#Orlando review

[booksandglitter]

"what more terrifying revelation can there be than that it is the present moment?"

📚finally finished Orlando by Virginia Woolf!!📚 my first book by her and I really liked it! I gave it 4 stars⭐️⭐️⭐️⭐️ the prose is incredibly rich, which can be difficult to read at times honestly, and the story of Orlando's life was really interesting I read this for uni to write an essay on it and there are so many interesting bits in it that would be amazing to analyse!!! I'm so happy to be excited ablout a research project again🙂‍↕️ this modernist fictional biography is very queer and if you don't mind the dense prose and some cultural insensitivity (cause it's from the 1920s) I would really recommend this!

[inthegoodbooks]

the hobbit (review)

Right, I know I am a million years late here (ok, more like 87) but jesus fucking christ I loved this book. I’ve been a fan of the Lord of the Rings films since I first saw them with my dad back in the early noughties but having never sat through an entire The Hobbit movie (soz) I didn’t know that much about the story of this one tbh. I knew there was a dragon? Some treasure? A group of dwarves and maybe one of them is gay and totally into Bilbo? (That may have been more tumblr’s version of events but I was willing to believe it and - guess what - still willing to believe it tbh.)

Some of my preconceived notions of course were accurate (ok, all of them) but what I didn’t anticipate was just how much I would bloody love it. Tolkien’s style gets a lot of praise, understandably so, but I wasn’t aware of just how much it would gel with me. Its almost satire-like humour was flawless, and it really gave me the impression of someone sitting me down to tell me a bedtime story; of course, this was exactly how these books were initially intended and it shows. But it works. I am totally of the opinion that this would make a fabulous audiobook, and I can’t wait to check them out in a couple of years once I’ve done my first proper read-through.

My favourite thing about this were the introductions we get to all of the different creatures, races and creeds in Middle Earth. The elves, goblins (orcs in later works) and eagles in particular were an absolute joy to read and get to know. Legoloas’ character in the films was always my favourite (my big queer crush on Orlando Bloom in a blonde wig may have had an influence there but we’re not here to talk about that…) so it was super fun to get to know some of the elves in this novel. I love the idea that the elves were fully just living their lives with Bilbo kicking about all invisible, making no noise whatsoever. The things he must have been privy to… I digress…

The eagles were a great introduction too. My partner and I watched The Return of the King on the night I finished this and I was so delighted to fully appreciate their significance at the end. A dear co-worker of mine (and HUGE Tolkien fan) has said they play an even more interesting role in The Silmarillion so I am really looking forward to reading that once I’m done with the original trilogy.

Everything in me wants to binge them now, but I have some big reading plans over the next few months so I am planning on doing one a month. Considering I read this in two days, I don’t think that is beyond the possibility of belief.

Well done Tolkien, you have impressed. 5 stars, obviously.

[thereadingchallengechallenge]

Review: The September House by Carissa Orlando Rating: 5/5

This is the kind of horror book I love - the kind I've tried to write for myself. A beautiful haunted house, an array of fantastic ghosts, and a protagonist with a weary demeanour who becomes oddly comfortable with the strange things happening around them.

There's a grim whimsy to The September House that feels sort of cozy in a discomfiting sort of way that I couldn't get enough of and I just loved how Orlando managed to build and keep the tension for such a long, and incredibly satisfying, denouement.

I never quite knew where this book was going, even though I knew hints were being dropped for me to pick up and puzzle over. I delighted in it all coming together, and had to remind myself to be sad, before I actually felt sad. So many wonderful, unusual emotions came out of me while I read this book. 

I would recommend this to anyone who loves a good haunting story and I will 110% be keeping an eye out for whatever Carissa Orlando writes next!  

[adamwatchesmovies]

The Lord of the Rings: The Two Towers (2002)

The Lord of the Rings: The Two Towers is the definition of “epic”. The climax is on a scale so massive it’s legendary. You see it and cannot imagine how the series could top itself in the final chapter. It also contains great, quieter character moments, just enough comedy to give you the emotional breaks you need before the action kicks up again and some romance too. The special effects were spectacular for the time and hold up today. Yes, the extended edition is long - you basically have to dedicate an entire evening to it – but it never feels long. As soon as it's over, you'll debate whether you have time to sit down and watch the next chapter.

As Frodo Baggins (Elijah Wood) and Samwise Gamgee (Sean Astin) make their way toward Mordor to destroy the Ring of Power, they discover that its previous owner, the creature called Gollum (Andy Serkis) is following them. Though treacherous, Gollum may be the key to fulfilling their quest. Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) arrive in the kingdom of Rohan to find its King, Théoden (Bernard Hill), corrupted by the wizard Saruman (Christopher Lee). In the forest near Saruman’s tower, Merry (Dominic Monaghan) and Pippin (Billy Boyd) try to convince Treebeard (voiced by Rhys-Davies) to join the fight against him and his army of Uruk-Hai.

