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Gareth von Kallenbach (980 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
Gareth von Kallenbach (980 KP) rated Horrible Bosses (2011) in Movies
Aug 7, 2019
We have all had them at some point in our life. You may even have one now. That’s right, I am talking about horrible bosses. So I was more than happy to go see Horrible Bosses, mostly to get suggestions on how to treat my subordinates. What? I never said that I was a great boss. But enough about me, the movie is about three friends whose superiors are making their lives unbearable, so they decide to murder their horrible bosses.
The three friends:
Nick Hendricks (Jason Bateman) has spent years being the dedicated, hard-working employee. He is the first to arrive at work and the last to leave. But for some reason his boss, the company president, Dave Harken (Kevin Spacey) feels the need to torment him on a daily basis. The one thing that has kept Nick going was the promotion to Vice President of Sales that his boss has been telling him that he would get. But when the day comes Dave decides that he will absorb the VP of Sales position within his own.
Dale Arbus (Charlie Day) is a caring dental hygienist who loves his job, with the one exception of his boss Dr. Julia Harris D.D.S. (Jennifer Aniston) who sexually harrasses him constantly. Now, personally, if I had a boss that looked like his boss she could sexually harass me all she wanted and I would be begging for overtime. However Dale is engaged to a wonderful woman, Stacy (Lindsay Sloane), and Dr. Harris demands that either Dale sleeps with her by the end of the week or else she will tell Stacy that Dale has been sleeping with her. Dr. Harris even has incriminating photos that she took of herself and Dale in questionable poses (of course he was unconscious during dental surgery when the pictures were taken but that’s beside the point).
Kurt Buckman (Jason Sudeikis) is an accountant at Pellit & Sons Chemical Plant. He’s dedicated, hard-working and actually loves his job and boss. But when his boss Jack Pellit (Donald Sutherland) suddenly passes away, Jack’s deranged coke-head son, Bobby (Colin Farrell) takes over and all he cares about is making as much money possible until he runs the company into the ground.
Now you may be asking “Why don’t they just quit their jobs?” They thought about that but then they bump into an old High School buddy of theirs, Kenny Sommerfeld (P.J. Byrne), and they see first-hand how hard it is to find a job.
The decision to murder:
Dale thought he had a fantastic plan on how to murder their bosses and it was rather inexpensive but that gets flushed down the toilet. Nick and Kurt were pissed at Dale for a while but luckily the GPS navigation system in Kurt’s car leads them to Dean ‘MF’ Jones (Jamie Foxx). Dean becomes their Murder Consultant and he gives them a wealth of information on how to go about getting away with murder, as well as the idea that they should murder each other’s bosses. Thus the three friends embark on an epic adventure to kill each other’s bosses and save the world.. well, at the very least, save their sanity.
The onscreen chemistry between Jason Bateman, Jason Sudeikis and Charlie Day was so amazing you would think they have been a comedy team for years and friends for even longer. It really seemed very genuine. Walking out of the theatre I overheard some people discussing who out of the three main actors did the better job and I have to agree with pretty much what they said. Though they all did great jobs Charlie Day rocked the screen just a little harder than either Jason did.
Kevin Spacey, Jennifer Aniston & Colin Farrell were phenomenal. They brought such unique flair and realism to their characters. Kevin Spacey will always be the worst boss ever, Colin Farrell will always be the guy I want to party with and Jennifer Aniston is the boss I would love to have. I will be honest, I was guilty of type casting Jennifer but after seeing her in this role, I can safely say I have learned my lesson and I will not make that mistake again. (Psst, film industry, you can learn this lesson too).
While the screen time for Donald Sutherland, Jamie Foxx, Julie Bowen, Wendell Pierce, Ron White and Bob Newhart may have been shorter than I would have preferred, those scenes were still great. There’s even a really short scene with Isaiah Mustafa (fun fact: he attended the Seattle Seahawks’ training camp in 2000) and even though he was fully clothed in the scene I swear I heard “Yum” whispered by most of audience.
There were a couple of things in the movie that I felt could have been done better unfortunately to list those parts would be a major spoiler. But overall, the movie delivered what I expected and more. It was consistently funny, relatable, highly enjoyable, clever with some twists I didn’t see coming and all the actors (regardless of screen time) shined brightly as the stars they are.
The three friends:
Nick Hendricks (Jason Bateman) has spent years being the dedicated, hard-working employee. He is the first to arrive at work and the last to leave. But for some reason his boss, the company president, Dave Harken (Kevin Spacey) feels the need to torment him on a daily basis. The one thing that has kept Nick going was the promotion to Vice President of Sales that his boss has been telling him that he would get. But when the day comes Dave decides that he will absorb the VP of Sales position within his own.
