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Buddies, Bullies, and Baseball
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When Bullies Act Out, It’s Time for Buddies and Baseball A cloud hangs over Jack as he begins...
Athla Velocity: Hands-Free Speed Radar (Ultimate Version)
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Considering a PocketRadar or a Stalker Doppler? See our "battlefield" comparison of five speed...
Toca Life: School
Education and Entertainment
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Grab your backpack— it’s time for Toca Life: School! Teach a class, pick a locker and have a...
Siren's Call (Dark Tides #1)
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Between desire and love there are some things that can’t stay buried, even in the deep of the...
Bob Mann (459 KP) rated A Beautiful Day in the Neighborhood (2019) in Movies
Dec 13, 2019
"Anything mentionable is manageable"
Tom Hanks' new movie is a film I personally struggled to fully engage with. But some I suspect will truly LOVE it's gentle and feel-good nature.
Who WAS Fred Rogers? Based on a true story this movie very quickly makes you realise that Fred Rogers, who died in 2003, was an American legend. This is supported by the GLOWING reviews here on IMDB by US viewers. Rogers was a children's TV presenter that used puppets and song to help children work through their fears and psychological issues. I suspect, like me, most Brits would say "WHO?" (Just as if a 60's born Brit like me saying "Let's look through the arched window" will similarly get a "WHAT?" from nearly all Americans!)
Here the story revolves not around Fred (Tom Hanks) helping a child with issues, but with Fred's fixation with 'Esquire' journo Lloyd Vogel (Matthew Rhys), who is fighting his own demons of anger, resentment and pain. For Lloyd is struggling not only with his feelings about fatherhood, with the normal strains that is placing on the relationship with wife and mother Andrea (Susan Kelechi Watson), but also with the reemergence on the scene of his estranged and hard-drinking father Jerry (Chris Cooper).
The movie starts (and continues) with model sets reminiscent of the brilliantly barmy "Welcome to Marwen" and (the rather more subtle) "Game Night". Fun is had with matchbox-car freeways and planes flying off and clunking down on model runways.
We join Mr Rogers on set filming his series: and the movie sloooooows to match Rogers' leisurely pace. This was a movie I went into completely blind (which is unusual for me): I knew precisely zip about it. No knowledge of Rogers. No knowledge of the story. No sight of the trailer. Nothing. So these opening scenes were a real "WTF" moment as my brain struggled to work out what the story was all about.
There was undeniably something creepy about seeing the saintly Fred Rogers engaging with sick and vulnerable children. And I realised just what damage the likes of the convicted-paedophiles Jimmy Saville, Stuart Hall and Rolf Harris have done to my suspicions against all such entertainers. I feared - without any background knowledge on Rogers - that the story would take a darker turn. But no! That's not the story....
For as mentioned earlier, this is the story of Lloyd. And it's a relatively simple and linear story of familial stress that we've seen in movies throughout the decades. Whether you will buy into this story-within-the-story, or not, will flavour your overall enjoyment of the film.
Many who are into analysis and 'talking treatments' will - I think - appreciate the script. But I personally didn't really warm to any of the players - other than Rogers - so this was a negative for me. And I found the pace so slow that I ended up a bit fidgety and bored moving into the second reel of the film. Two women got up and walked out at that point - - it was clearly not for them (this was a Cineworld "Unlimited" pre-release screening).
The third reel rather pulled it together again, and established an "It's a Wonderful Life" style of feelgood that I warmed to much more.
This is a movie I predict the Academy will love. And everyone loves Hanks already. Read the tea-leaves. It's a brilliant performance from Hanks in its stillness and quietness.
No more so than in one particular scene....
This is the follow up movie from Marielle Heller to the impressive "Can You Ever Forgive Me?". And this particular scene - let's call it the "Anti-When-Harry-Met-Sally" moment - is a massively brave and striking piece of cinema.
It's truly extraordinary and worth the price of a ticket alone.
In summary, I enjoyed this movie, primarily for watching the master Hanks at work. The pacing for me was somewhat off though. But I can't be overly critical of such a warm-hearted movie. I predict you will see this and go home with a big dose of the warm-fuzzies.