Before we dig in, let me clarify that we’re talking about the Extended Edition of the film, which is 45 minutes longer than the already lengthy 179-minute theatrical version. Yes, that’s a lot of time spent in Middle-Earth. No, it doesn’t feel like too much. The pacing is the key. We begin with one story, see how dire the situation is, get to a turning point and are then whisked away to the next plot, where the cycle repeats itself. As the middle chapter in a trilogy, this film is not contained, but it feels complete. There are character arcs, clear stakes, and a beginning, middle and end within each of the three stories and for the picture as a whole. Even more than before, the action feels like it’s happening in a real place. You can see the history of the fortress of Helm’s Deep, of the people of Rohan, the realms in faraway lands that are choosing to either ally themselves with the great, never-blinking eye of Sauron, or against him and his forces. In the sets, costumes and weapons, you notice details that show how much love and dedication was poured into this project. When there is comedy, it’s not the kind that undercuts the action, it’s the kind that makes what comes next feel even more dramatic, exciting or tragic.

Director Peter Jackson has a knack for raising the stakes. You know it’s only a matter of time before Gollum betrays Sam and Frodo. You think that’s all the hobbits have to worry about but then they meet the late Boromir’s brother, Faramir (David Wenham). You figure the journey Legolas, Aragorn and Gimli will make to the fortress at Helm’s Deep will be perilous, but then we see what’s brewing in Saruman's lair. The journey there is the least of their problems. There’s a glimmer of hope in the form of Merry, Pippin and Treebeard but the more we learn about tree-like Ents, the less you have faith in them. Those are all part of the big picture but within the individual characters, we have engaging stories too. In the kingdom of the elves, Arwen (Liv Tyler) is told by her father, Elrond (Hugo Weaving), that the elves are abandoning Middle-Earth, and that she would be foolish to stay, particularly for love. Frodo and Sam are at odds when it comes to Gollum, with Frodo sympathizing with the creature and Sam believing they’d be better off without him. In Gollum himself, there is conflict, as the creature’s twisted mind cannot decide whether it should act as a loyal guide to the hobbits or kill them in their sleep.

Whether swords are drawn or sheathed, you’ll be gripped by the picture but what you’ll probably remember best about “The Two Towers” are the big, special-effects-heavy scenes. Most memorable is Gollum, a character created entirely by motion capture. It’s common nowadays, but this is a rare example of a pioneered technique that still holds up. As soon as Gollum enters the frame, you just think of him as a character, never as a trick of the camera. You might even forget there was a person, not a creature on set. Equally capable of knocking you off your feet is the big battle at the end of the film. This gigantic siege, set at night, in the rain, is so well-lit and well-directed that you’re never lost or disoriented. It feels like everything's been building up to this and in some ways it is, but in others, it hasn't. There's still more to come in The Return of the King.

Like its predecessor, The Lord of the Rings: The Two Towers is a significant achievement in filmmaking. The performances are excellent, the production on a scale we seldom see, the story and plot make you forget there’s a world outside of the movie itself. The only flaw in is that you can't sit down and watch this movie on its own, but it was never meant to be seen that way. (Extended Edition on Blu-ray, April 27, 2023)

[angelsportion]

Review - Tamnavulin, Double Oak, (No Age Stated), 40%

Like you, I have my favorite things. My Jeep Wrangler is one. Of course, whisky is another. I have a favorite spot on my living floor for napping. I have certain books I prefer above others. Sometimes, my favorite things change. For me, it’s rare, but only because I keep things pretty much for forever. Clothing is no exception. I have t-shirts in my closet that are more than thirty years old.…

[magicaltrash]

It's time for the 5th annual Magical Trash Year-in-Review, where we take a look at trash cans at the Disney theme parks and resorts worldwide. Yes, it's a weird idea, but you are going to keep reading, right? (View previous Year-in-Reviews) Some may note that it's been a somewhat rocky year for the Mouse, but trash can activity has been strong. As we've seen in previous years, this year's additions were primarily driven by attraction openings, including Mickey & Minnie's Runaway Railway at Disneyland, the opening of the World of Frozen in Hong Kong, and the arrival of the Zootopia in Shanghai. Unfortunately, we also saw the fastest introduction-to-removal can timeline with the closing of Star Wars: Galactic Starcruiser - which had opened just a year earlier at Walt Disney World. Over the past year, MagicalTrash.com celebrated the 1,000 trash can photo milestone (only took 14 years!), while adding over 100 new entries. This was complimented by 1,600+ posts across social media networks, including Instagram, Facebook, LinkedIn, Mastodon, Threads, and Bluesky. Posts were also added to Twitter/X, but frankly it's hard to continue supporting that platform due to its overall decline on many fronts (and I say that as someone who works in corporate social media professionally!). For 2023, Magical Trash tracked 16 substantial trash can design changes, a 14% increase vs. 2022's 14 tracked changes:

Added: 14

Historical Cans Added: 4

Updated: 0

Endangered: 0

Removed: 2

The US-based parks saw the most activity, with Disneyland Resort experiencing 6 changes, while Walt Disney World recorded 4 changes. Hong Kong Disneyland Resort and Disneyland Paris Resort both recorded 2 updates, and Shanghai Disney Resort saw 1 new addition. No notable changes were recorded for Tokyo Disney Resort or Disney Cruise Line.