Dale Arbus (Charlie Day) is a caring dental hygienist who loves his job, with the one exception of his boss Dr. Julia Harris D.D.S. (Jennifer Aniston) who sexually harrasses him constantly. Now, personally, if I had a boss that looked like his boss she could sexually harass me all she wanted and I would be begging for overtime. However Dale is engaged to a wonderful woman, Stacy (Lindsay Sloane), and Dr. Harris demands that either Dale sleeps with her by the end of the week or else she will tell Stacy that Dale has been sleeping with her. Dr. Harris even has incriminating photos that she took of herself and Dale in questionable poses (of course he was unconscious during dental surgery when the pictures were taken but that’s beside the point).
Kurt Buckman (Jason Sudeikis) is an accountant at Pellit & Sons Chemical Plant. He’s dedicated, hard-working and actually loves his job and boss. But when his boss Jack Pellit (Donald Sutherland) suddenly passes away, Jack’s deranged coke-head son, Bobby (Colin Farrell) takes over and all he cares about is making as much money possible until he runs the company into the ground.
Now you may be asking “Why don’t they just quit their jobs?” They thought about that but then they bump into an old High School buddy of theirs, Kenny Sommerfeld (P.J. Byrne), and they see first-hand how hard it is to find a job.
The decision to murder:
Dale thought he had a fantastic plan on how to murder their bosses and it was rather inexpensive but that gets flushed down the toilet. Nick and Kurt were pissed at Dale for a while but luckily the GPS navigation system in Kurt’s car leads them to Dean ‘MF’ Jones (Jamie Foxx). Dean becomes their Murder Consultant and he gives them a wealth of information on how to go about getting away with murder, as well as the idea that they should murder each other’s bosses. Thus the three friends embark on an epic adventure to kill each other’s bosses and save the world.. well, at the very least, save their sanity.
The onscreen chemistry between Jason Bateman, Jason Sudeikis and Charlie Day was so amazing you would think they have been a comedy team for years and friends for even longer. It really seemed very genuine. Walking out of the theatre I overheard some people discussing who out of the three main actors did the better job and I have to agree with pretty much what they said. Though they all did great jobs Charlie Day rocked the screen just a little harder than either Jason did.
Kevin Spacey, Jennifer Aniston & Colin Farrell were phenomenal. They brought such unique flair and realism to their characters. Kevin Spacey will always be the worst boss ever, Colin Farrell will always be the guy I want to party with and Jennifer Aniston is the boss I would love to have. I will be honest, I was guilty of type casting Jennifer but after seeing her in this role, I can safely say I have learned my lesson and I will not make that mistake again. (Psst, film industry, you can learn this lesson too).
While the screen time for Donald Sutherland, Jamie Foxx, Julie Bowen, Wendell Pierce, Ron White and Bob Newhart may have been shorter than I would have preferred, those scenes were still great. There’s even a really short scene with Isaiah Mustafa (fun fact: he attended the Seattle Seahawks’ training camp in 2000) and even though he was fully clothed in the scene I swear I heard “Yum” whispered by most of audience.
There were a couple of things in the movie that I felt could have been done better unfortunately to list those parts would be a major spoiler. But overall, the movie delivered what I expected and more. It was consistently funny, relatable, highly enjoyable, clever with some twists I didn’t see coming and all the actors (regardless of screen time) shined brightly as the stars they are.
Gareth von Kallenbach (980 KP) rated The Hangover Part II (2011) in Movies
Aug 7, 2019
It has been two years since writer-director producer Todd Phillips unleashed the mother of all benders on audiences with The Hangover. The film about four buddies on a lost weekend in Vegas was a comedic tour de force that left audiences laughing from start to finish and went on to be the highest grossing R-rated film in history. Naturally when a film does this kind of business, thoughts turned to a sequel and Phillips has returned with the original cast and crew to follow up this comedy classic.
Plot of the film mild-mannered dentist Stu (Ed Helms), who is getting married in Thailand to the girl of his dreams. Undaunted by the fact that his fiancé’s father despises everything about him, Stu convinces his best friends Phil (Bradley Cooper), and Doug (Justin Bartha), to take the 16 hour flight to attend the ceremony. When news reaches them that a crestfallen Alan (Zach Galifianikis), is waiting for his invitation to the ceremony, Stu is reluctant because he does not want a repeat of what happened in Vegas.
But despite their misgivings, the friends decide to include Alan in the ceremony and embark to the airport for the long flight to Thailand. They’re joined at the airport by Stu’s future brother-in-law Teddy (Mason Lee), a child prodigy who was already attending Stanford at 16 and has designs on a future medical career. As Stu’s fiance explains later in the film, Teddy is their father’s “most prized possession.”
Alan takes an instant disliking to Teddy and sees him as an outsider in their “wolf pack” and doesn’t miss an opportunity to try to exclude Teddy. Upon their arrival in beautiful Thailand, the friends get through a somewhat awkward dinner with the future in-laws and relax on the beach for a bonfire and bachelor party. Phil makes sure to be extra careful to avoid any of the issues they had in Vegas and selects bottled beer that was given to them by the hotel staff and makes sure that every one of them only gets an unopened bottle to drink.
