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Inky Books (3 KP) rated These Broken Stars (Starbound, #1) in Books
Jun 21, 2018
Well, I’m sure this might be a surprise for you because I have already reviewed this book. No, you’re not crazy, but after going back and rereading it I decided that I would listen to it again and write a real review, not one where more than half of it is a spoiler.
This book was just as amazing the second time as it was the first time. The characters were as fresh and complicated as I remember and I was even surprised by details I had forgotten about them.
Lilac was as privileged, stubborn and as not-crazy as I remember, but now I can appreciate it even more now that I have read the next two books in the series. Despite being a rich and spoiled debutant she certainly pushes through to her very core to survive, especially in the middle and at the end of the book.
And Tarver, he broke my heart. He was wonderfully written, from the beginning, to the interludes where he is being debriefed (where he was so sarcastic I couldn’t help but appreciate his nerve), and then those events at the end. You’ll know what I mean when you read the book.
The main plot is so beautifully simple and can be summed up into one, single word. Survive. There is a larger story arch for the next two books of the series, but just surviving, that’s what this book is about. Well, that and Lilac and Tarver trying not to kill each other while also trying to get the other to stay alive long enough to reach their goal.
Now, this book is almost entirely starring just Lilac and Tarver. Usually, only two characters together, alone would have caused me to whine about how the author was unimaginative but this works really, really well. Yes, I want other people there because the are stranded on an abandoned planet and I don’t want them to suffer, but their dynamic would have been completely ruined if there was someone else there.
Yes, this is considered a romance book, and it didn’t seem at all out of place. It fell in quite easily and it wasn’t a sudden thing forced upon two people who hated each other from the very start. If anything, these two pushed their feelings aside as the tragic accident pulls them closer together without them even knowing it. I think I lived for the moment these two finally accepted each other and I would not have had it any other way. It all just works so well!
So much goes on, yet so little happens. I mean this in the most amazing way possible. There is no one else to interfere with Lilac and Tarver’s mission of surviving, or working towards a goal other than nature and themselves. And when they get to one of the destinations, and what happens to both of them, well, it was hard. But the next place, it is so much harder. They are so sweet and it just breaks my heart.
I knew what was coming, knew what had to happen for the story to move on, and still, it rocked me and almost brought me to tears again. I knew how this book, and the series, ended, but still I couldn’t help the emotions that refused to stay pushed down. I don’t even have words to explain it in a way that will do it justice and not spoil it at the same time. Please, just read it!
This book was just as amazing the second time as it was the first time. The characters were as fresh and complicated as I remember and I was even surprised by details I had forgotten about them.
Lilac was as privileged, stubborn and as not-crazy as I remember, but now I can appreciate it even more now that I have read the next two books in the series. Despite being a rich and spoiled debutant she certainly pushes through to her very core to survive, especially in the middle and at the end of the book.
And Tarver, he broke my heart. He was wonderfully written, from the beginning, to the interludes where he is being debriefed (where he was so sarcastic I couldn’t help but appreciate his nerve), and then those events at the end. You’ll know what I mean when you read the book.
The main plot is so beautifully simple and can be summed up into one, single word. Survive. There is a larger story arch for the next two books of the series, but just surviving, that’s what this book is about. Well, that and Lilac and Tarver trying not to kill each other while also trying to get the other to stay alive long enough to reach their goal.
Now, this book is almost entirely starring just Lilac and Tarver. Usually, only two characters together, alone would have caused me to whine about how the author was unimaginative but this works really, really well. Yes, I want other people there because the are stranded on an abandoned planet and I don’t want them to suffer, but their dynamic would have been completely ruined if there was someone else there.
Yes, this is considered a romance book, and it didn’t seem at all out of place. It fell in quite easily and it wasn’t a sudden thing forced upon two people who hated each other from the very start. If anything, these two pushed their feelings aside as the tragic accident pulls them closer together without them even knowing it. I think I lived for the moment these two finally accepted each other and I would not have had it any other way. It all just works so well!