Here's a detailed breakdown of updates:

ADDED New trash can designs that debuted in Disney theme parks over the past year

Mickey & Minnie’s Runaway Railway (El CapiTOON Theater) - NEW Disneyland, Mickey’s Toontown With a movie theater setting, iconography is anchored by a popcorn bucket image with large “EC” letters.  

Mickey & Minnie’s Runaway Railway (M.A.G.I.C.) - NEW Disneyland, Mickey’s Toontown Outside the attraction are cans associated with M.A.G.I.C. - short for the Municipal Agency of Garbage Identification and Collection. Now that's a group we want to join!  

World of Frozen (Arendelle Crest) - NEW - NEW Hong Kong Disneyland, World of Frozen The official crest of Arendelle features a crocus - a multi-color flowering bulb that typically blooms in the spring - and seen throughout the Frozen franchise.  

World of Frozen (Wandering Oaken’s Sliding Sleighs) - NEW Hong Kong Disneyland, World of Frozen Furthering the rugged forest theme of the family coaster, decorative Scandinavian folk art patterns are found throughout queue, with geometric shapes highlighted in red, green, and orange hues.  

Zootopia - NEW Shanghai Disneyland, Zootopia A surprising entry to Shanghai's bland trash can scene, green trash cans with zebra-like stripes on the lower portion combine with a city emblem.  

San Fransokyo Square - NEW Disney California Adventure, San Fransokyo Square The shoehorned Big Hero 6 retheme of DCA's Pacific Wharf gave us new cans that looked a lot like the old cans - but with bonus "SFS" branding. Ho hum.  

Journey of Water, Inspired by Moana - NEW Walt Disney World, Epcot, World Nature You can tell this is a modern Disney attraction because the name is an IP-laden paragraph. Lots of storytelling to explain "scenery."  

Parkside Market - NEW Disneyland Resort, Downtown Disney Probably one of the more visually-stunning additions in 2023, Mickey Mouse + mid-century design. Simple concept, well-executed.  

The Villas at Disneyland Hotel - NEW Disneyland Resort, The Villas at Disneyland Hotel New DVC borrows much of its design from Aulani. Not ugly, but also not magical. Were these picked out of a catalog?  

Pixar Place Hotel - NEW Disneyland Resort, Pixar Place Hotel The retime of Disneyland's Paradise Pier Hotel features trash cans very similar in design to those implemented at The Villas at Disneyland Hotel. Maybe they got a 2-for-1 deal?  

Disneyland Paris Reusable Tableware Cans - NEW Disneyland Paris, Adventureland France's Anti-Waste and Circular Economy Law is focused on phasing out improper disposal of waste. Food service at the French parks has implemented reusable table settings, which has impacted trash can design.  

"Fantasyland 2" Backstage - NEW Disneyland Paris, Fantasyland A backstage can makes an appearance onstage as a support trash can from the “Fantasyland 2” zone, parked where everyone can see.  

Pym Test Kitchen Food Waste - NEW Disney California Adventure, Avengers Campus After debuting combination food waste trash cans in Tomorrowland around 2021, Disneyland expanded the practice to the Avengers Campus at DCA.  

Jollywood Nights Temporary Media Can - NEW Disney's Hollywood Studios, Grand Avenue Throw a sticker on an existing trash can and it's something new! Temporarily rethemed can at Disney's Hollywood Studios during a media event for Jollywood Nights holiday entertainment.  

HISTORICAL CANS ADDED Retro trash can designs that were unearthed by new research this year, but are no longer in use

MK Main Street (1974) - HISTORICAL ADDITION Magic Kingdom, Main Street U.S.A. Early years of the Magic Kingdom featured very detailed trash cans on Main Street U.S.A, often in multiple colors. Quite a contrast from the undecorated brown cans used in the 2000s.  

Farmer's Market (Late-1980s/Early-1990s) - HISTORICAL ADDITION Epcot, Future World, The Land The famed umbrella tables at The Land found their shapes emulated via the trash cans, which were primarily brown with light tan arches represented on all sides.  

River Country (2010) - HISTORICAL ADDITION Walt Disney World, Fort Wilderness Resort & Campground 9 years after the water park closed, remnants of the ‘Ol’ Swimmin’ Hole’ could still be spotted at Fort Wilderness.  

Mulholland Madness (2007) - HISTORICAL ADDITION Disney's California Adventure, Paradise Pier Tacky theme was on-point for DCA 1.0. This green can with road sign decal found a home in Paradise Pier.  

UPDATED Existing trash can designs that have been modified or revised in the past year

None for 2023  

ENDANGERED Trash can designs that still exist, but will most likely disappear in the future

None for 2023  

REMOVED Trash can designs that have been eliminated from use at Disney theme parks

Star Wars: Galactic Starcruiser (Interior) - REMOVED Walt Disney World, Star Wars: Galactic Starcruiser The in-wall trash cans for the 100-cabin Corellian MPO-1400 model Galactic Starcruiser were in use for just 579 days.  