See here for the full graphical review - https://bob-the-movie-man.com/2019/12/12/one-manns-movies-film-review-a-beautiful-day-in-the-neighborhood-2019/
Who WAS Fred Rogers? Based on a true story this movie very quickly makes you realise that Fred Rogers, who died in 2003, was an American legend. This is supported by the GLOWING reviews here on IMDB by US viewers. Rogers was a children's TV presenter that used puppets and song to help children work through their fears and psychological issues. I suspect, like me, most Brits would say "WHO?" (Just as if a 60's born Brit like me saying "Let's look through the arched window" will similarly get a "WHAT?" from nearly all Americans!)
Here the story revolves not around Fred (Tom Hanks) helping a child with issues, but with Fred's fixation with 'Esquire' journo Lloyd Vogel (Matthew Rhys), who is fighting his own demons of anger, resentment and pain. For Lloyd is struggling not only with his feelings about fatherhood, with the normal strains that is placing on the relationship with wife and mother Andrea (Susan Kelechi Watson), but also with the reemergence on the scene of his estranged and hard-drinking father Jerry (Chris Cooper).
The movie starts (and continues) with model sets reminiscent of the brilliantly barmy "Welcome to Marwen" and (the rather more subtle) "Game Night". Fun is had with matchbox-car freeways and planes flying off and clunking down on model runways.
We join Mr Rogers on set filming his series: and the movie sloooooows to match Rogers' leisurely pace. This was a movie I went into completely blind (which is unusual for me): I knew precisely zip about it. No knowledge of Rogers. No knowledge of the story. No sight of the trailer. Nothing. So these opening scenes were a real "WTF" moment as my brain struggled to work out what the story was all about.
There was undeniably something creepy about seeing the saintly Fred Rogers engaging with sick and vulnerable children. And I realised just what damage the likes of the convicted-paedophiles Jimmy Saville, Stuart Hall and Rolf Harris have done to my suspicions against all such entertainers. I feared - without any background knowledge on Rogers - that the story would take a darker turn. But no! That's not the story....
For as mentioned earlier, this is the story of Lloyd. And it's a relatively simple and linear story of familial stress that we've seen in movies throughout the decades. Whether you will buy into this story-within-the-story, or not, will flavour your overall enjoyment of the film.
Many who are into analysis and 'talking treatments' will - I think - appreciate the script. But I personally didn't really warm to any of the players - other than Rogers - so this was a negative for me. And I found the pace so slow that I ended up a bit fidgety and bored moving into the second reel of the film. Two women got up and walked out at that point - - it was clearly not for them (this was a Cineworld "Unlimited" pre-release screening).
The third reel rather pulled it together again, and established an "It's a Wonderful Life" style of feelgood that I warmed to much more.
This is a movie I predict the Academy will love. And everyone loves Hanks already. Read the tea-leaves. It's a brilliant performance from Hanks in its stillness and quietness.
No more so than in one particular scene....
This is the follow up movie from Marielle Heller to the impressive "Can You Ever Forgive Me?". And this particular scene - let's call it the "Anti-When-Harry-Met-Sally" moment - is a massively brave and striking piece of cinema.
It's truly extraordinary and worth the price of a ticket alone.
In summary, I enjoyed this movie, primarily for watching the master Hanks at work. The pacing for me was somewhat off though. But I can't be overly critical of such a warm-hearted movie. I predict you will see this and go home with a big dose of the warm-fuzzies.
See here for the full graphical review - https://bob-the-movie-man.com/2019/12/12/one-manns-movies-film-review-a-beautiful-day-in-the-neighborhood-2019/
Henry Rollins recommended Apocalypse Now (1979) in Movies (curated)
I have a tough time reviewing books about Black Feminism. I enjoy reading them - well, maybe "enjoy" isn't quite the right word. They can be tough. I am glad to have read them. But how to review them? I'm a white woman, it's not really my place to critique these works. But it would be remiss of me to not talk about them - denying them the same space on my blog that I give to everything else I read is its own kind of erasure. I'm not sure how best to resolve this, but for this specific book, at least, I can talk about what I learned from it.
What I learned is that some of my childhood was straight-up racist. I always thought of my childhood as pretty idyllic - my parents were high school sweethearts, and to this day still adore each other. We lived in a house my parents owned. (My most formative years were actually spent in the house my mother grew up in; my parents bought it from my grandparents when I was seven.) We got to run around and play on a quiet neighborhood street where we knew all of our neighbors. We had pets of various species, we got technology fairly quickly since my father was a computer geek, we had a garden out back that Mom canned beans out of every year.