So much goes on, yet so little happens. I mean this in the most amazing way possible. There is no one else to interfere with Lilac and Tarver’s mission of surviving, or working towards a goal other than nature and themselves. And when they get to one of the destinations, and what happens to both of them, well, it was hard. But the next place, it is so much harder. They are so sweet and it just breaks my heart.
I knew what was coming, knew what had to happen for the story to move on, and still, it rocked me and almost brought me to tears again. I knew how this book, and the series, ended, but still I couldn’t help the emotions that refused to stay pushed down. I don’t even have words to explain it in a way that will do it justice and not spoil it at the same time. Please, just read it!
Hazel (1853 KP) rated Return to the Little Coffee Shop of Kabul (The Little Coffee Shop of Kabul #2) in Books
Dec 14, 2018
<i>I received this book for free through Goodreads First Reads.</i>
Five years since the publication of her fictional debut, fans of Deoborah Rodriguez will be pleased to know they can finally get their hands on the sequel: Return to the <i>Little Coffee Shop of Kabul</i>. In the first book (<i>The Little Coffee Shop of Kabul</i>) we are introduced to Sunny, a 38-year-old American, who has set up a coffee shop in the heart of Afghanistan. Now she has returned to the US, after the unfortunate death of her boyfriend, to a house on an island she did not really want. Meanwhile, her coffee shop struggles to continue in the hands of her Afghan friends.
The narrative alternates between the USA and Afghanistan, keeping the reader informed of two completely different scenarios. Sunny is dealing with the loss of Jack and her conflicted feelings over whether she should stay and live Jack’s dream lifestyle or return to her beloved Kabul. On the other hand, Yazmina and the others reveal to the reader how difficult and dangerous life is for the Afghanistan natives, especially for the women who have very little rights.
As well as the original characters, there are a number of new names introduced to the story. In Afghanistan a young girl is trying to escape an arranged marriage to an evil, rich man – something that has disastrous consequences for herself and her newfound friends. On the other side of the world, Layla, Yazmina’s sister, is experiencing Western culture living with Sunny, and is shocked at how friendly men and women are with each other.
Another new face to add to the mix is Kat, a young woman who escaped to America as a child and has turned her back on the traditions of Islam and the Afghan culture. Despite her growing friendship with Layla, she refuses to agree with Layla’s beliefs, particularly in regards to the <i>hijab</i>. Neither girl’s opinion is more valid than the other however, as they have both had completely different upbringings. Kat has spent the better part of her life relishing in the freedom of Western culture, whereas Layla finds comfort in her traditions.
<i>Return to the Little Coffee Shop of Kabul </i>contains a couple of powerful messages. Firstly, as Sunny realizes, you need to be thankful for what you have got and not assume that going back to a lifestyle you used to follow would be the same as it once was. On the flip side, the Muslim family in Kabul begins to learn that they do not have to put up with the strict, unfairness in the treatment of women, and can strive to do something about it.
It is not necessary to have read the previous book, as there is enough character description and history mentioned within the narrative for new readers to be able to follow along. It is also suitable for book groups as it contains a series of reading group questions at the end of the novel.
Despite its upsetting scenes,<i> Return to the Little Coffee Shop of Kabul </i>is essentially a happy book. The character Sunny, definitely lives up to her name; there is no over emphasis on any of the negative situations she or her friends find themselves in. In a world where it would be easy to fall into despair, Rodriguez has written a story with a positive outlook on life and hope for the future.
Five years since the publication of her fictional debut, fans of Deoborah Rodriguez will be pleased to know they can finally get their hands on the sequel: Return to the <i>Little Coffee Shop of Kabul</i>. In the first book (<i>The Little Coffee Shop of Kabul</i>) we are introduced to Sunny, a 38-year-old American, who has set up a coffee shop in the heart of Afghanistan. Now she has returned to the US, after the unfortunate death of her boyfriend, to a house on an island she did not really want. Meanwhile, her coffee shop struggles to continue in the hands of her Afghan friends.
The narrative alternates between the USA and Afghanistan, keeping the reader informed of two completely different scenarios. Sunny is dealing with the loss of Jack and her conflicted feelings over whether she should stay and live Jack’s dream lifestyle or return to her beloved Kabul. On the other hand, Yazmina and the others reveal to the reader how difficult and dangerous life is for the Afghanistan natives, especially for the women who have very little rights.