Star Wars: Galactic Starcruiser (Terminal) - REMOVED Walt Disney World, Star Wars: Galactic Starcruiser You won't be needing to dispose of your garbage before boarding the MPO-1400 Star Cruiser Halcyon, as these cans will probably have a longer life than the hotel ever had.  

One massive disappointment in 2023 was Walt Disney World's opening of TRON Lightcycle / Run in the Magic Kingdom's Tomorrowland. Generic silver cans, thus reinforcing WDW's continual cheapening out on themed trash can design. Paul Pressler called and even he thinks you can do better.

Here at Magical Trash we celebrated our 14-year anniversary covering the world of Disney trash cans, which included keeping up with various salt shaker merchandise releases that showcase the iconic can shape. 6 new designs were released during festivals: The Dude with the Food (DCA Food & Wine 2023), Amazingly Sweet (DCA Food & Wine 2023), Groovy Garden Orange Bird (Epcot Flower & Garden 2023), Stuck on Imagination Figment (Epcot Flower & Garden 2023), Chef Mickey (Epcot Food & Wine 2023), and Spaceship Earth (Epcot Food & Wine 2023).

If you happened to be at Tokyo Disneyland, you could have picked up a mini figure version of a Tomorrowland trash can or a TDS trash can toy. In the U.S. you could pick up a shirt or water bottle with a recycling can image proclaiming that you "Love Our Disney Parks" -- Disneyland or WDW-specific versions. There was plenty of trash can auction action as well.

Thanks to everyone who contributed photos, visited MagicalTrash.com, and interacted with this weird hobby over the past year. You've put a smile on my face as we all follow this goofy passion. As it's impossible to be omnipresent at 12 theme parks and numerous resorts around the world, let us know what we've missed! Thanks for an interesting year, CanFans! - Steve Tanner, your Magical Trash host

[All photos used by permission.]

[willstafford]

The Magic of Mozart

THE MAGIC FLUTE The REP, Birmingham, Thursday 5th September 2024 I’ve lost count of how many productions I’ve seen of this opera but every single one of them was a lavish spectacle.  Until this one from Wild Arts.  Director James Hurley strips things down so all we get is a circle centre stage, in and around which the action takes place.  An orchestra of ten musicians form an arc behind the…

[guy60660]

Hogarth Press | Public Domain Review

[moviewarfare]

A Review of “Gran Turismo (2023)”

Gran Turismo is the next PlayStation IP to be adapted to the big screen. Their first attempt with Uncharted wasn't good but The Last of Us TV series was great. I was already interested in the idea of this movie but was further interested because of the director, Neill Blomkamp. He has not made anything as good as his first movie, District 9. Has Neill managed to return to form or is this another forgettable entry from him?

Firstly, David Harbour is terrific in this movie as Jack Salter. He plays the old tough mentor to the main character and he plays it so well. David just delivers those powerful speeches with such weariness and charm. Orlando Bloom is also great in this film as the marketing executive at Nissan. Orlando gives a charismatic yet slight sliminess to his performance that is so fitting for a person in marketing. Djimon Hounsou is wonderful in the role of the Dad. He is playing a Dad who is disappointed in his son for just playing video games. A character like that would be very disliked by the audience but Djimon manages to make him very loving despite that. Djimon delivers the most emotional performance in this whole film despite his minimal screen time. Archie Madekwe plays the main character, Jann Mardenborough, and he does a good job. His performance is tame compared to the others and he is outshined. Still, his performance makes him feel more relatable which is a perfect fit for a gamer character.

It's a solid telling of an underdog story. It has all the tropes you would expect: an underdog given a 1 million chance to make it, a grouchy mentor who warms up to the main character, the early success, the big setback in the later parts etc. However, it tells the story well and with a lot of heart. The dramatic and emotional moments still hit hard. A big core of this movie is the father and son dynamic between Jack and Jann. Seeing the relationship between the characters grow and the moments where Jack pushes Jann are superb. This is thanks to the great chemistry between David and Archie. The race scenes are also magnificent thanks to the great direction of Neill. He uses video game overlays to help the audience keep track of what place Jann is in a race. He also cuts away to the engine or the front seat to put the audience in the seat of the car. The climactic race is incredibly engaging and Neill does a great job in delivering a great conclusion.

However, due to the fact it is telling a story you have seen a dozen over, nothing in the plot surprises you. There isn't any moment of subversion or surprises, which could be a bit disappointing. There are some problems in the story though. There is a love interest and romance element in this movie with a character called Audrey, whom Jann is in love with. The romance is not fleshed out at all with no exploration of Audrey's character. She doesn't even do anything in the story that is meaningful whatsoever. She is just there for the main character to kiss someone. I am also disappointed by the lack of Jann's dad in this movie. It feels like there should have been more interactions between Jann and his dad as it would have made the final scene between them have more impact. The movie is 2 hours long but even that feels too much for what is a generic story. The final race is very noticeable CGI and kind of ugly at times too.

Overall, Gran Turismo is a surprisingly solid film. The trailers and marketing didn't do a good job of selling this. It's not going to blow you away but it's very enjoyable. Neill's is a great director who has made too many misses. Hopefully, this is the beginning of his return.