But I was homeschooled until eighth grade. (With Bob Jones and Abeka Books, notoriously Christian curriculum. I thought humans lived with dinosaurs well into my twenties.) We went to a conservative Christian church every Sunday. (And Tuesday. And some Fridays.) While my parents taught that I could be anything I wanted to be, the church definitely over rode that with "women should be subservient to men" and "don't trust your own judgment, ask God/your parents/the elders."
The incident that Jerkins' book brought back to mind, though, was a party I went to. I'm pretty sure it was someone's birthday party, but at a church. Not our church. There were a lot of people, though, so I could be wrong about the birthday party. It was this party where I got the tiny scar in my eyebrow - some kid broke the bat on the pinata and threw it behind him, where it hit me in the face. Before that, though, was the cake walk. There were footprints laid out on the concrete floor, and we paced around them while music played, kind of like musical chairs, I think. (I was younger than ten, my memory is a little fuzzy.) I won the cake! I thought nothing of this until reading This Will Be My Undoing.
"The cakewalk was a dance performed in the late nineteenth century at slave get-togethers. You lean or rear back and kick your feet out left and right or vice versa as you move forward......White people would watch them dance, fascinated by the exoticness of it all. These spectacles were purposeful humiliations. But the cakewalk evolved as slaves' own form of subversion. While serving at large and fancy parties in the early 1800s, they would watch well-to-do white people perform strict and stiff dances, like cotillions and quadrilles, and mimic them, exaggerating the bowing and small skips and hops and adding some high steps and jumps. In diaries kept by white people in the antebellum South, the cakewalk is not depicted as a form of satire. After all, why would a sweet slave mock his benevolent master? To white people's eyes, this imitation seemed like flattery. They were delighted that the slaves were attempting their civilized dances. In fact, they would hold competitions and the winning slaves would receive a cake, hence the name. Yet they were being mocked, right in front of their faces."
WHY WAS THIS BEING HELD AT A CHURCH PARTY? I don't recall if it was all white kids, but it probably was. My hometown was not very ethnically diverse. The more I learn - academically, politically, socially, secularly - the more I realize my childhood was pretty fucked up in a lot of different ways. I don't know if it was more or less fucked up than most white kids' childhoods - white supremacy is insidious. I was an ignorant child at the time, but to realize, decades later, how racist holding a cakewalk is, stopped me in my tracks. (Incidentally, this means that calling something "a cakewalk" has its roots in racism, like so many other things in our language. Cakewalks weren't easy - but the best dancers made them look that way.)
So that's what I can say about this book. I learned something about my childhood. Beyond that, all I will offer is that Jerkins is an excellent writer; the book flows well and is an easy read, despite the subject matter not being easy. Read it. It's important.
You can find all my reviews at http://goddessinthestacks.com
What I learned is that some of my childhood was straight-up racist. I always thought of my childhood as pretty idyllic - my parents were high school sweethearts, and to this day still adore each other. We lived in a house my parents owned. (My most formative years were actually spent in the house my mother grew up in; my parents bought it from my grandparents when I was seven.) We got to run around and play on a quiet neighborhood street where we knew all of our neighbors. We had pets of various species, we got technology fairly quickly since my father was a computer geek, we had a garden out back that Mom canned beans out of every year.
But I was homeschooled until eighth grade. (With Bob Jones and Abeka Books, notoriously Christian curriculum. I thought humans lived with dinosaurs well into my twenties.) We went to a conservative Christian church every Sunday. (And Tuesday. And some Fridays.) While my parents taught that I could be anything I wanted to be, the church definitely over rode that with "women should be subservient to men" and "don't trust your own judgment, ask God/your parents/the elders."
The incident that Jerkins' book brought back to mind, though, was a party I went to. I'm pretty sure it was someone's birthday party, but at a church. Not our church. There were a lot of people, though, so I could be wrong about the birthday party. It was this party where I got the tiny scar in my eyebrow - some kid broke the bat on the pinata and threw it behind him, where it hit me in the face. Before that, though, was the cake walk. There were footprints laid out on the concrete floor, and we paced around them while music played, kind of like musical chairs, I think. (I was younger than ten, my memory is a little fuzzy.) I won the cake! I thought nothing of this until reading This Will Be My Undoing.