Despite these precautions, Stu, Phil, and Alan wake up the next morning in a seedy hotel with absolutely no memory of how they got there and what happened the night before. Stu now sports a fresh facial tattoo while Alan has a completely shaved head. Matters are further complicated when the group realizes that Teddy is missing and that what appears to be his severed finger is found to be floating in a bucket of water.
As if things were not bad enough, matters take an even extreme turn for the worse when a monkey and Mr. Chow (Ken Jeong), show up and add even bigger complications to the already complex situation. The group learns that Doug is safely back at the resort and waiting for their arrival at breakfast after having left the bonfire early, leaving Stu, Alan and Phil to piece together the forgotten events of the night and locate Teddy before the wedding. Along the way they run into criminals, the sleazy side of Bangkok, upset monks, and much more as they race against time to solve the mystery and locate Teddy.
What follows is a comedic adventure complete with jaw-dropping sequences that leaves the audience shocked at just how far they push the envelope. The cast works well with one another and there are some truly funny moments in the film. The biggest issue with the movie is that it must walk a fine line between using the established formula of friends trying to remember and deal with the consequences of their lost evening while not repeating itself.
This is a very tricky proposition as the film essentially follows the same plot line of the original film: a group of friends are trying to remember the previous night and locate a missing member prior to a wedding. There are also similar jokes such as Stu dealing with a tattoo instead of a missing tooth and Alan’s constant nonsensical bantering and plethora of useless information.
Instead of trying to reinvent the wheel director Todd Phillips instead focuses on the relationship of the cast and allows the unique and exotic setting to be the new character and foil for the comedy. Many times in the film it is established that Teddy must be located before “Bangkok gets him” and as such the city offers endless opportunities for the cast.
The film does drag at the three quarters mark but recovers nicely, leading to a predictable finale. While the film was not as thoroughly funny as the original, in terms of humor and storytelling, but there are still plenty of laughs and eye-popping scenes that make it an enjoyable comedy. There are rumors that Phillips has plans for third film in the series to complete the trilogy. If this is indeed the case I would welcome a third film with the understanding that more care be put into the plot to avoid rehashing previous jokes and situations.
Plot of the film mild-mannered dentist Stu (Ed Helms), who is getting married in Thailand to the girl of his dreams. Undaunted by the fact that his fiancé’s father despises everything about him, Stu convinces his best friends Phil (Bradley Cooper), and Doug (Justin Bartha), to take the 16 hour flight to attend the ceremony. When news reaches them that a crestfallen Alan (Zach Galifianikis), is waiting for his invitation to the ceremony, Stu is reluctant because he does not want a repeat of what happened in Vegas.
But despite their misgivings, the friends decide to include Alan in the ceremony and embark to the airport for the long flight to Thailand. They’re joined at the airport by Stu’s future brother-in-law Teddy (Mason Lee), a child prodigy who was already attending Stanford at 16 and has designs on a future medical career. As Stu’s fiance explains later in the film, Teddy is their father’s “most prized possession.”
Alan takes an instant disliking to Teddy and sees him as an outsider in their “wolf pack” and doesn’t miss an opportunity to try to exclude Teddy. Upon their arrival in beautiful Thailand, the friends get through a somewhat awkward dinner with the future in-laws and relax on the beach for a bonfire and bachelor party. Phil makes sure to be extra careful to avoid any of the issues they had in Vegas and selects bottled beer that was given to them by the hotel staff and makes sure that every one of them only gets an unopened bottle to drink.
Despite these precautions, Stu, Phil, and Alan wake up the next morning in a seedy hotel with absolutely no memory of how they got there and what happened the night before. Stu now sports a fresh facial tattoo while Alan has a completely shaved head. Matters are further complicated when the group realizes that Teddy is missing and that what appears to be his severed finger is found to be floating in a bucket of water.
As if things were not bad enough, matters take an even extreme turn for the worse when a monkey and Mr. Chow (Ken Jeong), show up and add even bigger complications to the already complex situation. The group learns that Doug is safely back at the resort and waiting for their arrival at breakfast after having left the bonfire early, leaving Stu, Alan and Phil to piece together the forgotten events of the night and locate Teddy before the wedding. Along the way they run into criminals, the sleazy side of Bangkok, upset monks, and much more as they race against time to solve the mystery and locate Teddy.
What follows is a comedic adventure complete with jaw-dropping sequences that leaves the audience shocked at just how far they push the envelope. The cast works well with one another and there are some truly funny moments in the film. The biggest issue with the movie is that it must walk a fine line between using the established formula of friends trying to remember and deal with the consequences of their lost evening while not repeating itself.
This is a very tricky proposition as the film essentially follows the same plot line of the original film: a group of friends are trying to remember the previous night and locate a missing member prior to a wedding. There are also similar jokes such as Stu dealing with a tattoo instead of a missing tooth and Alan’s constant nonsensical bantering and plethora of useless information.
Instead of trying to reinvent the wheel director Todd Phillips instead focuses on the relationship of the cast and allows the unique and exotic setting to be the new character and foil for the comedy. Many times in the film it is established that Teddy must be located before “Bangkok gets him” and as such the city offers endless opportunities for the cast.