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

[tolstayas]

in one of the babysitters club books, the girls babysit for this autistic kid who's nonverbal and really good at playing the piano. he can play any song after hearing it only once with perfect accuracy; if the record has skips in it, he'll play the skips too. this is supposed to demonstrate that he doesn't "really understand" the music he's playing or whatever.

anyway. this post is not about autism representation in the babysitters club. this post is about adaptations, especially film adaptations of "classic literature".

sometimes you see an adaptation and you can tell that it comes from a place of complete obsession, veneration, self-identification, projection, etc. with respect to the original work. and sometimes, if the adaptation-maker has the right kind of obsession, you'll catch them "playing the skips". you'll notice flaws in the adaptation that seem like glaring technical mistakes, or egregious philosophical failings. and maybe only then, you notice that those exact mistakes were also present in the original work, also undermining it all along. where the prose of the original is too purple, the visual language of the adaptation is scattered and overcomplicated, and so on.

i'm particularly obsessed with modernisations of historical works which seamlessly modernise the flaws of the original. the racism of the original would be jarring in a modern context, but the adaptation slips in completely modern racial anxieties in its place. the subtle self-involved pretentiousness of the original would stand out too starkly, but the adaptation manages to produce something which scans to modern viewers as still just on the fence between "clever" and "trying too hard to be clever".

i can't help it, i love this shit. not just because it highlights what literature is doing for people as a tool, but because it's so exposing. it's like walking in on the filmmaker sleeping with the author.

this post was inspired by orlando: my political biography, which i saw today, but also more importantly by bbc fucking sherlock

[headinbookishclouds]

The September House by Carissa Orlando

September House genuinely disturbed me. It’s an unsettling story that is ultimately about a woman determined to stay in her house regardless of what she has to endure. Even if the walls bleed red during September, even if there are ghosts that seem intent on terrifying her, even if there is a presence in the basement that reeks of evil. Margaret and her husband Hal have always been without roots so when the perfect opportunity comes by to seize the most perfect gothic house, the both of them are thrilled, until September arrives. Margaret understands how to work the house but Hal does not and cannot take the house any longer, leaving abruptly. Their daughter Katherine discovers he left, insists she come home and that is when things start to fall apart for Margaret.

Before that happens, we get an understanding of how Margaret learned to live with the eeriness and the hauntings. The almost blasé tone that Margaret further cemented how she had come to an understanding about her house. This in turn leads to a good understanding of her character. She lives by rules and understands them. This is in contrast to her husband Hal, who is missing. Hal wanted to leave and did but did so without any communication. That’s one of the big mysteries of the book. Hal is never present in the book but his character is demonstrated with flashbacks. He provides a good contrast to Margaret. Both of them are compelling characters and Margaret’s narration about the book was almost comical. Her lacklustre indifference to the shenanigans of the house made this book even better. If I were in that same situation, I would have left the first September.

Of course, there are always exceptions to rules and the basement is the exception to Margaret’s rule. It is always boarded up for a good reason. The basement and its terror is the reason I got creeped out immensely. The other ghostly characters were also an interesting addition as well.

I need to talk about the ending as well! I have read a lot of horror/psychological thriller books and usually they always tend to end the same way. It looked like the author was heading down that route and I was so disappointed but she turned it around super quick.

Overall, the book is a great read!

See my review on GR!

[localchewsings]

Magic Pearls

A small boba shop at the Florida Mall in Orlando, FL l that sells a wide variety and combinations of teas and mix-ins along with boba themed novelty. While the shop is clean, all of the additional products make it feel cluttered. The staff is happy to make recommendations or offer advice if you choose a combination that could be challenging.

Here’s where to find them if you’re even in town: Magic Pearls

I’m always traveling, want to recommend a place?🌎✈️ Reach out here: localchewings@outlook.com

Like what you see? Consider supporting me here☕: Ko-Fi

[multiverseofseries]

Gran Turismo - La storia di un sogno impossibile: Neill Blomkamp ci porta in pista

Gran Turismo - La storia di un sogno impossibile, il film di Neill Blomkamp con Orlando Bloom, David Harbour e Djimon Hounsou che racconta la storia vera di Jann Mardenborough, diventato pilota professionista partendo dagli esport.

Ricordiamo tutti bene o male l'arrivo del primo Gran Turismo su Playstation nel 1997, in particolare la sensazione di trovarsi davanti a qualcosa di molto diverso da tanti altri giochi di guida di quel periodo, per la sua natura di simulazione e per l'attenzione maniacale alle auto presenti nel titolo Polyphony. Ripensando a quel periodo che mi approccio a scrivere di Gran Turismo - La storia di un sogno impossibile, che porta su grande schermo un aspetto specifico del mondo del franchise videoludico, quello che lo lega alla realtà delle corse automobilistiche a cui si ispira: la GT Academy e il programma promosso da Nissan per strappare i migliori piloti della simulazione di guida dalla comodità delle proprie stanze e portarli in pista, dalle auto virtuali a quelle reali.