"The cakewalk was a dance performed in the late nineteenth century at slave get-togethers. You lean or rear back and kick your feet out left and right or vice versa as you move forward......White people would watch them dance, fascinated by the exoticness of it all. These spectacles were purposeful humiliations. But the cakewalk evolved as slaves' own form of subversion. While serving at large and fancy parties in the early 1800s, they would watch well-to-do white people perform strict and stiff dances, like cotillions and quadrilles, and mimic them, exaggerating the bowing and small skips and hops and adding some high steps and jumps. In diaries kept by white people in the antebellum South, the cakewalk is not depicted as a form of satire. After all, why would a sweet slave mock his benevolent master? To white people's eyes, this imitation seemed like flattery. They were delighted that the slaves were attempting their civilized dances. In fact, they would hold competitions and the winning slaves would receive a cake, hence the name. Yet they were being mocked, right in front of their faces."
WHY WAS THIS BEING HELD AT A CHURCH PARTY? I don't recall if it was all white kids, but it probably was. My hometown was not very ethnically diverse. The more I learn - academically, politically, socially, secularly - the more I realize my childhood was pretty fucked up in a lot of different ways. I don't know if it was more or less fucked up than most white kids' childhoods - white supremacy is insidious. I was an ignorant child at the time, but to realize, decades later, how racist holding a cakewalk is, stopped me in my tracks. (Incidentally, this means that calling something "a cakewalk" has its roots in racism, like so many other things in our language. Cakewalks weren't easy - but the best dancers made them look that way.)
So that's what I can say about this book. I learned something about my childhood. Beyond that, all I will offer is that Jerkins is an excellent writer; the book flows well and is an easy read, despite the subject matter not being easy. Read it. It's important.
You can find all my reviews at http://goddessinthestacks.com
Gareth von Kallenbach (977 KP) rated War of the Worlds (2005) in Movies
Aug 14, 2019
In a summer season of grand blockbusters, War of the Worlds” is perhaps the biggest dud in years, and is a failure of epic proportions. The film is a remake of the classic 1953 film of the same name which like the new one is inspired from the H.G. Wells novel of 1898.
The new version is directed by Steven Spielberg, and stars Tom Cruise as Ray Ferrier, a divorced dockworker who is spending some time with his estranged children, Robbie (Justin Chatwin), and Rachael (Dakota Fanning), while his ex-wife and her new husband take a trip.
The children are very cold to Ray as they feel they were dumped on their mother as Ray only cares about himself. When a series of freak electrical storms hits various cities around the world, Ray attempts to comfort his children who are disturbed by the storm as well as the fact that all electronic devices have ceased to function.
Ray leaves the children at home and ventures into the neighborhood and is soon facing a waking nightmare as giant machines burst from the ground laying waste to everything in their paths.
Ray gathers his family and flees in a working vehicle trying to stay one step ahead of the alien machines in an attempt to find safety and reunite the children with their mother in Boston.
As basic as the above plot outline is, it is pretty much the entire plot of the film. There is little else to it aside from a few interruptions such as the family seeking shelter in a couple of houses or facing an angry mob as they attempt to reach a ferry.
While a thin plot can be excused for many action films, what cannot be excused are the painfully bad lack of any excitement in the film and the lack of any compelling action or suspense.
We are supposed to believe that the world is being destroyed by the alien’s but aside from a few blasted bridges, and small buildings, we see a surprising lack of carnage. There are no sequences of classic landmarks being reduced to rubble, there are no scenes of vast armies locked in a desperate struggle against the invaders.
Instead, we get a sequence of helicopters firing, and a line of soldiers firing, but they never show us what they are shooting at, nor do we see the alien retaliation behind a bright explosion and a few vehicles emerging on fire. This is particularly frustrating when you consider that the 1954 version at least showed a few tanks being blasted outright.
Another issue I had with the film was the painfully obvious superimposed backdrops as during the films limited action scenes; the background was clearly inserted into the shot as it was so fuzzy that it did not fit in with the events in the foreground.
While I am willing to dismiss this as stylistic nitpicking what cannot be ignored is that for most of the films running length, the cast does little more than stand around waiting for something to happen.
There are no great segments of character development, no insight into why the aliens waited all this time to attack when they could have done so centuries earlier, why they want the planet, and numerous other plot holes, some of which are so glaring. One of my favorites was the guy who was able to use a video camera to record the opening attacks when it was clearly shown that all electronic devices were rendered useless.
Much has been made of Cruise’s recent off screen actions and I must say that those have been far more interesting and engaging than his performance here. Cruise spends the majority of the film in a wide-eyed gaze or frantically moving and yelling. His character like his annoyingly bratty daughter are so unsympathetic, I found myself hoping that the aliens would take them out and end our suffering.
