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Meshes of the Afternoon
9.0
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Book
?Meshes of the Afternoon (1943) is the most important film in the history of American avant-garde...
The Bigamist
Book
Directed by the actor/film-maker Ida Lupino, The Bigamist (1953) is the story of Harry Graham, a...
The Cote d'Or: The Wines and Winemakers of the Heart of Burgundy: 2017
Book
Cote-d'Or may be small in size but its influence is huge and its reputation alone can strike terror...
Wine & Food: Perfect Pairings Every Time
Book
International Wine Communicator of the Year (IWSC) Jane Parkinson presents an authoritative and...
Karina Longworth recommended Caught (2015) in Movies (curated)
Kirk Bage (1775 KP) rated Alphaville (1965) in Movies
Jan 28, 2021
This is one of the best bad films I have ever seen. It looks cheap (at one point the camera-man is clearly entirely visible in a mirror), the story is preposterous, the dialogue is insane, the characters behave like no one in reality ever, and it is sci-fi in name only, as no attempt whatsoever has been made to stretch the budget to anything remotely futuristic – and yet, I loved it! Perhaps it reminded me of Blake’s 7 and Doctor Who, and therefore my happy childhood relationship with cheap sci-fi? Or it could have been that there are so many essential ideas and tropes that exist in my favourite big budget sci-fi films, such as Blade Runner (for which it is an obvious influence), that it felt familiar and friendly from the start. Part hard boiled detective story and part pulp fiction fantasy, as with most Godard, I am discovering, it is all about mood and chic, not remotely about the plot.
Eddie Constantine is awful as an actor, but he looks and feels perfect here. And Anna Karina is entirely lovely, oozing intelligent sexuality and seductive vibes in every scene. Not a heroine that needs the man to save her, but a strong and independent woman as much the hero of the story as the trenchcoated lead. Every noir stereotype is adhered to without fail, punctuated with the bizarre and the incongruous whenever possible. Without this film existing there would be so many good things from The Prisoner to Predestination that wouldn’t have been the same. Groundbreaking and charming without even trying. It grows in my imagination as a cult entity by the week – I can’t wait to watch it again fairly soon.
Eddie Constantine is awful as an actor, but he looks and feels perfect here. And Anna Karina is entirely lovely, oozing intelligent sexuality and seductive vibes in every scene. Not a heroine that needs the man to save her, but a strong and independent woman as much the hero of the story as the trenchcoated lead. Every noir stereotype is adhered to without fail, punctuated with the bizarre and the incongruous whenever possible. Without this film existing there would be so many good things from The Prisoner to Predestination that wouldn’t have been the same. Groundbreaking and charming without even trying. It grows in my imagination as a cult entity by the week – I can’t wait to watch it again fairly soon.
Thin Air
7.0
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Book
An atmospheric tale of corruption and abduction set on Mars, from the author of the award-winning...
Science Fiction Mars
ClareR (6197 KP) rated Nasty Little Cuts in Books
Feb 24, 2022
I learnt a new phrase today: Domestic Noir. My ignorance is probably down to the fact that I would never normally read a book in this category. I’d avoid it. I’m glad that I didn’t let it put me off this time though, and after reading Tina’s previous book ‘Call Me Mummy’, I knew that I was going to be in for one hell of a good read.
This book is phenomenal. It’s read-it-thorough-your-fingers-with-your-eyes-shut kind of phenomenal.
Reading it on The Pigeonhole, one stave a day for 10 days was a feat of endurance - the wait between staves was tortuous. This is NOT an easy read, and should probably come with some sort of trigger warning. It’s dark, emotional, visceral. It’s violent and frankly traumatic.
Debs and Marc should probably have never got together, never mind got married and had children. They’re both emotionally scarred from terrible childhoods and have never confronted, or been treated for, these psychological and physical injuries. And now they just seem to vent their feelings on one another with physical violence.
There’s loads of backstory that explains why they are in their current predicament, and honestly, I did feel some sympathy for them. But then, and Tina Baker does this so well, she gives with one hand, and snatches away with the other. Every past revelation of abuse or trauma, is bookended by domestic violence.
Honestly, it sounds horrendous, doesn’t it? But I couldn’t stop reading. As I said on The Pigeonhole: What a reading experience this has been. I’ll leave a review, but what can I say that will do this book justice?
Well, I can say this: Read It.
This book is phenomenal. It’s read-it-thorough-your-fingers-with-your-eyes-shut kind of phenomenal.
Reading it on The Pigeonhole, one stave a day for 10 days was a feat of endurance - the wait between staves was tortuous. This is NOT an easy read, and should probably come with some sort of trigger warning. It’s dark, emotional, visceral. It’s violent and frankly traumatic.
Debs and Marc should probably have never got together, never mind got married and had children. They’re both emotionally scarred from terrible childhoods and have never confronted, or been treated for, these psychological and physical injuries. And now they just seem to vent their feelings on one another with physical violence.
There’s loads of backstory that explains why they are in their current predicament, and honestly, I did feel some sympathy for them. But then, and Tina Baker does this so well, she gives with one hand, and snatches away with the other. Every past revelation of abuse or trauma, is bookended by domestic violence.
Honestly, it sounds horrendous, doesn’t it? But I couldn’t stop reading. As I said on The Pigeonhole: What a reading experience this has been. I’ll leave a review, but what can I say that will do this book justice?
Well, I can say this: Read It.
The Savage Garden
Book
The lights here are all dark and vixens pull men into the shadows. Hers was a tale as old as...
romance
BankofMarquis (1832 KP) rated Hotel Artemis (2018) in Movies
Feb 10, 2019
Not as interesting as it wanted to be
On my airplane ride from Mpls to San Diego I was able to catch up with gritty, action-noir thriller BAD TIMES AT THE EL ROYALE and was really surprised by how much I enjoyed it. So, I was excited to see that another gritty,, action-noir film, HOTEL ARTEMIS was showing on the flight back.