Dalla stanza alla strada: una trama ispirata alla realtà

Gran Turismo: La storia di un sogno impossibile - una foto del film

Gran Turismo - La storia di un sogno impossibile racconta la vicenda reale e l'avventura di Jann Mardenborough, uno di quelli che quel sogno impossibile, a cui fa riferimento il titolo italiano, l'ha concretizzato, diventando un vero pilota automobilistico senza seguire la trafila classica dei suoi colleghi, senza passare per i kart e le altre tappe canoniche di chi ambisce a guidare auto da corsa, ma partendo dalle ore e ore passate sulle piste riprodotte nel gioco e a calibrare l'assetto delle vetture. Una storia vera che gli autori raccontano passando per le tappe canoniche di questo tipo di film, veicolandola in un racconto efficace e coinvolgente che passa per successi e fallimenti, fatica, sacrificio e inevitabili drammi.

La forza di Jann

Gran Turismo: La storia di un sogno impossibile - David Harbour, Archie Madekwe in una scena

Emergono la forza di volontà e la dedizione con cui Jann Mardenborough ha affrontato questo difficile salto dalle auto virtuali a quelle reali, anche grazie alla misura e spontaneità con cui Archie Madekwe lo porta su schermo: funziona il giovane attore, così come David Harbour che interpreta il suo allenatore Jack Salter, ex pilota ritirato che accetta di condurre la GT Academy voluta da Nissan, al netto di uno script che non fa dell'attenzione ai dialoghi e la definizione dei personaggi il suo punto di forza. Qualche perplessità in più la trasmette Orlando Bloom, sopra le righe ed enfatico nel costruire il suo Danny Moore, l'uomo di marketing che ha messo in piedi il progetto dell'accademia per piloti di Gran Turismo.

L'estetica del gioco, la fisicità delle corse

Alla guida del progetto troviamo Neill Blomkamp, autore di film di culto come District 9, che qui si mette al servizio della storia senza eccedere in guizzi personali. Lo fa dando comunque un valore aggiunto a Gran Turismo, perché riesce a mantenere e trasmettere il difficile equilibrio tra le gare su schermo e quelle su pista: ammicca ai giochi, costruisce sequenze in cui l'auto è al centro e richiama l'inquadrature dei racing game a cui siamo abituati, aggiunge in sovrimpressione traiettorie e marcatori dei piloti e delle posizioni in gara, ma allo stesso tempo dedica attenzione a dettagli fisici e reali, che evitano la sensazione di freddezza e distacco.

Gran Turismo: La storia di un sogno impossibile - una scena

Come fatto dalla GT Academy con i giovani aspiranti piloti, Blomkamp viene a prenderci nella sicurezza delle nostre consuetudini da videogiocatori e ci catapulta in pista. Foglie e ghiaia, la solidità dei cordoli, la fatica e il sudore dei piloti: tanti dettagli che comunicano le diverse sensazioni che i giovani alla guida, e noi spettatori con loro, si trovano a dover affrontare in questo salto dal gioco alla realtà. Dettagli che richiamano le origini di questa storia e le radici videoludiche, ma immergono nell'azione.

Dinamismo ed emozione (da manuale)

Gran Turismo: La storia di un sogno impossibile - David Harbour in una scena del film

Scorre con agilità il Gran Turismo di Blomkamp, seguendo i canoni classici di questo genere di film e una costruzione da manuale che richiama i grandi classici sportivi, da Karate Kid a Rocky. Lo fa con sicurezza e piglio tale da catturare l'attenzione con una gestione dei tempi che non cede mai alla noia, che imbriglia e coinvolge, pur nella sua inevitabile natura di spot per il gioco, l'Academy e la Nissan: ci si ritrova a partecipare emotivamente alle gesta di Jann, ai primi fallimenti così come ai successi, volando da una gara all'altra con una semplicità di racconto che a molto cinema d'intrattenimento di oggi sta mancando. Ne pagano lo scotto una certa superficialità nei dialoghi e nella costruzione dei personaggi, soprattutto quelli secondari, ma quel che conta in un film del genere è l'epopea sportiva, la preparazione e la gara, e questi aspetti sono riprodotti con cura e senso della messa in scena da Neill Blomkamp.

Conclusioni

In conclusione in Gran Turismo - La storia di un sogno impossibile Neill Blomkamp ha confezionato un film dinamico, che intrattiene nel raccontare le gesta del giovane Jann Mardenborough nel suo passaggio dalle simulazioni di corsa alla guida in pista. Gran Turismo è un film dall'impianto narrativo semplice, dal gran ritmo, che pecca nell'approfondimento dei personaggi e nella scrittura dei dialoghi, ma cattura l'attenzione e coinvolge. Merito anche di Archie Madekwe, che interpreta il protagonista e di David Harbour che dà vita al suo allenatore alla GT Academy.

👍🏻

Il dinamismo e il piglio con cui sono dirette le sequenze delle gare.

Il ritmo generale del film, che cattura e non scivola mai nella noia.

