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Gareth von Kallenbach (980 KP) rated New Year's Eve (2011) in Movies
Aug 7, 2019
If you ask me, holiday movies have lost their way over the past few years. Not that there haven’t been any good holiday movies recently, but let’s face it… “A Very Harold & Kumar 3D Christmas” is no “It’s a Wonderful Life.” I think that New Year’s Eve brings us back to the feel good holiday movies that the film industry has been missing.
The cast in this is huge. Michelle Pfeiffer, Zac Efron, Robert De Niro, Halle Berry, Jessica Biel, Seth Meyers, Carla Gugino, Katherine Heigl, Jon Bon Jovi, Sofia Vergara, Ashton Kutcher, Lea Michele, Sarah Jessica Parker, Abigail Breslin, Hilary Swank and Josh Duhamel are all players in this film. This is only the tip of the ice berg too as there are many smaller roles with cameos from big names.
New Year’s Eve follows several different story lines that are all connected in some way, whether small or big, the stories do intertwine. Michelle Pfieffer plays a meek, timid office worker who finally has had it with her miserable job. She enlists the help of bike messenger Zac Efron to help her complete all the tasks on her “bucket list” type resolution list. Robert De Niro plays a dying cancer patient whose wish is to see the ball drop one last time, and Halle Berry is the nurse that is attending him. Seth Meyers and Jessica Biel play an expectant couple who are in a race with another couple to have the first baby of the New Year in order to win the Hospital’s contest and receive $25,000.
Katherine Heigl plays a chef for a catering company that has landed a huge gig at one of the largest parties in New York. Sofia Vergara is her sous chef who is humorously fanatic over Jon Bon Jovi. Jon Bon Jovi plays a version of himself (a musician) who happens to be Katherine Heigl’s ex-boyfriend. Ashton Kutcher is very anti-New Year’s and during his protest of the holiday ends up becoming stuck in an elevator with Lea Michele, a new tenant in his building who is on her way to a new job as a backup singer.
Sarah Jessica Parker is a single mother who gets to spend the New Year with her daughter, played by Abigail Breslin. But Abigail has her sights set on spending New Year’s Eve in Times Square. Hilary Swank plays the newly appointed Vice President of the Times Square Alliance, which for the intents of this movie means that she’s in charge of the Times Square ball dropping and runs into a few problems along the way. Josh Duhamel is desperately trying to make it from his cousin’s wedding to New York City in time to give an important speech at his company’s party, as well as make another very important meeting.
I found this movie to be a great date movie. It’s cute and funny, but without being overly obnoxious as some holiday movies try to be. It is very clever in its story telling, and makes great use of the stellar cast. Though I personally could have done without the Robert De Niro story line, I really enjoyed the film overall. It is great to see a wholesome Holiday movie that does not have to rely on gags and clichés (not too much anyway).
The cast in this is huge. Michelle Pfeiffer, Zac Efron, Robert De Niro, Halle Berry, Jessica Biel, Seth Meyers, Carla Gugino, Katherine Heigl, Jon Bon Jovi, Sofia Vergara, Ashton Kutcher, Lea Michele, Sarah Jessica Parker, Abigail Breslin, Hilary Swank and Josh Duhamel are all players in this film. This is only the tip of the ice berg too as there are many smaller roles with cameos from big names.
New Year’s Eve follows several different story lines that are all connected in some way, whether small or big, the stories do intertwine. Michelle Pfieffer plays a meek, timid office worker who finally has had it with her miserable job. She enlists the help of bike messenger Zac Efron to help her complete all the tasks on her “bucket list” type resolution list. Robert De Niro plays a dying cancer patient whose wish is to see the ball drop one last time, and Halle Berry is the nurse that is attending him. Seth Meyers and Jessica Biel play an expectant couple who are in a race with another couple to have the first baby of the New Year in order to win the Hospital’s contest and receive $25,000.
Katherine Heigl plays a chef for a catering company that has landed a huge gig at one of the largest parties in New York. Sofia Vergara is her sous chef who is humorously fanatic over Jon Bon Jovi. Jon Bon Jovi plays a version of himself (a musician) who happens to be Katherine Heigl’s ex-boyfriend. Ashton Kutcher is very anti-New Year’s and during his protest of the holiday ends up becoming stuck in an elevator with Lea Michele, a new tenant in his building who is on her way to a new job as a backup singer.