I hate stated prior that I thought this film may have problems as in light of films such as “ID4”, the story would seem bland to modern audiences unless the action was increased and there was a dynamic story with interesting characters. Sadly all of those are missing from a film that also has one of the worst endings in recent history.
There is no build up, no final confrontation, no moment of high tension to get to the payoff; it just ends with a whimper. One would think that a grand battle or an effects royale is in store instead, it plays out in a very matter of fact fashion with shockingly little action or suspense.
I could go on and on, but suffice it to say that between the weak acting, tired, thin plot, and infrequent and underwhelming action and effects, this is a film that exists only due to the talents of Cruise and Spielberg., That being said, I have to wonder how and why they could not have picked a better product than this stale offering.
The new version is directed by Steven Spielberg, and stars Tom Cruise as Ray Ferrier, a divorced dockworker who is spending some time with his estranged children, Robbie (Justin Chatwin), and Rachael (Dakota Fanning), while his ex-wife and her new husband take a trip.
The children are very cold to Ray as they feel they were dumped on their mother as Ray only cares about himself. When a series of freak electrical storms hits various cities around the world, Ray attempts to comfort his children who are disturbed by the storm as well as the fact that all electronic devices have ceased to function.
Ray leaves the children at home and ventures into the neighborhood and is soon facing a waking nightmare as giant machines burst from the ground laying waste to everything in their paths.
Ray gathers his family and flees in a working vehicle trying to stay one step ahead of the alien machines in an attempt to find safety and reunite the children with their mother in Boston.
As basic as the above plot outline is, it is pretty much the entire plot of the film. There is little else to it aside from a few interruptions such as the family seeking shelter in a couple of houses or facing an angry mob as they attempt to reach a ferry.
While a thin plot can be excused for many action films, what cannot be excused are the painfully bad lack of any excitement in the film and the lack of any compelling action or suspense.
We are supposed to believe that the world is being destroyed by the alien’s but aside from a few blasted bridges, and small buildings, we see a surprising lack of carnage. There are no sequences of classic landmarks being reduced to rubble, there are no scenes of vast armies locked in a desperate struggle against the invaders.
Instead, we get a sequence of helicopters firing, and a line of soldiers firing, but they never show us what they are shooting at, nor do we see the alien retaliation behind a bright explosion and a few vehicles emerging on fire. This is particularly frustrating when you consider that the 1954 version at least showed a few tanks being blasted outright.
Another issue I had with the film was the painfully obvious superimposed backdrops as during the films limited action scenes; the background was clearly inserted into the shot as it was so fuzzy that it did not fit in with the events in the foreground.
While I am willing to dismiss this as stylistic nitpicking what cannot be ignored is that for most of the films running length, the cast does little more than stand around waiting for something to happen.
There are no great segments of character development, no insight into why the aliens waited all this time to attack when they could have done so centuries earlier, why they want the planet, and numerous other plot holes, some of which are so glaring. One of my favorites was the guy who was able to use a video camera to record the opening attacks when it was clearly shown that all electronic devices were rendered useless.
Much has been made of Cruise’s recent off screen actions and I must say that those have been far more interesting and engaging than his performance here. Cruise spends the majority of the film in a wide-eyed gaze or frantically moving and yelling. His character like his annoyingly bratty daughter are so unsympathetic, I found myself hoping that the aliens would take them out and end our suffering.
I hate stated prior that I thought this film may have problems as in light of films such as “ID4”, the story would seem bland to modern audiences unless the action was increased and there was a dynamic story with interesting characters. Sadly all of those are missing from a film that also has one of the worst endings in recent history.
There is no build up, no final confrontation, no moment of high tension to get to the payoff; it just ends with a whimper. One would think that a grand battle or an effects royale is in store instead, it plays out in a very matter of fact fashion with shockingly little action or suspense.
I could go on and on, but suffice it to say that between the weak acting, tired, thin plot, and infrequent and underwhelming action and effects, this is a film that exists only due to the talents of Cruise and Spielberg., That being said, I have to wonder how and why they could not have picked a better product than this stale offering.
