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LoganCrews (2861 KP) rated The Circle (2017) in Movies
Sep 20, 2020
Totally watchable. Before 2020 this would have played as a cockamamie exercise in "in-what-universe-would-this-actually-happen-?" filmmaking (and believe me this still pushes it), but after the anti-mask protests and general shrugging off of the coronavirus pandemic I'd now believe you stupid mfs would do *anything*. I'm not saying this is all brainless - there are some really sturdy ideas in here that aren't all executed terribly. The way it portrays big ticket corporations sliding their hands into every pocket they can find by way of offering up a "likable mascot" rather than a "founder" (played perfectly by Hanks as a clear riff on [a more likable and somehow less disingenuous] Steve Jobs - but what a waste of a perfectly good Oswalt) and "quotable quips" rather than "talking points" so they don't even have to attempt to hide it is sound. The scene where Hanks straightup manipulates Watson's bland cypher *on* stage to the point of tracking down live human beings to an adoring crowd is horrifying - but this is all still rather diluted, clunky, and bizarre in translation from the book. Looks phenomenal though, and is a notable return to form for Danny Elfman (in general every piece of music here slaps). Fine dumb fun imo, cheesy and laughable but not without some wit. But as a final defense - speaking as someone who has spent months in these cliquey millennial tech circles - the fact that no one acts like a live human being here would be way too on the nose if holy mother of God did they not actually act like this. The extended segment of those two overbearing recruiter types indirectly-but-very-directly pushing that "optional" and "extracurricular" really means "mandatory" is pure nightmare fuel because I have been in those situations - in spades - firsthand irl. Moments like that save this still moment-to-moment entertaining diet pulp when it actively refuses to explore anything else it offers up. Doesn't really have enough oomf but still miles better than your average "Black Mirror" episode.
Kirk Bage (1775 KP) rated Höstsonaten (Autumn Sonata) (1978) in Movies
Jan 28, 2021
I have been familiar with Bergman for a long time, having seen Summer With Monika, Wild Strawberries and The Seventh Seal at a young age. They were more or less my first experience of foreign language art cinema that I sort of understood and liked. Something about the practical and economical way conversations happen in Bergman appeals to me. They tend to lack melodrama and romance, but are intellectually satisfying and often dramatically devastating. None more so than this mindbendingly sad tale of a mother and daughter in conflict. Bergman’s regular muses Ingmar Bergman and Liv Ullmann go head to head in a masterclass of acting that left me in utter awe. It reminded me of the first time I saw Gena Rowlands in A Woman Under the Influence – such soul-wrenching honest of emotion, it is almost unbearable. In a good way.
The fact that something is bleak has never put me off, and Bergman too is completely unafraid of leaving you entirely depressed. In fact, I wish Hollywood wasn’t so afraid of it. Very few films with personal conflicts this strong spring to mind – perhaps Blue Valentine is as close as it gets. But on the scale of rhetorical blows to the emotional solar plexus, that would be a 4 and Autumn Sonata would be a 9. Truthfully, I have seen few things so brutal and painful played out in film form. Guilt, blame, regret, denial, shame and loss cut to the bone, making the key scenes at the crescendo very hard to watch, but also brilliant because of it. Visually it is warm and cosy enough, but quite static, like a stage play, but of course Bergman was aware of this. He wants us to focus on the people, and so we do. A blindingly strong work of art all round. Just not something you want to revisit too often.
The fact that something is bleak has never put me off, and Bergman too is completely unafraid of leaving you entirely depressed. In fact, I wish Hollywood wasn’t so afraid of it. Very few films with personal conflicts this strong spring to mind – perhaps Blue Valentine is as close as it gets. But on the scale of rhetorical blows to the emotional solar plexus, that would be a 4 and Autumn Sonata would be a 9. Truthfully, I have seen few things so brutal and painful played out in film form. Guilt, blame, regret, denial, shame and loss cut to the bone, making the key scenes at the crescendo very hard to watch, but also brilliant because of it. Visually it is warm and cosy enough, but quite static, like a stage play, but of course Bergman was aware of this. He wants us to focus on the people, and so we do. A blindingly strong work of art all round. Just not something you want to revisit too often.