As well as the original characters, there are a number of new names introduced to the story. In Afghanistan a young girl is trying to escape an arranged marriage to an evil, rich man – something that has disastrous consequences for herself and her newfound friends. On the other side of the world, Layla, Yazmina’s sister, is experiencing Western culture living with Sunny, and is shocked at how friendly men and women are with each other.
Another new face to add to the mix is Kat, a young woman who escaped to America as a child and has turned her back on the traditions of Islam and the Afghan culture. Despite her growing friendship with Layla, she refuses to agree with Layla’s beliefs, particularly in regards to the <i>hijab</i>. Neither girl’s opinion is more valid than the other however, as they have both had completely different upbringings. Kat has spent the better part of her life relishing in the freedom of Western culture, whereas Layla finds comfort in her traditions.
<i>Return to the Little Coffee Shop of Kabul </i>contains a couple of powerful messages. Firstly, as Sunny realizes, you need to be thankful for what you have got and not assume that going back to a lifestyle you used to follow would be the same as it once was. On the flip side, the Muslim family in Kabul begins to learn that they do not have to put up with the strict, unfairness in the treatment of women, and can strive to do something about it.
It is not necessary to have read the previous book, as there is enough character description and history mentioned within the narrative for new readers to be able to follow along. It is also suitable for book groups as it contains a series of reading group questions at the end of the novel.
Despite its upsetting scenes,<i> Return to the Little Coffee Shop of Kabul </i>is essentially a happy book. The character Sunny, definitely lives up to her name; there is no over emphasis on any of the negative situations she or her friends find themselves in. In a world where it would be easy to fall into despair, Rodriguez has written a story with a positive outlook on life and hope for the future.
Bob Mann (459 KP) rated Parasite (2019) in Movies
Feb 9, 2020
It’s so metaphorical.
Everyone said “Go see Parasite”. Everyone said “The one rule about Parasite is that you don’t talk about Parasite”. So I went to see Parasite. So this is a review about Parasite without talking about Parasite.
Kim Ki-Woo (Woo-sik Choi) is a student living with his family in poverty in a sub-basement room, sponging off internet signals and scrounging a living, of sorts, by assembling pizza boxes. Opportunity presents itself when his best friend, the slightly older Min (Seo-joon Park), goes abroad to study. For Min is an English tutor to the up-market Park family’s school-age daughter Da-hye (Ji-so Jung). Not wanting his fellow ‘frat-boys’ to move in on future romance – he’s lined up Ki-Woo as his replacement.
Ki-woo knows he’s lucked in when he visits the swanky Park residence and manages to pull the wool over the eyes of Da-hye’s not too bright mother Yeon-kyo (Yeo-jeong Jo). But the influence of the family’s “lucky rock” doesn’t stop there. Ki-woo sees an opportunity to get jobs for his sister Kim (So-dam Park), his father Ki-taek (Kang-ho Song) and his mother Chung-sook (Hye-jin Jang). And gradually the poor Kim family start to encroach on the rich Park family’s lives.
You might think that’s the story. It’s not. Just when you think you know where the film is going – a gentle comic tale with farcical elements – the movie takes a sudden left turn into The Twilight Zone.
To say more, if you’ve not seen the film, would be cruelty beyond measure. It’s a truly astonishing script, by writer/director Bong Joon Ho, and my nomination for the Oscar for best original screenplay.
It’s the details that get to you. This will be a superb film to watch multiple times. There are fabulous details scattered throughout. You know how the more expensive the car the more “solid” the clunk is as you shut the door? Listen to the sound effect when the Park front door shuts! Look what happens to the “one of a kind” lucky rock!
As for one of my favourite films from last year – “The Farewell” – you very quickly get to accept and embrace the subtitles. YOU MUST NOT LET THIS PUT YOU OFF. This is a masterpiece of cinema, well-deserving of its multiple Oscar nominations and its Cannes Palme d’Or award. At 132 minutes, it’s not a short film, but seldom have two hours flown by faster. It’s totally gripping. At times hysterically funny; at times shocking. A class struggle movie of a calibre that Ken Loach would never have imagined!