La fisicità trasmessa da alcuni dettagli, che rende il tutto concreto ed equilibra gli ammiccamenti al mondo del videogioco.

Le prove dei protagonisti, in particolare Archie Madekwe e David Harbour…

👎🏻

… nonostante uno script che non approfondisce i personaggi e un Orlando Bloom sopra le righe.

Per sua natura il film è un grande spot al gioco, all'Academy e alla Nissan.

[adamwatchesmovies]

The Tearsmith (2024)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

The more time passes, the more I realize I was too harsh on the Twilight series - particularly the first film. The Tearsmith is the latest version of the good girl, dangerous boy doomed romance YA novel adaptation genre. The leads have great chemistry, which means it will definitely appeal to its target audience. Older viewers will roll their eyes at the melodrama, meaning they might enjoy it too - if they like chuckling at bad films.

Orphaned when her parents die in a car crash, eight-year-old Nica is sent to the oppressive Sunnycreek Orphanage, overseen by the cruel Margaret Stoker (Sabrina Paravicini). Nicknamed “The Grave”, the orphanage is a dreadful place where children are physically and emotionally abused when they misbehave. Years later, a teenage Nica is adopted by Anna and Norman Milligan (Roberta Rovelli and Orlando Cinque). As she’s about to leave with her new parents, the brooding and acidic Rigel (Simone Baldasseroni) catches the Milligans’ attention. They decide to adopt him as well. Despite her best efforts, Nica has always been attracted to Rigel. Now, she’ll be free to act upon her feelings - for better or worse.

You're wondering what this film has in common with the 2008 high schooler-vampire romance. That's because you haven't seen Simon Baldasseroni's Rigel. With his chiseled abs, dark hair, pale complexion and push-me-pull-me attitude towards Nica, he’s almost a carbon copy of Edward Cullen. There’s even a scene where he saves her from walking into oncoming traffic. Every time he and Nica interact, their conversation is capped by a disgruntled remark about how she should stay away. If only she could. In her defense, his efforts to distance himself seem halfhearted. He gets obsessively and dangerously jealous of the classmate who asks her out, Lionel (Alessandro Bedetti). But Rigel and Nica could never be an item because "she deserves a fairytale ending and he’s a wolf" (Werewolf? I wish). Everyone knows wolves are the villains in all fairytales, so you should stay away from them (despite what Nica’s mother said before she passed). In summary, he’s too broken and dangerous to be loved! Oh, and they're "brother & sister".

You can tell The Tearsmith is based on a novel from the subplots and secondary characters. There’s Asia (Juju Di Domenico), the girl who dated the Milligan’s now-dead son and still mourns him, Nica's one friend from the orphanage, Adeline (Eco Andriolo), and her new best friends at school: Billie (Nicky Passarella) and Miki (Sveva Romana Candelletta). You could've cut them all out without affecting the main plot. Once you understand that, everything becomes a cliché. Every year, someone anonymously sends Billie flowers and a love letter. You should be able to deduce the identity of the secret admirer without problem. Remember that the book was written in 2021 and that all the subplots are essentially self-contained and ultimately, superfluous.

In a way, the villainous Margaret Stoker is also unnecessary because there’s so much going on in this movie. Nica survived a traumatic car crash and spent years in an orphanage. She didn’t also need to be messed up by a Jonathan Crane-like headmistress. Her possible romance with Rigel would’ve already been taboo/strained because they’re adoptive siblings. We didn’t need an enemy making things more difficult for them. Gloomy Rigel is already doing plenty on his own.

The Tearsmith (a title that's explained at the beginning but doesn’t quite make sense to me) often generates awkward laughs. More than once, the plot moves at break-neck speed, making you wonder if these people’s emotions are always taking them for a roller-coaster ride, or if we’re just skipping through weeks - if not months - worth of events. Criminal acts, including attempted murder, are never reported to the police. Then, there’s the not-really, but sorta incestuous romance between Rigel and Nica, which will have you screaming “Nooooo!” Over and over.

All that said, I can understand why this film has proven so popular on Netflix. Simone Baldasseroni and Caterina Ferioli have terrific chemistry. There are many scenes where you wonder if this is going to be their first kiss, or if Rigel’s dark side is going to pop up again, which makes the film exciting. The two are not related, which makes the scenario sort of appealing for teens who won't realize how demented a romance this is. One thing’s for sure, you love to hate the villains (yes, there's more than one). Does that mean I recommend it for teenagers? Not quite. There are too many romantic double standards and the backward attitude about how you should comfort someone who's been attacked kills a lot of its romance - but it’s close. I will also note that the film is rated R for nudity (don’t worry, everyone at the time it takes place is eighteen years old), so, you know, there’s that.

