, played by Kate Winslet. The two give stellar performances, most notably Winslet who is cold and ruthless in wielding her power, speaking her mind and not caring how the job gets done as long as it gets done.
On the cop side, Anthony Mackie plays dirty police detective Marcus Belmont who becomes partnered with the ex-marine turned rookie detective Chris Allen (Casey Affleck). Belmont feels that the rookie doesn’t respect the streets and his “Do-gooder” “make a difference” attitude is going to get him killed. When Belmont’s heist crewmate Jorge Rodriguez (Clifton Collins Jr.) learns Chris is also the nephew of the Sergeant Detective (Woody Harrelson) investigating the heist crew, Chris becomes the clear candidate to be set up for the Triple 9. (Convenient huh)
Ultimately, as the story plays out it feels we are always arriving at the end of the meeting to plan the coming events. From the planning of the heist, to the set up murder, and to the exit plan, we are just carried through the motions without much motivation of how or why things have to play out the way they do. As a result, I didn’t really care for any of the characters good or bad, unlike other films of this nature. Even Ejiofor’s character Michael, who has his child involved, doesn’t get the opportunity to really show why the rest of the crew respects him and follows him, or why he needs to stay alive for his son, who basically seems better off being taken care of by the Russian mob.
In the end Triple 9 is not a bad movie, it just isn’t really a great one either. It has strong performances by the entire cast and has the makings of something great, but fails to deliver on that opportunity with a disjointed story trying to focus on too many characters. This makes it ultimately forgettable compared to other heist films of similar nature.
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Lee (2222 KP) rated Max Winslow and the House of Secrets (2019) in Movies
Oct 13, 2020
Max Winslow and the House of Secrets is a family film, very much in the vein of Charlie and the Chocolate Factory. Maxine Winslow (Sydne Mikelle), or Max for short, is our Charlie Bucket, coming from a single-parent family and living with a mother who is struggling with debt. Tech-savvy Max is also a skilled hacker, demonstrating this by taking control of her neighbours video doorbell and making it ring so that he comes running outside. Kind of like a modern-day Knock-Down Ginger.
Max heads into school, where we’re introduced to some more teens who are set to join her later on, including a social-media obsessed girl, a boy addicted to gaming and a boy who enjoys trolling people online. As they settle down at their desks, the face of eccentric billionaire Atticus Virtue (Chad Michael Murray) takes over all of the TV screens throughout the school. He tells them that five students are to be selected to spend the night in his high tech mansion, and undertake a series of games, with the winner becoming the new owner of the mansion. When the confirmation text messages start coming through to the student phones later that day, we already know most of those that receive the big green tick on their screens, so they head off to the mansion, ready to spend the night.
Atticus himself isn’t at the mansion to greet the group. Instead, an AI named Haven (voiced by Marina Sirtis) opens the door for them, orders a takeaway delivery and gives them their instructions for the night. Basically, whoever solves the most puzzles and earns the highest score wins the mansion!
The puzzles start off ridiculously hard, with a locked door requiring a six-digit code to open, and only three attempts allowed. Max spots three jars of candy in the room and automatically decides that the total pieces of candy in each jar can be combined into a six-digit number, obviously. And you’re not supposed to think about how she managed to get them in the right order, or why the plate of cookies on the table wasn’t included in the code…
From there, the points come a lot easier for the team, such as simply putting on a pair of sunglasses(!), before turning slightly sinister as the group separates and everyone heads off on their own. Haven begins to go a little bit rogue, although with her monotone delivery of thinly veiled threats, she never really comes across as scary as I think she is meant to be. The games become a way of showing each individual the error of their ways - narcissistic Sophia is trapped in a bathroom talking to her mirror reflection, which has now turned into a nastier version of herself, while others are trapped in VR scenarios designed to show them where they’ve gone wrong in life.
It’s at this point that the movie struggles. The VR recreations are mostly dull, while other scenes utilise some pretty dodgy VFX and there’s never any real feeling of peril or threat. The young cast, for the most part, give some pretty good performances. However, with a mediocre script, none of them is really given very much to work with. Consequently, some of them, particularly the character of Max, feel a little wasted, not fleshed out enough.
While entertaining at times, Max Winslow and the House of Secrets is too scary for young children and not dramatic or scary enough for adults to really enjoy. Hopefully, though, the teen audience that this is squarely aimed at will pick up on the strong moral messages at the heart of the movie and will manage to gain some enjoyment from it.
Max heads into school, where we’re introduced to some more teens who are set to join her later on, including a social-media obsessed girl, a boy addicted to gaming and a boy who enjoys trolling people online. As they settle down at their desks, the face of eccentric billionaire Atticus Virtue (Chad Michael Murray) takes over all of the TV screens throughout the school. He tells them that five students are to be selected to spend the night in his high tech mansion, and undertake a series of games, with the winner becoming the new owner of the mansion. When the confirmation text messages start coming through to the student phones later that day, we already know most of those that receive the big green tick on their screens, so they head off to the mansion, ready to spend the night.