Gripes? I had just one. An action near the end of the movie seems bizarrely out of character and was a “WTF” moment that I didn’t think the film needed. However, it did set up a wonderful story-telling finale that I will think about for many months.
It provoked that seldom found reaction in the cinema when the end-titles ran. A hubbub of chatter and appreciation.
It comes with a highly recommended from me.
For the full graphical review, check out https://bob-the-movie-man.com/2020/02/09/one-manns-movies-film-review-parasite-2020/.
Kim Ki-Woo (Woo-sik Choi) is a student living with his family in poverty in a sub-basement room, sponging off internet signals and scrounging a living, of sorts, by assembling pizza boxes. Opportunity presents itself when his best friend, the slightly older Min (Seo-joon Park), goes abroad to study. For Min is an English tutor to the up-market Park family’s school-age daughter Da-hye (Ji-so Jung). Not wanting his fellow ‘frat-boys’ to move in on future romance – he’s lined up Ki-Woo as his replacement.
Ki-woo knows he’s lucked in when he visits the swanky Park residence and manages to pull the wool over the eyes of Da-hye’s not too bright mother Yeon-kyo (Yeo-jeong Jo). But the influence of the family’s “lucky rock” doesn’t stop there. Ki-woo sees an opportunity to get jobs for his sister Kim (So-dam Park), his father Ki-taek (Kang-ho Song) and his mother Chung-sook (Hye-jin Jang). And gradually the poor Kim family start to encroach on the rich Park family’s lives.
You might think that’s the story. It’s not. Just when you think you know where the film is going – a gentle comic tale with farcical elements – the movie takes a sudden left turn into The Twilight Zone.
To say more, if you’ve not seen the film, would be cruelty beyond measure. It’s a truly astonishing script, by writer/director Bong Joon Ho, and my nomination for the Oscar for best original screenplay.
It’s the details that get to you. This will be a superb film to watch multiple times. There are fabulous details scattered throughout. You know how the more expensive the car the more “solid” the clunk is as you shut the door? Listen to the sound effect when the Park front door shuts! Look what happens to the “one of a kind” lucky rock!
As for one of my favourite films from last year – “The Farewell” – you very quickly get to accept and embrace the subtitles. YOU MUST NOT LET THIS PUT YOU OFF. This is a masterpiece of cinema, well-deserving of its multiple Oscar nominations and its Cannes Palme d’Or award. At 132 minutes, it’s not a short film, but seldom have two hours flown by faster. It’s totally gripping. At times hysterically funny; at times shocking. A class struggle movie of a calibre that Ken Loach would never have imagined!
Gripes? I had just one. An action near the end of the movie seems bizarrely out of character and was a “WTF” moment that I didn’t think the film needed. However, it did set up a wonderful story-telling finale that I will think about for many months.
It provoked that seldom found reaction in the cinema when the end-titles ran. A hubbub of chatter and appreciation.
It comes with a highly recommended from me.
For the full graphical review, check out https://bob-the-movie-man.com/2020/02/09/one-manns-movies-film-review-parasite-2020/.
Phillip McSween (751 KP) rated Knives Out (2019) in Movies
Mar 6, 2020
Consistent Blast
In the Whodunit drama, detective Benoit Blanc (Daniel Craig) has to uncover who killed famous author Harlan Thrombey (Christopher Plummer).
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.
Acting: 10
I can’t speak enough about the amazing performances that made this movie come alive. I honestly don’t know where to start or who had the best chops because they were all so wonderful. Jamie Lee Curtis has always been one of my favorite actresses and her role didn’t disappoint here. She’s Linda Robinson who serves as somewhat of a matriarch in the family. She delivers her lines with such perfect timing and such fluid grace that it’s hard not to love her character. I also appreciated Jaeden Martell’s role in the movie. I can only imagine how hard it is as the youngest cast member when you have all these heavy-hitting stars beside you, but he definitely held his own by putting on a performance here that was even better than his role in It, in my opinion.