Lee (2222 KP) rated Parasite (2019) in Movies
Jan 27, 2020 (Updated Jan 27, 2020)
About twenty or so years ago, before the age of social media and all the FOMO and spoilers that comes from having such easy access to the entire movie loving world, a delayed UK release for a movie that had already been out in the US for some months wasn't such a big deal. I can remember buying an imported region 1 DVD of The Blair Witch Project and watching it on Halloween night in the UK, in the comfort of my living room and on the day it was released in the cinema. I was pretty disappointed with what I saw, but that's not my point here. Recently, we seem to be regressing to that period in time once more - not with big releases such as Marvel movies, which we are usually lucky enough to sometimes get a day or so before the US, but with films that could be described as being a little less mainstream. The Lighthouse, Jojo Rabbit, A Beautiful Day in the Neighborhood and the subject of this review, Parasite, have all been subject to such treatment and, along with the delayed release of Disney+, the UK currently seems to be getting a serious shafting. Parasite though is a movie for which I've heard nothing but praise for what seems like forever now. It has received six Oscar nominations and is now receiving a US disc release before it's even released in UK cinemas! Anyway, ranting aside, I did manage to avoid any spoilers for Parasite and was able to go in fairly unclear as to what to expect, and I would urge everyone else to do the same. Consequently, I will try to review it by giving away as little as possible.
Parasite tells the story of the Kim family, living in poverty in a cluttered South Korean basement. When we join them they are all desperately trying to find a spot in their home where they can pick up on a nearby public WiFi hot spot in order to connect their phones to Whatsapp (turns out, it's in the corner of the toilet!). Times are clearly tough and when the mother manages to get a small job putting together pizza boxes at home, the whole family chips in to help. They even have the pleasure of being able to view drunk men staggering down their street and urinating right outside the basement window while they try to eat at their dining room table.
A friend of the son comes to visit him one evening and tells him that he has to go away for a while. He currently has a job teaching English to the daughter of the wealthy Park family and wonders if Ki-woo would like to temporarily take over for him. Despite Ki-woo having no experience in tutoring, Ki-woo is assured by his friend that it will be easy money and, providing he can win over the confidence of the "simple" mother of the house, he'll have no problem. Sure enough, the confident Ki-woo, backed up by a certificate created for him in Photoshop by his sister, manages to land himself a regular tutoring job. Then, with the use of charm, lies and deception, Ki-woo soon manages to secure cushy jobs within the Park household for the rest of his family - art tutor, housekeeper and chauffeur - all being introduced as either old acquaintances or referrals from colleagues rather than family members. And so, the family find themselves having to lead double lives, juggling their own poverty stricken home-life together, along with the separate lives they lead while working for the Park family as work colleagues.
And that is really the basis of the movie. It's an elaborate scheme which, despite being deceptive and dishonest, is a lot of fun to see play out, and at times you really can get behind the Kim family and root for them. Things go comically wrong, in the kind of way that reminded me of a sitcom where a situation involves our stars getting themselves deeper and deeper into something, no matter how hard they try to go along with it and come up with a solution. And then things start to go horribly, even horrifically wrong, courtesy of a number of little twists and shocks.
Don't let the fact that Parasite is a subtitled movie put you off and believe all the hype you come across, as this is a must see movie and I was gripped, on the edge of my seat and thoroughly entertained for the most part. There is a very clear message played out concerning the rich/poor divide - obvious at times, when you see the contrasting effect that a serious storm has on each family - and much subtler at other times. There are some elements though, surrounding the ending of the movie, which I didn't quite buy into and that stopped this from being a full 10 out of 10 from me. I felt there was a clear point where this could and should have ended earlier, but still an incredible movie all the same.
Parasite tells the story of the Kim family, living in poverty in a cluttered South Korean basement. When we join them they are all desperately trying to find a spot in their home where they can pick up on a nearby public WiFi hot spot in order to connect their phones to Whatsapp (turns out, it's in the corner of the toilet!). Times are clearly tough and when the mother manages to get a small job putting together pizza boxes at home, the whole family chips in to help. They even have the pleasure of being able to view drunk men staggering down their street and urinating right outside the basement window while they try to eat at their dining room table.
A friend of the son comes to visit him one evening and tells him that he has to go away for a while. He currently has a job teaching English to the daughter of the wealthy Park family and wonders if Ki-woo would like to temporarily take over for him. Despite Ki-woo having no experience in tutoring, Ki-woo is assured by his friend that it will be easy money and, providing he can win over the confidence of the "simple" mother of the house, he'll have no problem. Sure enough, the confident Ki-woo, backed up by a certificate created for him in Photoshop by his sister, manages to land himself a regular tutoring job. Then, with the use of charm, lies and deception, Ki-woo soon manages to secure cushy jobs within the Park household for the rest of his family - art tutor, housekeeper and chauffeur - all being introduced as either old acquaintances or referrals from colleagues rather than family members. And so, the family find themselves having to lead double lives, juggling their own poverty stricken home-life together, along with the separate lives they lead while working for the Park family as work colleagues.