Leanne Crabtree (480 KP) rated The Shadow Reader (The Shadow Reader, #1) in Books
Oct 1, 2019
This starts with McKenzie doing in a test in a lecture hall at Uni, only she's interrupted mid test by her friend and love interest, Kyol--sword-master of the current Fae King. The rebels have found her and she's in danger. They run from the room but get attacked by the rebels as they try to escape. In the end, McKenzie fall into the rebels trap and ends up their captive. McKenzie keeps attempting to escape and though half of the rebels want her dead, the leader, Aren, wants her kept alive.
What follows is a complicated twisty tale of right and wrong, of realising that what you thought was the truth for so long has been twisted and put in a new light so you'll go along with it. Truths are revealed that you agree with.
There is an element of love-triangle going on in this. She's had a "thing" with Kyol for ten years: touches and kisses that are prohibited under the King's ruling of no relationships between humans and Fae. And then there's Aren. The rebel leader who steals her away and tries to convince her that the Court is using her for their own gains and not for the good of the people.
In truth I think I was more Team Aren. We got to see more of his relationship progression with McKenzie. They go from not trusting or liking each other particularly to that tender, sweet touches, stage of falling for each other. Don't get me wrong, I like Kyol. But I think because we missed the start of their relationship growth all those years ago that I don't feel as strong of a connection between them.
By the end of this I was urging our group to win the fight. And now I'm very interested in what's going to happen next with this ragtag group.
What follows is a complicated twisty tale of right and wrong, of realising that what you thought was the truth for so long has been twisted and put in a new light so you'll go along with it. Truths are revealed that you agree with.
There is an element of love-triangle going on in this. She's had a "thing" with Kyol for ten years: touches and kisses that are prohibited under the King's ruling of no relationships between humans and Fae. And then there's Aren. The rebel leader who steals her away and tries to convince her that the Court is using her for their own gains and not for the good of the people.
In truth I think I was more Team Aren. We got to see more of his relationship progression with McKenzie. They go from not trusting or liking each other particularly to that tender, sweet touches, stage of falling for each other. Don't get me wrong, I like Kyol. But I think because we missed the start of their relationship growth all those years ago that I don't feel as strong of a connection between them.
By the end of this I was urging our group to win the fight. And now I'm very interested in what's going to happen next with this ragtag group.
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LeftSideCut (3778 KP) rated American Horror Story - Season 9 in TV
May 10, 2020
The ninth season of AHS, subtitled "1984" is definitely up there in terms of silliness. However, where this has been an issue for me with a few previous seasons, this time around it's a huge strong point.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
1984 is one big homage to 80s slasher films, in particular Friday the 13th. If you've read my any of my reviews before, you will know that I bloody love a slasher, even the shitty ones, so this premise was always going to be a winner for me.
A big change this time around is the absence of big AHS names. No Sarah Paulson, no Evan Peters, no Kathy Bates. Their presence is certainly missed in some sort of capacity, but the cast we have do a solid job at carrying the season. Emma Roberts and Billie Lourd take centre stage here, and are both great. We also see some familiar faces in Leslie Grossman, Cody Fern, John Carroll Lynch, Finn Wittrock, Leslie Jordan, Lily Rabe, and Dylan McDermott, so it still has that signature AHS feel. A couple of newcomers are introduced as well - Matthew Morrison and Gus Kenworthy are both hilarious. Zach Villa plays real life serial killer Richard Ramirez (who briefly appeared all the way back in Hotel) and the guy is genuinely menacing. If another season of Twin Peaks ever gets made - he's a dead ringer for Killer Bob.
One of the highlights is "villain" Mr. Jingles (John Carroll Lynch). He's such a finely crafted character, that he honestly deserves to stand next to the Jason and Freddy's of the slasher world.
The story is pretty fun. Mixing 80s campy horror with more familiar AHS elements (such as ghosts not being able to leave the place they died etc) and is pretty engaging for the most part. It gets a little convoluted near the end, and lacks the depth that seasons such as Asylum and Roanoke gave, but it's forgiveable considering the quality of everything else.
As a final thought - the synthwave version of the theme tune is fucking awesome.