Atticus himself isn’t at the mansion to greet the group. Instead, an AI named Haven (voiced by Marina Sirtis) opens the door for them, orders a takeaway delivery and gives them their instructions for the night. Basically, whoever solves the most puzzles and earns the highest score wins the mansion!
The puzzles start off ridiculously hard, with a locked door requiring a six-digit code to open, and only three attempts allowed. Max spots three jars of candy in the room and automatically decides that the total pieces of candy in each jar can be combined into a six-digit number, obviously. And you’re not supposed to think about how she managed to get them in the right order, or why the plate of cookies on the table wasn’t included in the code…
From there, the points come a lot easier for the team, such as simply putting on a pair of sunglasses(!), before turning slightly sinister as the group separates and everyone heads off on their own. Haven begins to go a little bit rogue, although with her monotone delivery of thinly veiled threats, she never really comes across as scary as I think she is meant to be. The games become a way of showing each individual the error of their ways - narcissistic Sophia is trapped in a bathroom talking to her mirror reflection, which has now turned into a nastier version of herself, while others are trapped in VR scenarios designed to show them where they’ve gone wrong in life.
It’s at this point that the movie struggles. The VR recreations are mostly dull, while other scenes utilise some pretty dodgy VFX and there’s never any real feeling of peril or threat. The young cast, for the most part, give some pretty good performances. However, with a mediocre script, none of them is really given very much to work with. Consequently, some of them, particularly the character of Max, feel a little wasted, not fleshed out enough.
While entertaining at times, Max Winslow and the House of Secrets is too scary for young children and not dramatic or scary enough for adults to really enjoy. Hopefully, though, the teen audience that this is squarely aimed at will pick up on the strong moral messages at the heart of the movie and will manage to gain some enjoyment from it.
Gareth von Kallenbach (971 KP) rated Live By Night (2017) in Movies
Jul 12, 2019
I’m a sucker for a Prohibition-set yarn. It’s a fascinating period in history and typically yields excellent filmmaking with gritty, no-nonsense performances, gorgeous production design and hard-boiled action. It was De Palma’s The Untouchables that hooked me. Some would call it a guilty pleasure; and sure, Morricone’s score is a little over-the-top, De Niro is more caricature than character actor as Al Capone and I’m not going to argue that Connery’s Oscar was a “sympathy vote”, but it’s got everything I mentioned above in spades and for me it’ll always be the high benchmark of the Prohibition era gangster epic. Ben Affleck’s fourth turn as director has done nothing to change my position on that.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Darren (1599 KP) rated Empathy, Inc (2018) in Movies
Sep 13, 2019
Characters – Joel was one of the top stockbrokers in his company until it turns out that he has been made the scapegoat for a deal which lost people millions, Joel needs to get back on his feet, build his client base once again, which sees him taking advantages of a new VR system that has come his way. He thinks this will put his life back together, though it soon only makes things more complicated, as he must learn the truth. Jessica is the wife of Joel, she has supported him through the struggles, while trying to make a name for herself as an actress, she does make the most logic when Joel learns the truth. Lester is the mastermind that has created the technology, he is somebody that is happy to be isolated from the main world. Nicolaus is the old friend to Joel that offers him a chance to invest in the company, he has a reputation for questionable deals, but Joel has no choice. He knows how to sweet talk a deal through, which makes him the man bringing the project money.
Performances – Zack Robidas is great in this leading role, he does show us just how his characters life can come crashing down around him, while trying to figure out make up for his mistakes. Outside of Zack, nobody gets that much time to shine, with Kathy Searle and Jay Klaitz doing everything you imagine their characters need to, without being challenged, while Eric Berryman is as smooth as he needs to be throughout the film.
Story – The story here follows an investor that loses his job and needs to rebuild his career, which sees him taking a chance on a new start up whose idea isn’t as sweet as he thought it would be. The story does show how one man must rebuild his reputation, this is all we need and everything that works in the story, where this story gets even more interesting, comes from the idea that a VR system could be created to do what this one does, XVR, this idea in the story is what will make this standout on new levels, because it does pose the ideas of what people would do with this technology. A story that makes you think, is what sci-fi is truly about, this could also easily be a welcome addition to the Black Mirror world.
Sci-Fi – The sci-fi elements in the film do make you feel like you are watching an episode of Black Mirror, it is a concept that turns what seems like a smart idea, that takes a dark turn when the truth comes out, one that makes you think what would you do in this situation.
Settings – The film does keep the settings looking like a start up business, which is all we need, we don’t need to see anything more or anything over the top either, the settings are handled perfectly for the tone of the film.
Special Effects – The effects like the settings, don’t need to be anything more than we get, most are very simple, we don’t need anything fancy for this film though.
Scene of the Movie – The second visit on the machine.
That Moment That Annoyed Me – We could have had more of a conversation about the moral side of the concept.
Final Thoughts – This is a sci-fi film with a concept that stands out, it will ask the audience a question and will keep you wondering just how far the people will go in the name of science.
Overall: Sci-Fi seriously good.
Performances – Zack Robidas is great in this leading role, he does show us just how his characters life can come crashing down around him, while trying to figure out make up for his mistakes. Outside of Zack, nobody gets that much time to shine, with Kathy Searle and Jay Klaitz doing everything you imagine their characters need to, without being challenged, while Eric Berryman is as smooth as he needs to be throughout the film.