Well...HOTEL ARTEMIS is no EL ROYALE and maybe that's not fair to Artemis, for I was constantly comparing the two films, so let me see if I can separate the 2 and hold HOTEL ARTEMIS up to it's own scrutiny.
Telling the tale of a JOHN WICK-type world where - instead of a safehouse Hotel for crooks, the HOTEL ARTEMIS is a safehouse HOSPITAL for crooks where the rules are that the crooks cannot hurt each other on the premises. When a riot breaks out in downtown Los Angeles, the rules go out the window and mayhem - and violence - ensue.
Well...this film is no JOHN WICK either. Oh shoot, I've done it again. I've compared this film to another film.
And that's the problem with HOTEL ARTEMIS, it treads ground that has been trod better - and with more style - before. So this film, no matter how well intention-ed, falls short in originality, style and substance. I was still entertained, but not as entertained as I was by JOHN WICK or EL ROYALE.
Jodie Foster (in her first acting role since 2013's ELYSIUM) stars as the person who runs the Artemis. She has a mysterious background (of course) and runs the Artemis with an emotional-less efficiency. Her performance is quirky and interesting and almost holds the film together - almost. She is joined by Sterling K. Brown, Charlie Day, Brian Tyree Henry and Sofia Boutella as patients in the Hotel - none of which were interesting or unusual. They all were playing variants of the characters they usually play, almost as if Director/Writer Drew Pearce said "Get my a Charlie Day-type and a Sterling K. Brown-type", and the Casting Director thought they "scored" by getting the original person - each of whom looks like they are coasting through this film at about 70% output.
Only Dave Bautista shines as the "Health Care Professional" who works with Foster. He brings an interesting charisma to his character and was almost the high point in the film.
Almost. All of the performances pale in comparison to the Mob Boss who shows up about 2/3 of the way through the film. This character is talked about in reverential and scary terms throughout the film. The build-up was huge for this character and I was prepared for the inevitable let down when the mob boss finally shows up, but when the elevator door opens up and I saw that is was Jeff Goldblum in "full Goldblum" mode, I was thrilled and he did not disappoint. He commanded the screen at a time that the film was getting tiresome and he wound up the characters, the energy of the film and the action to help it ride to its inevitable, bloody conclusion.
Ultimately, Pearce delivered a solid B- film, one that has moments of quirk and interest, but set against a backdrop - and supporting actors - that are subdued and not memorable. This is a cardinal sin for this kind of film, instead of subduing those parts, Pearce needed to enhance those and he just plainly did not.
If you want to see a good, stylized, gritty action film, with interesting locales and supporting players, check out JOHN WICK or BAD TIMES AT THE EL ROYALE. If you've seen these, HOTEL ARTEMIS is fine, but the other two do it better.
Letter Grade: B-
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Well...HOTEL ARTEMIS is no EL ROYALE and maybe that's not fair to Artemis, for I was constantly comparing the two films, so let me see if I can separate the 2 and hold HOTEL ARTEMIS up to it's own scrutiny.
Telling the tale of a JOHN WICK-type world where - instead of a safehouse Hotel for crooks, the HOTEL ARTEMIS is a safehouse HOSPITAL for crooks where the rules are that the crooks cannot hurt each other on the premises. When a riot breaks out in downtown Los Angeles, the rules go out the window and mayhem - and violence - ensue.
Well...this film is no JOHN WICK either. Oh shoot, I've done it again. I've compared this film to another film.
And that's the problem with HOTEL ARTEMIS, it treads ground that has been trod better - and with more style - before. So this film, no matter how well intention-ed, falls short in originality, style and substance. I was still entertained, but not as entertained as I was by JOHN WICK or EL ROYALE.
Jodie Foster (in her first acting role since 2013's ELYSIUM) stars as the person who runs the Artemis. She has a mysterious background (of course) and runs the Artemis with an emotional-less efficiency. Her performance is quirky and interesting and almost holds the film together - almost. She is joined by Sterling K. Brown, Charlie Day, Brian Tyree Henry and Sofia Boutella as patients in the Hotel - none of which were interesting or unusual. They all were playing variants of the characters they usually play, almost as if Director/Writer Drew Pearce said "Get my a Charlie Day-type and a Sterling K. Brown-type", and the Casting Director thought they "scored" by getting the original person - each of whom looks like they are coasting through this film at about 70% output.
Only Dave Bautista shines as the "Health Care Professional" who works with Foster. He brings an interesting charisma to his character and was almost the high point in the film.
Almost. All of the performances pale in comparison to the Mob Boss who shows up about 2/3 of the way through the film. This character is talked about in reverential and scary terms throughout the film. The build-up was huge for this character and I was prepared for the inevitable let down when the mob boss finally shows up, but when the elevator door opens up and I saw that is was Jeff Goldblum in "full Goldblum" mode, I was thrilled and he did not disappoint. He commanded the screen at a time that the film was getting tiresome and he wound up the characters, the energy of the film and the action to help it ride to its inevitable, bloody conclusion.
Ultimately, Pearce delivered a solid B- film, one that has moments of quirk and interest, but set against a backdrop - and supporting actors - that are subdued and not memorable. This is a cardinal sin for this kind of film, instead of subduing those parts, Pearce needed to enhance those and he just plainly did not.
If you want to see a good, stylized, gritty action film, with interesting locales and supporting players, check out JOHN WICK or BAD TIMES AT THE EL ROYALE. If you've seen these, HOTEL ARTEMIS is fine, but the other two do it better.
Letter Grade: B-
6 (out of 10) stars and you can take that to the Bank(ofMarquis)