The Tearsmith is entertaining - sometimes the way it intends to be. Generally, however, it’s a bizarre mashup of Dickensian orphanage drama and Stephenie Meyer-brand romance. My least favorite thing about the film is that unlike 50 Shades of Grey, 365 Days, After and so many other Twilight clones, The Tearsmith does not end in a to-be-continued. Instead, it abruptly tells us the fate of the most important characters and ignores everyone else. At least you can’t accuse it of overstaying its welcome. (Original Italian with English subtitles, April 24, 2023)

[boonesfarmsangria]

(Credits: Far Out / Kate Friend)

Orlando Weeks – ‘Loja’ album review: an artist stepping into the sunshine

THE SKINNY: For me, and likely many others my age, it’s very difficult not to see a bracket after reading Orlando Weeks‘ name that says “former Maccabees singer”. Weeks’ work with the indie darlings is impossibly connected to his life. Since then he has offered a string of superb, variated solo albums. However, with Loja, the songwriter must surely be seen most clearly in his own right.

During my teens, I had the pleasure of following The Maccabees for tens of gigs during their earliest moments. Trying to find the location of the venue that ended up looking like a disused school gym, travelling up and down motorways to see them support The Futureheads and travelling to the arse-end of middle England to scoot between their sets and that of Hot Club De Paris (ask your parents). However, even I can now happily attest that Orlando Weeks is far more than just the singer of that important band.

Loja is the sum of Weeks’ long and winding road. It captures not only the brilliance of The Gritterman, A Quickening and Hop Up, which each took massive strides forward for him as an artist, but also the journey Weeks has experienced as a man. No longer the shiny-faced young adult with a collar so tightened to the top one feared his head might pop off, Weeks is now creating records that act as maps to the landscape of his adult life.

Effortlessly blending electronic modernism with the rich organic crema that one can only find in the cafes of Lisbon, Weeks is clearly evolving beyond anything his audience may have imagined. There’s a dexterity to Loja that hasn’t been seen before, as he not only provides a sense of welcoming warmth but doesn’t ignore the chill of the shadows it can cast.

Similarly, it’s difficult not to see Loja – an ode to the new artist studio he resides in – as Week’s striding out of the shadow of his former work and enveloping himself in the blissful sunshine of a new chapter. It is a record that feels liberated enough to do what it pleases.

For fans of: The Maccabees, still, probably.

A concluding comment from my wife: “Why do you look so proud?”

Orlando Weeks – Loja track by track

‘Longing’: Opening with his enigmatic vocal is a smart way for Orlando Weeks to confirm his evolution away from “former Maccabees singer” into his own artistic presence. the fact that ‘Longing’ continues to sonically raise the listener’s spirit is a happy coincidence. [3.5/5]

‘Best Night’: There are two paths for an album to take. They can either undulate between genre and rhythm, delivering something that never stays still, or they can flow from river to sea with a simple grace. Weeks has brought out the latter, and ‘Best Night’ sees us floating down toward the ocean. [4/5]

‘Wake Up’: Weeks’ captivating lyrics and always cherishable vocals continue to provide solace in an otherwise lonesome soundscape on ‘Wake Up’. Ethereal as the morning dew dripping off a strange window before kicking into a chainsaw riff that provides a welcome dose of grit. [4/5]

‘Dig’: While the record is certainly blessed with a light touch and Weeks’ noted artistry, there is also a pulsing rhythm to the LP that many will overlook. ‘Dig’, complimented by Wet Leg’s Rhian Teasdale, is one of the album’s best visions of this, built out of the breathy tension of the two singers biting at one another. [4.5/5]

‘You & The Packhorse Blues’: It may feel easy to pick out this track as one of the lighter moments of the LP, but there’s a certain venom to the song that belies this idea. But the flow continues to take us through a new dusty landscape and towards the sea. [4/5]

‘Good To See You’: This is the first time Weeks moves away from the more organic sound that permeates the record and welcomes the electro wobble that has filtered into most of his post-Maccabees work. However, this time, it feels more easily placed than ever. A sense of warmth and welcoming overcomes the potentially cold introduction to produce smiles and swaying hips. [4.5/5]

‘My Love Is (Daylight Saving)’: Meanwhile, as electronic glitches become more prominent, balanced with a crunchy guitar, Weeks produces a slow-build beauty that has all the chops to completely captivate you. [4/5]

‘Please Hold’: As the river flows, there is always the chance of the odd rock and rapid capsizing you. ‘Please Hold’ is certainly the most heartbreaking track on the LP, as Weeks pleads to hold on: “It’s winter now, but the spring is coming,” he belts with a purpose. [4.5/5]

‘Sorry’: Weeks’ ability to blend electronic and organic sounds together has been a mainstay of his previous work, and ‘Sorry’ is so effortless it’s difficult to call the drum machine he uses anything other than an extension of his creativity. The duality allows every song to be both rich in pathos and gilded with a sense of hope. [4.5/5]

‘Tomorrow’: Almost home. The speed increases, and Weeks’ delivery takes heed, pushing the tempo and allowing the almost-choral breaks to be punctuated with a sense of purpose. It’s hard not to feel enlivened by such a moving track, add headphones to that concoction and you have something potentially life-changing. [5/5]

‘Beautiful Place’: The sweet embrace of the ocean. At the end of the 11-track journey, Weeks sees us out with something unstoppably tender and enveloping, pushing his prominent vocal to the fore and concluding a record worthy of his heavenly tone. [4/5]

[loveu4alongtime]

oh I just love her so much