And that is really the basis of the movie. It's an elaborate scheme which, despite being deceptive and dishonest, is a lot of fun to see play out, and at times you really can get behind the Kim family and root for them. Things go comically wrong, in the kind of way that reminded me of a sitcom where a situation involves our stars getting themselves deeper and deeper into something, no matter how hard they try to go along with it and come up with a solution. And then things start to go horribly, even horrifically wrong, courtesy of a number of little twists and shocks.
Don't let the fact that Parasite is a subtitled movie put you off and believe all the hype you come across, as this is a must see movie and I was gripped, on the edge of my seat and thoroughly entertained for the most part. There is a very clear message played out concerning the rich/poor divide - obvious at times, when you see the contrasting effect that a serious storm has on each family - and much subtler at other times. There are some elements though, surrounding the ending of the movie, which I didn't quite buy into and that stopped this from being a full 10 out of 10 from me. I felt there was a clear point where this could and should have ended earlier, but still an incredible movie all the same.
Gareth von Kallenbach (977 KP) rated Jimmy's Hall (2015) in Movies
Aug 6, 2019
It’s not to often that we folks in America have the opportunity to catch any movies from Ireland.
The few that do come along almost certainly rate high on the scale of exceptional movies that one would want to see. I myself can’t remember a ‘bad’ Irish film. Perhaps one of the reasons for that is the fact that this country has a solid history of countless Irish immigrants coming here and helping to build the foundations for America. Well, today’s film for your consideration doesn’t go back THAT far. It doesn’t even take place in America. However, the history of Irish immigrants (specifically one immigrant) does play a role. Only it involves an Irish immigrant how came to America and then several years later returned to Ireland only to be forcibly deported back to America. I know I know. That explanation makes it sound like a comedy and although the film has many lighthearted moments, I can assure you it’s NOT a comedy. In fact, it deals with an influential figure in one of the more politically turbulent periods in Ireland’s history just before the beginning of the Second World War.
‘Jimmy’s Hall’ is a 2014 Irish-British drama directed by English television and film director Kenneth ‘Ken’ Loach. The film focuses on the events leading up to the deportation from Ireland of Jimmy Gralton, who led a precursor to Ireland’s communist party in the county Leitrim.
Starring Barry Ward, Simone Kirby, and Irish character actor Jim Norton, the film opens in 1932. Jimmy (Ward) has just returned to his home to help his mother tend the family farm after spending 10 years in the United States in the midst of the Great Depression coinciding with the establishment of a new government in the aftermath of the Civil War between pro-British and anti-British forces.
Reluctant to anger his old enemies, the church and the landowners who forced him to leave Ireland, but eager to meet the needs of the people of Leitrim, Jimmy (Ward) decides to reopen the ‘Hall’, a center for young people where they can meet to study, talk, dance, play music, learn to read, debate issues of the day. Free to all and open to anyone who wishes to learn while respecting the views and opinions of others, the ‘Hall’ is an immediate success. Not everyone is pleased to see Jimmy resuming his old activities. In particular the church and local priest (Norton) who see Gralton as not only a ‘bad influence’, but also as a follower of Stalin who as history knows sent countless millions (including religious leaders) to their deaths.
Despite the complaints and at times violent reactions on the part of the supporters of the church and the landowners, Gralton tries desperately to make them realize he has absolutely no connection to Stalin and has no desire to bring down the church. Only to better the situation for everyone. Jimmy even invites the local priest to take a leadership role in the Hall’s committee. In the end though, the fears of the church and the state go unchanged. Jimmy is a communist and although he has no connection Stalin the church and the government see them as one in the same. The police take Jimmy into custody at his family’s farm and forcibly deport him back to America even so much as denying him on last chance to see his ailing mother.
