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Albert Camus
Book
One of France's most high-profile writers, Albert Camus experienced both public adulation and...
The Outsider
9.0
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Book
'My mother died today. Or maybe yesterday, I don't know.' In The Outsider (1942), his classic...
Charlie Cobra Reviews (1840 KP) rated Pure in TV
Jul 7, 2020
Conflict of Conscience & Crisis of Faith
Pure is a crime/drama series created by Michael Amo and directed by Ken Girotti. It is produced by Two East Production and Cineflix and airs on the WGN network. The show stars Ryan Robbins, A.J. Buckley, Peter Outerbridge, and Rosie Perez.
Noah Funk (Ryan Robbins) is a newly-elected Mennonite pastor, who is tired of drug traffickers in his community and is determined to get rid of them. He finds that things are not that simple when after planting drugs in the home of the ring leader, he is forced to become the head of the Mennonite drug trafficking operations, endangering his community, his family and himself.
This show has constantly surprised me with its ups and downs and twists. I'm usually not into these kind of shows but it just really has me hooked especially with this new season. I feel so much for the main character Noah because he is a good person and almost all the people in their community are good people too. And how his actions come to plague him and weigh on him are dreadful. He does everything to protect his family and still they get dragged into things. His wife Ana Funk is also quite a great character and his brother Abel, a recovering drug addict comes into play greatly too. The dialogue isn't always the greatest and sometimes the acting isn't so good from supporting characters but there isn't a show quite like this. I like seeing the character fall from grace and struggle with his conscience and doing the right thing when he's the only one trying to fight the corruption in his community. It really is a great show, I give it an 8 out of 10.
Noah Funk (Ryan Robbins) is a newly-elected Mennonite pastor, who is tired of drug traffickers in his community and is determined to get rid of them. He finds that things are not that simple when after planting drugs in the home of the ring leader, he is forced to become the head of the Mennonite drug trafficking operations, endangering his community, his family and himself.
This show has constantly surprised me with its ups and downs and twists. I'm usually not into these kind of shows but it just really has me hooked especially with this new season. I feel so much for the main character Noah because he is a good person and almost all the people in their community are good people too. And how his actions come to plague him and weigh on him are dreadful. He does everything to protect his family and still they get dragged into things. His wife Ana Funk is also quite a great character and his brother Abel, a recovering drug addict comes into play greatly too. The dialogue isn't always the greatest and sometimes the acting isn't so good from supporting characters but there isn't a show quite like this. I like seeing the character fall from grace and struggle with his conscience and doing the right thing when he's the only one trying to fight the corruption in his community. It really is a great show, I give it an 8 out of 10.
James Dean Bradfield recommended 154 by Wire in Music (curated)
AA
Arbitration and Mediation in Seventeenth-Century England
Book
Despite plague, fire, political upheaval and religious strife, in the 17th century English people of...
The Book of M
8.6
Rate It
Book
Set in a dangerous near future world, The Book of M tells the captivating story of a group of...
Shadows forgetting love journey
Murder on West Lake (South Shore Mystery #3)
Book
A scream shattered the tranquil air, echoing off the ice-covered lake, and Daniel's heart froze. He...
Historical Mystery Cozy Mystery Romantic
Bob Mann (459 KP) rated Inferno (2016) in Movies
Sep 29, 2021
Infernal
Dan Brown has had a bad rap over the years from snobbish reviewers who dismiss his work as “trash”. I’m sure to a large degree the multi-millionaire Dan Brown couldn’t give a toss! I personally enjoyed both the books and Ron Howard’s films of “The Da Vinci Code” and “Angels and Demons” as glossy escapism. Occasionally though books will generate a “WHHAAAT??” moment and Brown’s 2013 novel “Inferno” generated just such a response in its dramatic conclusion… and (for me at least) not in a good way. As someone always looking at script potential in books, the words “unfilmable” came to mind. So veteran screenwriter David Koepp (“Jurassic Park”, “Mission Impossible”, “Spiderman”) is to be congratulated in ‘adapting’ the story to provide a coherent screenplay.
But unfortunately it’s still arrant nonsense.
The film starts in promising style with famed symbologist Robert Langdon (Tom Hanks) waking in hospital to horrific visions of hell on earth with only the attractive young nurse Dr Sienna Brooks (Felicity Jones) to soothe his nerves. A serious head wound prevents him from remembering the last 48 hours which makes it a bit tricky when a “Terminator”-style female cop (the striking Romanian actress Ana Ularu) arrives to try to kill him. Fleeing the scene, Langdon follows a typically convoluted trail of puzzles in a race to find the location of the source of a plague that if released will devastate the world’s population. In the process he has to dodge police, World Health Organisation (WHO) staff and members of a shadowy “private security organisation” trying to catch him.