The film does drag at the three quarters mark but recovers nicely, leading to a predictable finale. While the film was not as thoroughly funny as the original, in terms of humor and storytelling, but there are still plenty of laughs and eye-popping scenes that make it an enjoyable comedy. There are rumors that Phillips has plans for third film in the series to complete the trilogy. If this is indeed the case I would welcome a third film with the understanding that more care be put into the plot to avoid rehashing previous jokes and situations.
Marc Riley recommended Hex Enduction Hour by The Fall in Music (curated)
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
Bob Mann (459 KP) rated Red Sparrow (2018) in Movies
Sep 29, 2021
Good Lord! How much sex and violence is acceptable for a UK-15 film?
I recognise that it’s a “thing” that I get into periodic ‘ruts’ of ranting about particular aspects of cinema. But it’s not spoilers in trailers this time! No, the most recent rut I’ve been in is concerned with the correctness or otherwise of the BBFC’s rating of UK 15-certificate films, which seems to have been the rating of every cinema film I’ve seen recently! In my view both “Phantom Thread” and “Lady Bird” should both have firmly been 12A’s to attract a broader teenage audience. But here’s a case on the other side of the balance.
“Red Sparrow”, the latest film from “Hunger Games” director Francis Lawrence, has Jennifer Lawrence (“Joy“, “mother!“) as Dominika Egorova, a Russian ballerina, who after a horrific accident (cringe) is forced to serve the State in order to keep her mother (Joely Richardson, “101 Dalmations”) in their Bolshoi-funded apartment and with the necessary medical treatment. She is sent to a spy “whore school”, ruled over by “matron” (Charlotte Rampling), to learn how to use sexual and psychological means to ‘get in the pants’ (and therefore the minds) of foreign targets.
Always elegant. Charlotte Rampling back on our screens as “Matron”.
And she turns out to be very good and – without nepotism of course, given that her creepy uncle Egorov ( Matthias Schoenaerts, “Far From The Madding Crowd“) is high up in the special services – she is sent on a mission to Budapest to try to uncover a high profile mole, who’s CIA handler is Nate Nash (Joel Edgerton, “The Great Gatsby“, “Black Mass“). Supervising Egorov’s operation are his two line managers General Korchnoi (Jeremy Irons, “Batman v Superman: Dawn of Justice“) and Zakharov (Ciarán Hinds, “Harry Potter”). Sucked into a web of intrigue, Dominika needs to use all her skills and charms to complete her mission… which equates to keeping herself and her mother alive.
Now on the tarmac, Joel really wans’t looking forward to his Ryanair flight.
This is an extremely uneven film. In places it is quite brilliant, particularly the twist in the ending which leaves you thinking (like “Life“) that the film is actually better than it was. In fact – subject to a couple of severe reservations discussed below – the script by Justin Haythe (“A Cure for Wellness“) and based on a book by Jason Matthews, is quite sharp. But – man – in its direction the film seriously takes its time. In my book, a film needs to have a pretty good reason to extend its stay past 2 hours, and this outstays its welcome by an extra 20 minutes. Many of the scenes are protracted – leisurely walks across streets etc. – for no particularly good reason.
Pwoaahh – look at those. (I’m referring of course to Joel Edgerton’s buns in those speedos).
And so to those major reservations: the sex and the violence.
I’m no prude when it comes to sex, but some of the scenes in the ‘whore school’ left me feeling like this was less about a “Times Up” initiative of empowering women and more about providing an array of sordid titillation on the screen that just help entrench mysoginistic views about women. (Did anyone else hear Kenneth Williams saying “Oooooh, matron” to Charlotte Rampling’s character?) There were men and women attending this training camp, but did we see – later in the film – any of the men subjecting themselves to sexual humiliation or subjugation in the field: no, we did not. I love a really good erotic film… but this just left me feeling dirty and used.
Who wants to go to the f***ing party? No one seems to have remembered to bring a bottle.
And then there’s the violence. I’m definitely not a fan of the sort of violent-porn of the “Saw” type of films, but heavens – if there was a reason to make this an 18 certificate it was the violence involved. Violent rape, a vicious revenge attack, extreme torture, skinning alive: was there nothing in here that the censors thought, “hang on a minute, perhaps I don’t want a 15 year old seeing this”. I have seldom seen and heard more flinching and whimpering from women in a cinema audience than during this film. If you are adversely affected by screen violence, this is really one best to avoid.
“The Cold War hasn’t ended – it has splintered into thousands of dangerous pieces” intones the matron. Similarly, this film has potential but splinters into many pieces, some good but far more sharp and dangerous. With similarities in tone and content to “Atomic Blonde“, there’s a good ‘post cold war’ spy film in here trying to get out. Unfortunately, it never quite gets both legs over the wall.