Beginning: 10
You are immediately thrown into this story from jump like you are springboarding into the sky. The intrigue is immediate which gave me an instant feeling that I was going to like this movie. It’s a perfect setup for what is to come.
Characters: 10
Nothing short of spectacular. Again, where do I start? I love that every single one of these characters in the movie have a rich story that’s connected to the deceased. There is also some kind of growth (whether negative or positive) with each character which is hard to juggle when you’re talking about managing runtime as well as screentime. I could pinpoint one specific role, but I loved each and every single one of them. That’s not a very common thing to say.
Cinematography/Visuals: 10
Director Rian Johnson really hits home on the visuals with an interesting blend of vivid colors and bleak imagery. I have a great appreciation with how the movie was ultimately cut. It’s a film that doesn’t rush, but takes its time, really capturing special dramatic moments. It almost feels like a Wes Anderson meets Stephen King type of cinematic adventure.
Conflict: 10
Entertainment Value: 10
From shock value to mystery, Knives Out keeps you on your toes start to finish. It’s funny, it’s smart, and, most importantly, it’s original. This kind of movie has been done dozens of times before and this one is, by far, the most unique of the bunch. It truly is in a class of its own.
Memorability: 10
Pace: 9
With a 130-minute runtime, it’s only natural that there would be a slip-up in pace here and there. Fortunately, the slowdowns are very brief and barely noticeable. I can only think of one or two moments where I thought, “They could’ve cut that.” The momentum is pretty incredible otherwise.
Plot: 10
Resolution: 10
Ends strongly, yet smoothly with a finite resolution. I found it funny that the ending was actually a subtle knife into the hearts of the antagonists. The conclusion is a beautiful whisper.
Overall: 99
Knives Out is hilarious yet touching at the same time. With an original storyline, consistent pace, and brilliant characters the movie succeeds on just about every level. It was both refreshing and unexpected to watch a movie this grand.
BankofMarquis (1832 KP) rated The Sting (1973) in Movies
Mar 29, 2020
On my list of All Time Favorite Films
I'll come right out and say it - the 1973 Academy Award winning film for Best Picture, THE STING, is one of the greatest films of all time. It's well written, well acted, well directed with a memorable musical score and characters, situations, costumes and set design that become richer over time and through repeated viewings.
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated The Man Who Knew Infinity (2016) in Movies
Aug 6, 2019
In 1914, Srinivasa Ramanujan (Dev Patel) traveled from his poverty-stricken existence in Madras, India to Trinity College, Cambridge in the hope that he would have his theories published and be recognized for the mathematical genius he was. While there, despite facing racism, hostility and severe illness, he formed an important relationship with G.H. Hardy (Jeremy Irons) that would lead to breakthroughs in mathematics that are still relevant today.
It would be easy to prattle on about the tremendous talent onscreen in The Man Who Knew Infinity and with a supporting cast that features some of Britain’s best; we get exactly what we’d expect from the likes of Jeremy Irons, Toby Jones and Kevin McNally. All at the top of their game, they serve the story well with nuanced and well-rounded performances, and I’m certainly not going to take anything away from the exceptional jobs they’ve all done here. All the praise this film deserves however, needs to be directed at Dev Patel. In his role as Ramanujan, he’s completely stepped out of the shadow of his big-screen debut in Slumdog Millionaire and has proved his worth as a leading man capable of carrying the weight of an entire feature. Distancing himself also from the lovable, bumbling hotel owner in The Best Exotic Marigold movies, with Ramanujan he is allowed the room to display an incredible range, from quiet intensity to outspoken, unbridled passion and determination. Kudos also to the writers for not going The Big Short route (e.g. talking down to the uninitiated with ridiculous cutaways), but by using simple logic and examples to help convey complex information relevant to the plot.