In education systems there are books and films which are considered ‘required reading’ or in this case ‘required viewing’. This film should be required viewing. It is not just an excellent film about a historical Irish political figure or as I mentioned earlier a film about a turbulent point in Irish history. It’s an example of the greater ‘world conflict’ between what became the western bloc and the eastern bloc. Both sides in that grater conflict saw each other the same way the two sides in the Irish countryside of the 1930s saw each other. The ones that meant well and only wanted to better the situation for everyone including themselves inspired fear in those who had power and those who had the power inspired fear in those who meant well. This movie showed that not all political figures are evil … nor are all religious figures. It’s the individual or several individuals within those groups that are reluctant to change.
I would highly recommend this film. Regardless of the content it’s an excellent film. If this film is as good as most films made in Ireland, they definitely need to start exporting them on a grander scale. I’d give this film 4 out of 5 stars.
This is your friendly neighborhood photographer ‘The CameraMan’ and on behalf of my fellows at ‘Skewed & Reviewed’ I’d like to say thanks for reading and we’ll see you at the movies
The few that do come along almost certainly rate high on the scale of exceptional movies that one would want to see. I myself can’t remember a ‘bad’ Irish film. Perhaps one of the reasons for that is the fact that this country has a solid history of countless Irish immigrants coming here and helping to build the foundations for America. Well, today’s film for your consideration doesn’t go back THAT far. It doesn’t even take place in America. However, the history of Irish immigrants (specifically one immigrant) does play a role. Only it involves an Irish immigrant how came to America and then several years later returned to Ireland only to be forcibly deported back to America. I know I know. That explanation makes it sound like a comedy and although the film has many lighthearted moments, I can assure you it’s NOT a comedy. In fact, it deals with an influential figure in one of the more politically turbulent periods in Ireland’s history just before the beginning of the Second World War.
‘Jimmy’s Hall’ is a 2014 Irish-British drama directed by English television and film director Kenneth ‘Ken’ Loach. The film focuses on the events leading up to the deportation from Ireland of Jimmy Gralton, who led a precursor to Ireland’s communist party in the county Leitrim.
Starring Barry Ward, Simone Kirby, and Irish character actor Jim Norton, the film opens in 1932. Jimmy (Ward) has just returned to his home to help his mother tend the family farm after spending 10 years in the United States in the midst of the Great Depression coinciding with the establishment of a new government in the aftermath of the Civil War between pro-British and anti-British forces.
Reluctant to anger his old enemies, the church and the landowners who forced him to leave Ireland, but eager to meet the needs of the people of Leitrim, Jimmy (Ward) decides to reopen the ‘Hall’, a center for young people where they can meet to study, talk, dance, play music, learn to read, debate issues of the day. Free to all and open to anyone who wishes to learn while respecting the views and opinions of others, the ‘Hall’ is an immediate success. Not everyone is pleased to see Jimmy resuming his old activities. In particular the church and local priest (Norton) who see Gralton as not only a ‘bad influence’, but also as a follower of Stalin who as history knows sent countless millions (including religious leaders) to their deaths.
Despite the complaints and at times violent reactions on the part of the supporters of the church and the landowners, Gralton tries desperately to make them realize he has absolutely no connection to Stalin and has no desire to bring down the church. Only to better the situation for everyone. Jimmy even invites the local priest to take a leadership role in the Hall’s committee. In the end though, the fears of the church and the state go unchanged. Jimmy is a communist and although he has no connection Stalin the church and the government see them as one in the same. The police take Jimmy into custody at his family’s farm and forcibly deport him back to America even so much as denying him on last chance to see his ailing mother.
In education systems there are books and films which are considered ‘required reading’ or in this case ‘required viewing’. This film should be required viewing. It is not just an excellent film about a historical Irish political figure or as I mentioned earlier a film about a turbulent point in Irish history. It’s an example of the greater ‘world conflict’ between what became the western bloc and the eastern bloc. Both sides in that grater conflict saw each other the same way the two sides in the Irish countryside of the 1930s saw each other. The ones that meant well and only wanted to better the situation for everyone including themselves inspired fear in those who had power and those who had the power inspired fear in those who meant well. This movie showed that not all political figures are evil … nor are all religious figures. It’s the individual or several individuals within those groups that are reluctant to change.
I would highly recommend this film. Regardless of the content it’s an excellent film. If this film is as good as most films made in Ireland, they definitely need to start exporting them on a grander scale. I’d give this film 4 out of 5 stars.
This is your friendly neighborhood photographer ‘The CameraMan’ and on behalf of my fellows at ‘Skewed & Reviewed’ I’d like to say thanks for reading and we’ll see you at the movies