The problem with the story is that it has a plague-sized hole in its plot. The actions of the main protagonist of the film, Bertrand Zobrist (Ben Foster, “The Program”), make absolutely zero sense. If he wanted to achieve his aims he would have just done it! (“No, Mr Bond – I won’t shoot you now”). Laying a devious cryptic trail for others to follow makes even less sense, particularly as he is even seen (in flashback) to be not very good at that! Quite bonkers!
Unfortunately, the more you ponder the story, the worse it gets, and it is this that fatally drags the film down despite all the good work that Hanks, Jones and director Ron Howard try to counter-balance it with.
For there are elements on the positive side of the scales. The Italian and Turkish scenes (in Florence, Venice and Istanbul) are gloriously filmed with lush colours and exotic and evocative locations. Tom Hanks is as solidly reliable as ever in the Langdon role, and its great to see Felicity “The Theory of Everything” Jones in a leading role before she disappears into obscurity again (humour: “Rogue One” is released in December).
Tom Hanks
The film has fun with romantic expectations of the Langdon and Brooks characters. Here though is Hanks with the more age-appropriate Knudsen.
The supporting cast is also of great quality. Sidse Babett Knudsen (“Borgen”) is Dr Sinsky, leader of the W.H.O. (not credited – as memorably done with Peter Capaldi in “World War Z” as “Doctor, W.H.O.”!). Irrfan (“Jurassic World”) Khan is striking as the mysterious and authoritarian “Provost”. And Omar Sy (who made such an impact in the brilliant “The Intouchables”) plays the lead W.H.O. officer in pursuit of Langdon.
Hans Zimmer again provides the soundtrack, with his beautiful series theme cleverly working its way into the music as Langdon’s memory returns. However, at various points the music become overtly noticeable, intrusive and not to my liking. A bombastic choral reworking of the theme over the end titles is stirring though.
In summary, a glossy and nonsensical disappointment.
But unfortunately it’s still arrant nonsense.
The film starts in promising style with famed symbologist Robert Langdon (Tom Hanks) waking in hospital to horrific visions of hell on earth with only the attractive young nurse Dr Sienna Brooks (Felicity Jones) to soothe his nerves. A serious head wound prevents him from remembering the last 48 hours which makes it a bit tricky when a “Terminator”-style female cop (the striking Romanian actress Ana Ularu) arrives to try to kill him. Fleeing the scene, Langdon follows a typically convoluted trail of puzzles in a race to find the location of the source of a plague that if released will devastate the world’s population. In the process he has to dodge police, World Health Organisation (WHO) staff and members of a shadowy “private security organisation” trying to catch him.
The problem with the story is that it has a plague-sized hole in its plot. The actions of the main protagonist of the film, Bertrand Zobrist (Ben Foster, “The Program”), make absolutely zero sense. If he wanted to achieve his aims he would have just done it! (“No, Mr Bond – I won’t shoot you now”). Laying a devious cryptic trail for others to follow makes even less sense, particularly as he is even seen (in flashback) to be not very good at that! Quite bonkers!
Unfortunately, the more you ponder the story, the worse it gets, and it is this that fatally drags the film down despite all the good work that Hanks, Jones and director Ron Howard try to counter-balance it with.
For there are elements on the positive side of the scales. The Italian and Turkish scenes (in Florence, Venice and Istanbul) are gloriously filmed with lush colours and exotic and evocative locations. Tom Hanks is as solidly reliable as ever in the Langdon role, and its great to see Felicity “The Theory of Everything” Jones in a leading role before she disappears into obscurity again (humour: “Rogue One” is released in December).
Tom Hanks
The film has fun with romantic expectations of the Langdon and Brooks characters. Here though is Hanks with the more age-appropriate Knudsen.
The supporting cast is also of great quality. Sidse Babett Knudsen (“Borgen”) is Dr Sinsky, leader of the W.H.O. (not credited – as memorably done with Peter Capaldi in “World War Z” as “Doctor, W.H.O.”!). Irrfan (“Jurassic World”) Khan is striking as the mysterious and authoritarian “Provost”. And Omar Sy (who made such an impact in the brilliant “The Intouchables”) plays the lead W.H.O. officer in pursuit of Langdon.
Hans Zimmer again provides the soundtrack, with his beautiful series theme cleverly working its way into the music as Langdon’s memory returns. However, at various points the music become overtly noticeable, intrusive and not to my liking. A bombastic choral reworking of the theme over the end titles is stirring though.
In summary, a glossy and nonsensical disappointment.