For the performances alone, this is a solid entry in the biopic genre, but structurally speaking, it’s the editing that lets the film down. This very easily could have emerged as the next A Beautiful Mind, but between a bloated first act, a middling and wandering second act and a truncated final third, The Man Who Knew Infinity falls just short of greatness. Not only is no attention paid to Ramanujan’s achievements as a child, but too much time is given to details and subplots that are arguably inconsequential to the main narrative. This is especially evident in the inclusion of Bertrand Russell (who lived such a rich and fascinating life himself, it would take several films to do that story justice) and his being here feels like just a hollow excuse to include a cameo from another figure of historical importance. The biggest disservice though comes with the ending where we are denied a much needed catharsis and are left to suffer through a slap-dash, halfhearted montage. A restructuring from a more seasoned hand would have undoubtedly led to stronger word-of-mouth and perhaps a wider release. I also wouldn’t be surprised to learn that this is a case of “too many cooks” as the film has a staggering 43 credited producers. I get that independent features can be forced to source their funding from many places, but you can’t tell me that with all those opinions flying about that some of the original intent didn’t get lost in the noise.
As an aside, what Stephen Fry is doing here is beyond me. He’s given two scenes with perhaps a half a dozen lines, leaving his incomparable persona entirely wasted on a completely throwaway character. It’s a pity he wasn’t given a meatier role as one of Ramanujan’s antagonists.
It would be easy to prattle on about the tremendous talent onscreen in The Man Who Knew Infinity and with a supporting cast that features some of Britain’s best; we get exactly what we’d expect from the likes of Jeremy Irons, Toby Jones and Kevin McNally. All at the top of their game, they serve the story well with nuanced and well-rounded performances, and I’m certainly not going to take anything away from the exceptional jobs they’ve all done here. All the praise this film deserves however, needs to be directed at Dev Patel. In his role as Ramanujan, he’s completely stepped out of the shadow of his big-screen debut in Slumdog Millionaire and has proved his worth as a leading man capable of carrying the weight of an entire feature. Distancing himself also from the lovable, bumbling hotel owner in The Best Exotic Marigold movies, with Ramanujan he is allowed the room to display an incredible range, from quiet intensity to outspoken, unbridled passion and determination. Kudos also to the writers for not going The Big Short route (e.g. talking down to the uninitiated with ridiculous cutaways), but by using simple logic and examples to help convey complex information relevant to the plot.
For the performances alone, this is a solid entry in the biopic genre, but structurally speaking, it’s the editing that lets the film down. This very easily could have emerged as the next A Beautiful Mind, but between a bloated first act, a middling and wandering second act and a truncated final third, The Man Who Knew Infinity falls just short of greatness. Not only is no attention paid to Ramanujan’s achievements as a child, but too much time is given to details and subplots that are arguably inconsequential to the main narrative. This is especially evident in the inclusion of Bertrand Russell (who lived such a rich and fascinating life himself, it would take several films to do that story justice) and his being here feels like just a hollow excuse to include a cameo from another figure of historical importance. The biggest disservice though comes with the ending where we are denied a much needed catharsis and are left to suffer through a slap-dash, halfhearted montage. A restructuring from a more seasoned hand would have undoubtedly led to stronger word-of-mouth and perhaps a wider release. I also wouldn’t be surprised to learn that this is a case of “too many cooks” as the film has a staggering 43 credited producers. I get that independent features can be forced to source their funding from many places, but you can’t tell me that with all those opinions flying about that some of the original intent didn’t get lost in the noise.
As an aside, what Stephen Fry is doing here is beyond me. He’s given two scenes with perhaps a half a dozen lines, leaving his incomparable persona entirely wasted on a completely throwaway character. It’s a pity he wasn’t given a meatier role as one of Ramanujan’s antagonists.
Gareth von Kallenbach (980 KP) rated Brave (2012) in Movies
Aug 7, 2019
The digital wizards at Pixar have an incredible dossier of Academy award-winning animated films. Their latest film “Brave“, is a prime example of the bold new direction for the company behind such classics as “Finding Nemo“, “Toy Story“, “The Incredible’s“, and “Monsters, Inc.” just to name a few. This time out Scotland provides the setting for the animation masters to weave their magic, and they do in a splendid 3-D feast of sight, sound, and color that captures the breathtaking beauty of the Scottish Highlands.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
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