“Red Sparrow”, the latest film from “Hunger Games” director Francis Lawrence, has Jennifer Lawrence (“Joy“, “mother!“) as Dominika Egorova, a Russian ballerina, who after a horrific accident (cringe) is forced to serve the State in order to keep her mother (Joely Richardson, “101 Dalmations”) in their Bolshoi-funded apartment and with the necessary medical treatment. She is sent to a spy “whore school”, ruled over by “matron” (Charlotte Rampling), to learn how to use sexual and psychological means to ‘get in the pants’ (and therefore the minds) of foreign targets.
Always elegant. Charlotte Rampling back on our screens as “Matron”.
And she turns out to be very good and – without nepotism of course, given that her creepy uncle Egorov ( Matthias Schoenaerts, “Far From The Madding Crowd“) is high up in the special services – she is sent on a mission to Budapest to try to uncover a high profile mole, who’s CIA handler is Nate Nash (Joel Edgerton, “The Great Gatsby“, “Black Mass“). Supervising Egorov’s operation are his two line managers General Korchnoi (Jeremy Irons, “Batman v Superman: Dawn of Justice“) and Zakharov (Ciarán Hinds, “Harry Potter”). Sucked into a web of intrigue, Dominika needs to use all her skills and charms to complete her mission… which equates to keeping herself and her mother alive.
Now on the tarmac, Joel really wans’t looking forward to his Ryanair flight.
This is an extremely uneven film. In places it is quite brilliant, particularly the twist in the ending which leaves you thinking (like “Life“) that the film is actually better than it was. In fact – subject to a couple of severe reservations discussed below – the script by Justin Haythe (“A Cure for Wellness“) and based on a book by Jason Matthews, is quite sharp. But – man – in its direction the film seriously takes its time. In my book, a film needs to have a pretty good reason to extend its stay past 2 hours, and this outstays its welcome by an extra 20 minutes. Many of the scenes are protracted – leisurely walks across streets etc. – for no particularly good reason.
Pwoaahh – look at those. (I’m referring of course to Joel Edgerton’s buns in those speedos).
And so to those major reservations: the sex and the violence.
I’m no prude when it comes to sex, but some of the scenes in the ‘whore school’ left me feeling like this was less about a “Times Up” initiative of empowering women and more about providing an array of sordid titillation on the screen that just help entrench mysoginistic views about women. (Did anyone else hear Kenneth Williams saying “Oooooh, matron” to Charlotte Rampling’s character?) There were men and women attending this training camp, but did we see – later in the film – any of the men subjecting themselves to sexual humiliation or subjugation in the field: no, we did not. I love a really good erotic film… but this just left me feeling dirty and used.
Who wants to go to the f***ing party? No one seems to have remembered to bring a bottle.
And then there’s the violence. I’m definitely not a fan of the sort of violent-porn of the “Saw” type of films, but heavens – if there was a reason to make this an 18 certificate it was the violence involved. Violent rape, a vicious revenge attack, extreme torture, skinning alive: was there nothing in here that the censors thought, “hang on a minute, perhaps I don’t want a 15 year old seeing this”. I have seldom seen and heard more flinching and whimpering from women in a cinema audience than during this film. If you are adversely affected by screen violence, this is really one best to avoid.
“The Cold War hasn’t ended – it has splintered into thousands of dangerous pieces” intones the matron. Similarly, this film has potential but splinters into many pieces, some good but far more sharp and dangerous. With similarities in tone and content to “Atomic Blonde“, there’s a good ‘post cold war’ spy film in here trying to get out. Unfortunately, it never quite gets both legs over the wall.
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
Beckie Shelton (40 KP) rated The Roanoke Girls in Books
Oct 6, 2017
This review may be a bit spoilery concerning the theme of this novel, this couldn't be helped but I've tried to be as vague as possible.
"Roanoke girls never last long around here. In the end, we either run or we die."
These were the words that originally captivated me, pulling me in and compelling me to pick up The Roanoke Girls by Amy Engel.
This was quite a read, an unusual one, reminiscent of bygone authors, setting a stage of intrigue, mystery and dysfunctional family dynamics.
The secrets surrounding Roanoke are subtlely revealed early on leaving the reader highly aware of what flows beneath the seemingly normal surface.
This is a definite page-turner despite the exploration of (view spoiler)
This tale is told in two parts "Now and Then" and the storyline seamlessly hops between these two timelines.
We also get to jump briefly into the heads of each Roanoke girl that came before, which I found very enlightening, I really loved this touch and it greatly added to the storyline giving the reader an insight into what each girl was feeling deep inside her own skin.
Jane, Sophia, Penelope, Eleanor, Camilla, Allegra, Lane there is also little Emmaline but she died of a crib death as a baby.
All Roanoke girls, all carrying the same secrets down through the years, messed up heads and lives affected tragically.
The echoes of this rebounding out through each new generation.
This story is told through Lane Roanoke's point of view after her mother commits suicide and Lane comes to live with her Rich grandparents and cousin Allegra on the family estate.
This is the "THEN" portrayed in the narrative.
The "NOW" is Eleven years later when Lane returns to the family home after a frantic call from her granddad informing her that her cousin Allegra is missing.