Sarah Jessica Parker is a single mother who gets to spend the New Year with her daughter, played by Abigail Breslin. But Abigail has her sights set on spending New Year’s Eve in Times Square. Hilary Swank plays the newly appointed Vice President of the Times Square Alliance, which for the intents of this movie means that she’s in charge of the Times Square ball dropping and runs into a few problems along the way. Josh Duhamel is desperately trying to make it from his cousin’s wedding to New York City in time to give an important speech at his company’s party, as well as make another very important meeting.
I found this movie to be a great date movie. It’s cute and funny, but without being overly obnoxious as some holiday movies try to be. It is very clever in its story telling, and makes great use of the stellar cast. Though I personally could have done without the Robert De Niro story line, I really enjoyed the film overall. It is great to see a wholesome Holiday movie that does not have to rely on gags and clichés (not too much anyway).
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BankofMarquis (1832 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Feb 12, 2021
Give Chadwick the Oscar
Pulitzer Prize winning Playwright August Wilson wrote 10 plays that he labeled his “Century Cycle” - one placed in each decade of the 20th century that depicts the Negro experience in America. Denzel Washington has pledged to produce a film for each one of these plays.
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
The first film, FENCES (2016), earned Viola Davis an Oscar and was nominated for Best Film. The 2nd film, MA RAINEY’S BLACK BOTTOM looks to be just as awarded.
Set in a recording studio in Chicago in the 1920’s (the only play of Wilson’s Century Cycle NOT set in Pittsburgh), MA RAINEY’S BLACK BOTTOM tells the story of a recording session for Ma Rainey and her band.
Nominated for the Tony for Best Play of 1984, MA RAINEY’S BLACK BOTTOM is the perfect stage play, for it takes place in one room - the recording studio. The problem with turning this into a film is that Director George C. Wolf felt compelled to “open things up” and added scenes, mostly at the beginning of the film, that takes you out of the studio. He also included Ma Rainey in some of these scenes, thus taking away the power of her entrance about 1/3 of the way into the story. These added scenes add nothing to the story and waters down some of the strength that being confined in one place brings.
But, oh, with performances and dialogue like this, those things are quickly forgotten.
Davis, of course, is stellar as Ma Rainey grabbing the spotlight and commanding the room with her presence. Ma Rainey (and Davis) are not to be trifled with and this is a powerhouse performance, so much so that I can forgive the film for having Davis’ voice dubbed for much of her singing performance.
But…Davis performance pales in comparison to the elite level work of Chadwick Boseman in the central role of trumpet player Levee who has some demons to unpack, demons that drive both his artistic and emotional self. This is a difficult character to root for, but Boseman’s charm shines through and mixed with his rage and sadness, makes for a potent combination and an interesting character to watch. Adding to the poignancy of the performance is the knowledge that this as Boseman’s last role before succumbing to cancer.
Colman Domingo (my favorite actor in FEAR THE WALKING DEAD) brings a strong grounding to the preceedings in the role of Cutler while veteran character actor Glynn Turman (who I remember from the 1970’s mini-series CENTENNIAL) is at a career best as another musician, Toledo. Most of the film (and play) consist of Cutler, Toledo and Levee talking, arguing, bantering and pontificating and these 3 are more than up to this challenge.
All of this, of course, would not be possible without the power of the original stage play script by August Wilson. This work was ably adapted to the screen by Ruben Santiago-Hudson (a shoo-in for an Oscar nomination).
A very strong, very interesting tale with some very moving performances makes MA RAINEY’S BLACK BOTTOM a worthy Oscar-type film that should be checked out by all.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
Kristy H (1252 KP) rated A Dream About Lightning Bugs: A Life of Music and Cheap Lessons in Books
Oct 14, 2019
Ben Folds--as you probably know if you're interested in his autobiography/memoir--is a singer-songwriter who became popular in the 1990s as part of the band Ben Folds Five. He's well-known for his piano skills, vocals, and songwriting. He's also had a somewhat tumultuous personal life, with multiple marriages that ended in divorce. This memoir covers his childhood and his fame with Ben Folds Five and his solo career, up until the relative present.
"This is a book about what I know. Or what I think I know. It's about music and how it has framed and informed my life and vice versa. About the stumbles, falls, and other brilliant strokes of luck that brought me here."