Story – The story here follows an investor that loses his job and needs to rebuild his career, which sees him taking a chance on a new start up whose idea isn’t as sweet as he thought it would be. The story does show how one man must rebuild his reputation, this is all we need and everything that works in the story, where this story gets even more interesting, comes from the idea that a VR system could be created to do what this one does, XVR, this idea in the story is what will make this standout on new levels, because it does pose the ideas of what people would do with this technology. A story that makes you think, is what sci-fi is truly about, this could also easily be a welcome addition to the Black Mirror world.
Sci-Fi – The sci-fi elements in the film do make you feel like you are watching an episode of Black Mirror, it is a concept that turns what seems like a smart idea, that takes a dark turn when the truth comes out, one that makes you think what would you do in this situation.
Settings – The film does keep the settings looking like a start up business, which is all we need, we don’t need to see anything more or anything over the top either, the settings are handled perfectly for the tone of the film.
Special Effects – The effects like the settings, don’t need to be anything more than we get, most are very simple, we don’t need anything fancy for this film though.
Scene of the Movie – The second visit on the machine.
That Moment That Annoyed Me – We could have had more of a conversation about the moral side of the concept.
Final Thoughts – This is a sci-fi film with a concept that stands out, it will ask the audience a question and will keep you wondering just how far the people will go in the name of science.
Overall: Sci-Fi seriously good.
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Kristy H (1252 KP) rated Eleanor Oliphant Is Completely Fine in Books
Dec 24, 2017
funny (3 more)
heartbreaking
tender
beautiful
Eleanor Oliphant leads a simple, albeit lonely, life. Up in the morning, head to work, and heads down at the office (with a solo break for lunch and the crossword). She spends her evenings and weekends alone--typically with a book, the TV, and a lot vodka. Every Wednesday evening, she speaks on the phone with her mother (Mummy)-- always a painful conversation as her mother is judgemental and exacting. Then one day, Eleanor and Raymond, the slightly oafish IT guy from her office, save the elderly Sammy, who has fallen on the sidewalk. The act turns out to change Eleanor's life--bringing her into Sammy's life and that of his boisterous family--and involving her more with Raymond, as well. Suddenly, it's almost as if Eleanor and Raymond are friends and Eleanor isn't completely lonely anymore. But can her friendship with Raymond erase the sadness in her life?
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.
This book, oh this book. Wow, what a journey. I'm so very glad I finally picked it up. Where do I even begin? First of all, Honeyman captures the voice of Eleanor perfectly. I was honestly a bit surprised when I started this one. I'd been expecting a slightly quirky character (a la the lead in THE ROSIE PROJECT), but there's far more depth and darkness to Eleanor (and her tale) than I imagined. It took me a little longer to get into the story, but once I was: wow. You can visualize Eleanor and her supporting cast so clearly. Raymond comes across effortlessly too. The plot is striking-- an amazing combination of heartbreaking and tender. My heart truly broke for dear Eleanor at times.
I was intrigued by the fact that there's no real huge story, per se, to this novel--it's just Eleanor finding her way in the world. As mentioned, Eleanor and Raymond assist Sammy, and this jolts Eleanor out of her life built around routine and sameness. Forced to come out of her shell, she suddenly sees some things in a new light--her appearance, her job, her friendships (or lack thereof), her apartment, and more. The way Honeyman presents the world--through Eleanor's eyes--is uncanny. I cannot describe how well she captures her diction and how aghast Eleanor is sometimes by the world around her (dirty books from the library, people who waste her time with conversation, the food people eat and how they eat, etc.).
At the same time, you realize how much Eleanor is formed by her childhood, or lack thereof, and it's just... striking. How Honeyman gets this all across in words is amazing. The unexpected darkness and sadness that comes across in the novel and the added layer of suspense she casts as we ponder Eleanor's tragic childhood: it's chilling. The entire book is mesmerizing and beautiful.
That's not to say the book isn't funny or enjoyable, too. Eleanor is her own person, and she's witty and true to her self, for sure. You will find yourself rooting for her personality quirks (of which there are many) and all. If Eleanor's attempts to understand the world don't tug at your heartstrings, I'm not sure anything will (and I'm pretty tough nut to crack when reading, mind you). I was worried that perhaps the moral would be that Eleanor would have to change herself to find happiness, but no, I don't think that was Honeyman's ultimate intent, even if Eleanor does make some "improvements" along the way. (I won't say more for risk of spoilers.) Also, I loved Raymond, as well; his mother; Glen (!!!!); and so many other parts of the story that made me smile. Seriously, even with its sad parts, this book just makes you happy.
Ultimately, this is lovely book, with beautiful, well-written characters. The tale of Eleanor Oliphant will stay with me for a long time, and I'm so glad I finally decided to read this book. Honeyman is an excellent writer, her depiction of Eleanor is gorgeous and heart-rendering and the few flaws I found with this were so minor, as I was left just awed by the end. One of my favorites so far this year.