After vowing never to return, Lane reluctantly returns home confronting secrets shes buried deep down inside.
I loved Lane as a character, she was a bit of a messed up headcase, but who can blame her.
It's obvious Lane Loved Allegra so deeply and this was the only thing, I think, her disappearing, that could have dragged her back to the bowels of Roanoke.
It was also very thought-provoking to observe Lane's former teenage toxic relationship with cooper rekindled as adults and I really did like him he had his own past baggage but really seemed to have evolved from this, unlike Lane.
I was so rooting for these two and I thought they made a great match, neither party having had it easy in life, they both deserved a bit of stability in the now.
Now Lanes connection with her grandad this was a strange one, confusing even I think to lane herself she really seemed to feel equal measures hate and love towards him.
Struggling with her mixed up emotions, greatly wanting to loathe him but feeling a strange pull, maybe because Lane feels he was the first person to actually seem to want and love her after enduring a lifetime of apathy from her mother.
As for the gran, well, What a cold selfish bitch she was.
I felt she herself held a huge role in what had been allowed to transpire, isn't it a mothers job to protect her daughters.
In this Lillian Roanoke has failed epically actually blaming her daughters instead of shielding them, she was such a cold fish only seeming to feel any affection towards her twisted husband.
Turning a blind eye and looking the other way is her game.
Surprisingly she was my least favourite character even over Myles Roanoke himself.
I think it was the whole lack of maternal anything that contributed to my dislike of her immensely.
The Roanoke Girls has so many diverse flawed individuals that all do their part in making this an enthralling page-turner.
This is a portrayal of a family that is so not right and has not been for a very long time.
It is Love expressed so wrongly and out of context that it has become a sickness consuming from the inside out devouring till nothing remains standing.
A Dysfunctional family with dark concealed secrets at his core.
So I felt the author Amy Engel did an amazing job of dealing with such an explosive subject matter. she has handled it beautifully with finesse and a great understanding of such a delicate topic. Not everyone could have done this so sensitively and without sensationalising it so Really well done.
So that's it from me folk's, I could waffle on all day about this fascinating story, but I'm going to leave it here, but before I go a trigger warning The Roanoke Girls deals with themes of incest, but bar the one small kiss it is only referred to in words not actions and it is really not graphic in its content at all, but if this is a trigger for you please do avoid.
So all that's left is for me to say Thank you to NetGalley, the publisher and the author Amy Engel herself for providing me with an arc of The Roanoke Girls this is my own honest unbiased opinion.
Arc Reviewed By BeckieBookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
"Roanoke girls never last long around here. In the end, we either run or we die."
These were the words that originally captivated me, pulling me in and compelling me to pick up The Roanoke Girls by Amy Engel.
This was quite a read, an unusual one, reminiscent of bygone authors, setting a stage of intrigue, mystery and dysfunctional family dynamics.
The secrets surrounding Roanoke are subtlely revealed early on leaving the reader highly aware of what flows beneath the seemingly normal surface.
This is a definite page-turner despite the exploration of (view spoiler)
This tale is told in two parts "Now and Then" and the storyline seamlessly hops between these two timelines.
We also get to jump briefly into the heads of each Roanoke girl that came before, which I found very enlightening, I really loved this touch and it greatly added to the storyline giving the reader an insight into what each girl was feeling deep inside her own skin.
Jane, Sophia, Penelope, Eleanor, Camilla, Allegra, Lane there is also little Emmaline but she died of a crib death as a baby.
All Roanoke girls, all carrying the same secrets down through the years, messed up heads and lives affected tragically.
The echoes of this rebounding out through each new generation.
This story is told through Lane Roanoke's point of view after her mother commits suicide and Lane comes to live with her Rich grandparents and cousin Allegra on the family estate.
This is the "THEN" portrayed in the narrative.
The "NOW" is Eleven years later when Lane returns to the family home after a frantic call from her granddad informing her that her cousin Allegra is missing.
After vowing never to return, Lane reluctantly returns home confronting secrets shes buried deep down inside.
I loved Lane as a character, she was a bit of a messed up headcase, but who can blame her.
It's obvious Lane Loved Allegra so deeply and this was the only thing, I think, her disappearing, that could have dragged her back to the bowels of Roanoke.
It was also very thought-provoking to observe Lane's former teenage toxic relationship with cooper rekindled as adults and I really did like him he had his own past baggage but really seemed to have evolved from this, unlike Lane.
I was so rooting for these two and I thought they made a great match, neither party having had it easy in life, they both deserved a bit of stability in the now.
Now Lanes connection with her grandad this was a strange one, confusing even I think to lane herself she really seemed to feel equal measures hate and love towards him.
Struggling with her mixed up emotions, greatly wanting to loathe him but feeling a strange pull, maybe because Lane feels he was the first person to actually seem to want and love her after enduring a lifetime of apathy from her mother.
As for the gran, well, What a cold selfish bitch she was.
I felt she herself held a huge role in what had been allowed to transpire, isn't it a mothers job to protect her daughters.