I discovered Ben Folds Five in college via my roommate/best friend, and I've been a fan ever since. I was excited to read this, but I've gotta admit: it was a slog. I basically forced myself to finish. I've always sort of thought of Ben Folds as a bit arrogant, so that may have clouded some of my reading of this autobiography. It certainly didn't help dissuade me of that opinion.
For me, the best parts were when Folds was talking naturally about his life and story. His childhood was interesting and it was really no surprise that he was a musically obsessed, somewhat irreverent kid. It was intriguing to see the various paths that led him to Ben Folds Five and stardom.
I did not enjoy--at all--the part where he felt the need to impart forced, preachy lessons about life and music. Maybe if I was more of a music person (as in, I played it versus listened to it) the music lessons would have been of interest. It felt like an editor said, "Ben, every few chapters you have to make sure the reader learns something." And he diligently and forcefully made sure we did. But the point of the book seemed to be that he was a screw up, who got where he was halfway by accident, so the whole lessons thing seemed awfully preachy and fake.
The better pieces were funny anecdotes--Folds playing as a one-man polka band and winding up doing a private gig for an elderly couple, where the husband had a wooden leg. Folds meeting a then-unknown Keith Urban. How he met Robert and Darren of Ben Folds Five. I was disappointed how much he skipped over as he became a more famous musician. We get a lot about his childhood, his various tries at college, and his musical attempts up until Ben Folds Five. He does talk about the formation of Ben Folds Five and how it felt to suddenly become so famous. But then, so much of the detail dwindles. He alludes to how the band might have had some tension, but the actual breakup, via email, gets a few sentences. Even his many marriages and his associated emotional turmoil gets glossed over quite a bit.
So, for me, I was left wishing for more with this one. It's a good quick brush-over of Ben Folds' life. There are some cheesy, slightly pompous "life lessons" inserted. You get a few funny stories among all this and the backstory behind a few songs: that, to me, was the good stuff. Otherwise, it was a bit of a drag, and I didn't finish really knowing much more about the real Ben Folds than I did when I came in. Rather disappointing. 2.5 stars.
"This is a book about what I know. Or what I think I know. It's about music and how it has framed and informed my life and vice versa. About the stumbles, falls, and other brilliant strokes of luck that brought me here."
I discovered Ben Folds Five in college via my roommate/best friend, and I've been a fan ever since. I was excited to read this, but I've gotta admit: it was a slog. I basically forced myself to finish. I've always sort of thought of Ben Folds as a bit arrogant, so that may have clouded some of my reading of this autobiography. It certainly didn't help dissuade me of that opinion.
For me, the best parts were when Folds was talking naturally about his life and story. His childhood was interesting and it was really no surprise that he was a musically obsessed, somewhat irreverent kid. It was intriguing to see the various paths that led him to Ben Folds Five and stardom.
I did not enjoy--at all--the part where he felt the need to impart forced, preachy lessons about life and music. Maybe if I was more of a music person (as in, I played it versus listened to it) the music lessons would have been of interest. It felt like an editor said, "Ben, every few chapters you have to make sure the reader learns something." And he diligently and forcefully made sure we did. But the point of the book seemed to be that he was a screw up, who got where he was halfway by accident, so the whole lessons thing seemed awfully preachy and fake.
The better pieces were funny anecdotes--Folds playing as a one-man polka band and winding up doing a private gig for an elderly couple, where the husband had a wooden leg. Folds meeting a then-unknown Keith Urban. How he met Robert and Darren of Ben Folds Five. I was disappointed how much he skipped over as he became a more famous musician. We get a lot about his childhood, his various tries at college, and his musical attempts up until Ben Folds Five. He does talk about the formation of Ben Folds Five and how it felt to suddenly become so famous. But then, so much of the detail dwindles. He alludes to how the band might have had some tension, but the actual breakup, via email, gets a few sentences. Even his many marriages and his associated emotional turmoil gets glossed over quite a bit.
So, for me, I was left wishing for more with this one. It's a good quick brush-over of Ben Folds' life. There are some cheesy, slightly pompous "life lessons" inserted. You get a few funny stories among all this and the backstory behind a few songs: that, to me, was the good stuff. Otherwise, it was a bit of a drag, and I didn't finish really knowing much more about the real Ben Folds than I did when I came in. Rather disappointing. 2.5 stars.
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