In this Lillian Roanoke has failed epically actually blaming her daughters instead of shielding them, she was such a cold fish only seeming to feel any affection towards her twisted husband.
Turning a blind eye and looking the other way is her game.
Surprisingly she was my least favourite character even over Myles Roanoke himself.
I think it was the whole lack of maternal anything that contributed to my dislike of her immensely.
The Roanoke Girls has so many diverse flawed individuals that all do their part in making this an enthralling page-turner.
This is a portrayal of a family that is so not right and has not been for a very long time.
It is Love expressed so wrongly and out of context that it has become a sickness consuming from the inside out devouring till nothing remains standing.
A Dysfunctional family with dark concealed secrets at his core.
So I felt the author Amy Engel did an amazing job of dealing with such an explosive subject matter. she has handled it beautifully with finesse and a great understanding of such a delicate topic. Not everyone could have done this so sensitively and without sensationalising it so Really well done.
So that's it from me folk's, I could waffle on all day about this fascinating story, but I'm going to leave it here, but before I go a trigger warning The Roanoke Girls deals with themes of incest, but bar the one small kiss it is only referred to in words not actions and it is really not graphic in its content at all, but if this is a trigger for you please do avoid.
So all that's left is for me to say Thank you to NetGalley, the publisher and the author Amy Engel herself for providing me with an arc of The Roanoke Girls this is my own honest unbiased opinion.
Arc Reviewed By BeckieBookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
Gareth von Kallenbach (980 KP) rated Tusk (2014) in Movies
Jun 19, 2019
To legions of his many fans, writer, director, producer, and podcaster Kevin Smith is a man fanboys find easy to root for. His films have become pop-culture gold to comic book, science fiction, and general geekdom fans the world over. Smith has built a career on independent films with characters that are as real as they are raw and raunchy. The crude nature of his jokes often put him in a “love them or hate them” category for many critics as it is definitely not a style that is for the masses. That being said, the films are witty, honest, and most times relatable, no matter how bad the situations and the characters become. Recently, Smith took a detour to the darker side with his film “Red State” that looked at a group of kids who became the victims of a fanatical cult leader and his followers.
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
Darren (1599 KP) rated 22 Jump Street (2014) in Movies
Jun 20, 2019
Story: 22 Jump Street starts by filling us in on what happened in the last film like a previous episode. We watch Schmidt (Hill) and Jenko (Tatum) as they try take down a criminal The Ghost (Stormare) but much like the first one, things go slightly wrong. Jenko and Schmidt have to go to college undercover to uncover the latest drug craze. The two go through the opposite direction to the previous film and we get to see how they react to their reverse situations.
team
22 Jump Street uses the first ten minutes poking fun at the idea of a sequel, including talking about doubling the budget, how they got lucky first time after everyone thought the idea would fail. It also forced to tell the same story as well as actually having an upgraded office called 22 Jump Street with 23 Jump Street opening next door. We continue to get plenty of ‘it is a sequel’ jokes through the film so much so that it feels like a glorified extended version of a television show. it is full of jokes, action and personally I think the story is so easy to watch and laugh along with it could be the best I have seen in years. (9/10)
Actor Review
Jonah Hill: Schmidt big guy to the comedy double act who ends up going through the same problems of not fitting in as Jenko did through the first film. Schmidt gets romantically involved with a Maya a girl on campus who turns out to be Captain Dickson’s daughter. Jonah gives a great performance showing that he really has great comical timing. (9/10)
scmidt
Channing Tatum: Jenko muscle of the comedy double act who finds himself in college finally getting a chance to fit in much like his time through high school first time. He gets a chance to live a different life which he never got a chance too with his connection with the football team, but his age will catch up with him. Channing gives a great performance showing he is just a muscle man he has comic timing too. (9/10)
channing
Peter Stormare: The Ghost drug deal the couple are after at first before he escapes, only to get into battle with him again once they uncover the truth about the supply at the college. Peter gives a solid performance giving his typical villain role. (7/10)
Wyatt Russell: Zook student that becomes good friends with Jenko, helping him get into the good with the sports team. The clues point to Zook but after thinking about the clues they realize they are reading things incorrectly about the fun loving footballer. Wyatt gives a good performance who has good chemistry with Channing. (8/10)
Amber Stevens: Maya student who befriends Schmidt and takes him down the calmer side of the college experience. After we are told she is the daughter of the Captain the comedy level raises. Amber gives a solid supporting performance. (6/10)
maya
Support Cast: 22 Jump Street has a whole host of supporting characters who all give extra laughs, be in the Captain and his protection of his daughter or the jock who wants to take down the goal posts. They all add laughs the main characters work with.
Director Review: Phil Lord, Christopher Miller – Phil & Christopher direct this film almost perfectly to take the piss out of the idea it is a sequel and that the first one was successful after many other television shows turned films have bombed. (9/10)
Action: 22 Jump Street has good action with chases trying not to break anything while the villains smash everything. (8/10)
Comedy: 22 Jump Street is one of the best comedies I have seen in years, it offers plenty of puns that take the piss out of the idea of it being a sequel. (10/10)
Crime: 22 Jump Street focuses a lot of trying to solve the crime while undercover which works nicely for it. (8/10)
Chemistry: 22 Jump Street has some great chemistry between Jonah and Channing who create one of the best comedy duos in buddy cop history. (10/10)
Settings: 22 Jump Street moves to college which works as the actors are older and it pokes fun that they would have looked way too old for high school. (9/10)
Suggestion: 22 Jump Street is a must watch, you don’t even need to see the first one as it recaps you with a previously at the start. (Watch)
Best Part in 22 Jump Street: Chase for the campus.car
Worst Part in 22 Jump Street: I would say the supporting characters are slightly too stereotyped.
Best Action Scene In 22 Jump Street: Chase through the campus.
Funniest Scene in 22 Jump Street: The moment Captain Dickson finds out about Schmidt and his daughter.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Yeah could have one.
Post Credits Scene: Jokes about what sequels could be in the future.
Oscar Chances: No
Box Office: $331 Million
Budget: $50 Million
Runtime: 1 Hour 52 Minutes
Tagline: These undercover cops are going to party like it’s their job
Overall: A Must Watch Comedy
https://moviesreview101.com/2014/12/22/22-jump-street-2014/
team
22 Jump Street uses the first ten minutes poking fun at the idea of a sequel, including talking about doubling the budget, how they got lucky first time after everyone thought the idea would fail. It also forced to tell the same story as well as actually having an upgraded office called 22 Jump Street with 23 Jump Street opening next door. We continue to get plenty of ‘it is a sequel’ jokes through the film so much so that it feels like a glorified extended version of a television show. it is full of jokes, action and personally I think the story is so easy to watch and laugh along with it could be the best I have seen in years. (9/10)
Actor Review
Jonah Hill: Schmidt big guy to the comedy double act who ends up going through the same problems of not fitting in as Jenko did through the first film. Schmidt gets romantically involved with a Maya a girl on campus who turns out to be Captain Dickson’s daughter. Jonah gives a great performance showing that he really has great comical timing. (9/10)
scmidt
Channing Tatum: Jenko muscle of the comedy double act who finds himself in college finally getting a chance to fit in much like his time through high school first time. He gets a chance to live a different life which he never got a chance too with his connection with the football team, but his age will catch up with him. Channing gives a great performance showing he is just a muscle man he has comic timing too. (9/10)
channing
Peter Stormare: The Ghost drug deal the couple are after at first before he escapes, only to get into battle with him again once they uncover the truth about the supply at the college. Peter gives a solid performance giving his typical villain role. (7/10)
Wyatt Russell: Zook student that becomes good friends with Jenko, helping him get into the good with the sports team. The clues point to Zook but after thinking about the clues they realize they are reading things incorrectly about the fun loving footballer. Wyatt gives a good performance who has good chemistry with Channing. (8/10)
Amber Stevens: Maya student who befriends Schmidt and takes him down the calmer side of the college experience. After we are told she is the daughter of the Captain the comedy level raises. Amber gives a solid supporting performance. (6/10)
maya
Support Cast: 22 Jump Street has a whole host of supporting characters who all give extra laughs, be in the Captain and his protection of his daughter or the jock who wants to take down the goal posts. They all add laughs the main characters work with.
Director Review: Phil Lord, Christopher Miller – Phil & Christopher direct this film almost perfectly to take the piss out of the idea it is a sequel and that the first one was successful after many other television shows turned films have bombed. (9/10)
Action: 22 Jump Street has good action with chases trying not to break anything while the villains smash everything. (8/10)
Comedy: 22 Jump Street is one of the best comedies I have seen in years, it offers plenty of puns that take the piss out of the idea of it being a sequel. (10/10)
Crime: 22 Jump Street focuses a lot of trying to solve the crime while undercover which works nicely for it. (8/10)
Chemistry: 22 Jump Street has some great chemistry between Jonah and Channing who create one of the best comedy duos in buddy cop history. (10/10)
Settings: 22 Jump Street moves to college which works as the actors are older and it pokes fun that they would have looked way too old for high school. (9/10)
Suggestion: 22 Jump Street is a must watch, you don’t even need to see the first one as it recaps you with a previously at the start. (Watch)
Best Part in 22 Jump Street: Chase for the campus.car
Worst Part in 22 Jump Street: I would say the supporting characters are slightly too stereotyped.
Best Action Scene In 22 Jump Street: Chase through the campus.
Funniest Scene in 22 Jump Street: The moment Captain Dickson finds out about Schmidt and his daughter.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Yeah could have one.
Post Credits Scene: Jokes about what sequels could be in the future.
Oscar Chances: No
Box Office: $331 Million
Budget: $50 Million
Runtime: 1 Hour 52 Minutes
Tagline: These undercover cops are going to party like it’s their job
Overall: A Must Watch Comedy
https://moviesreview101.com/2014/12/22/22-jump-street-2014/