At the Movies: Red Riding Hood
Posted: August 12, 2022 Filed under: Movie Review, Movies | Tags: At the Movies, Fairy Tales, Kaye Lynne Booth, Movie Review, Movies, Red Riding Hood, Werewolf, Writing to be Read 2 Comments
I’ve been reading a lot of modern fairy tales lately, what with being on the Gilded Glass editorial team with a slush pile of over 600 submissions, and the two WordCrafter Press by invitation only anthologies to come out later this year which are fairy tale themed and are comprised of many of the stories that didn’t make GG, which I couldn’t quite let go of, Once Upon an Ever After and Refracted Reflections. So many modern fairy tales are simply retellings of age-old stories without adding anything new. So, when I saw the opportunity to watch a film rendition of Red Riding Hood (2011), I admit that I was a bit skeptical.
But this was no simple retelling of the classic fairy tale. This was more of a horror story, complete with a big bad werewolf, whose secret human identity allows him or her to hide among the residents of the medieval village and carry on daily activities undetected, killing innocent villagers by guise of night. It could be anyone. Anyone could be its next victim.
Mix in a young woman, Valerie (Amanda Seyfried), forced into a pre-arranged marriage with Henry (Max Irons), and the woodsman whom she truly loves, Peter (Shiloh Fernandez), for a classic love triangle. When a werewolf hunting priest with a personal vendetta shows up on the scene, suspicion is thrown in all directions and no one is safe from accusations. It could be Valerie’s creepy old grandmother (Julie Christie) who lives alone in the woods. It could be the village priest (Lukas Haas). It could be either of the two men vying for Valerie’s heart; each suspicious of the other; both determined to protect her when the werewolf claims her as his own.
Red Riding Hood was well executed, with just the right amount of fairy tale feel to it, and for me, it was a surprise when the werewolf was finally revealed. (No spoilers here.) It kept me engaged throughout. If you like fairy tales with a twist, I recommend that you see this movie.
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Kaye Lynne Booth lives, works, and plays in the mountains of Colorado. With a dual emphasis M.F.A. in Creative Writing and a M.A. in Publishing, writing is more than a passion. It’s a way of life. She’s a multi-genre author, who finds inspiration from the nature around her, and her love of the old west, and other odd and quirky things which might surprise you.
She has short stories featured in the following anthologies: The Collapsar Directive (“If You’re Happy and You Know It”); Relationship Add Vice (“The Devil Made Her Do It”); Nightmareland (“The Haunting in Carol’s Woods”); Whispers of the Past (“The Woman in the Water”); Spirits of the West (“Don’t Eat the Pickled Eggs”); and Where Spirits Linger (“The People Upstairs”). Her paranormal mystery novella, Hidden Secrets, and her short story collection, Last Call, are both available in both digital and print editions at most of your favorite book distributors.
When not writing, she keeps up her author’s blog, Writing to be Read, where she posts reflections on her own writing, author interviews and book reviews, along with writing tips and inspirational posts from fellow writers. In addition to creating her own very small publishing house in WordCrafter Press, she offers quality author services, such as editing, social media & book promotion, and online writing courses through WordCrafter Quality Writing & Author Services. As well as serving as judge for the Western Writers of America and sitting on the editorial team for Western State Colorado University and WordFire Press for the Gilded Glass anthology and editing Weird Tales: The Best of the Early Years 1926-27, under Kevin J. Anderson & Jonathan Maberry.
In her spare time, she is bird watching, or gardening, or just soaking up some of that Colorado sunshine.
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Join Kaye Lynne Booth & WordCrafter Press Readers’ Group for WordCrafter Press book & event news, including the awesome releases of author Kaye Lynne Booth. Get a free digital copy of her short story collection, Last Call and Other Short Fiction, as a sampling of her works just for joining.
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At the Movies: Lost City
Posted: July 1, 2022 Filed under: Action/Adventure, At the Movies, Humor, Movie Review, Movies | Tags: Action/Adventure, At the Movies, Brad Pitt, Channing Tatum, Kaye Lynne Booth, Lost City, Romantic Comedy, Sandra Bullock, Writing to be Read Leave a commentAfter watching Lost City, starring Sandra Bullock and Channing Tatum, and featuring a cameo appearance by Brad Pitt, all I can say is that it was okay once you get over the fact that the plot was very familiar, imitating the plot from the 1984 movie with Kathleen Turner, Michael Douglass and Dany DeVito, Romancing the Stone. A romance adventure writer gets caught up in a real search for lost treasures and goes on an adventure, which could be the plot for one of her stories.
Sandra needs to come down off the Botox wagon before she is unrecognizable, like so many Hollywood has-beens. This actress whom I used to love to watch, now looks like a puffed up chipmunk, who refuses to age gracefully. Bullock is about to join the ranks of Botox-faces like Joan Rivers, Reba McIntyre, and Sally Fields, and as far as I’m concerned, that is not a good thing.
This movie isn’t bad, but Bullock is no Kathleen Turner; Channing Tatum is no Michael Douglass; and while Brad Pitt is easier on the eyes than Danny DeVito, he’s not in the movie long enough to even be called a comic sidekick. The same, but different is what this movie is, but with maybe too much the same and different that isn’t that great. The humorous scenes weren’t that funny, the exciting scenes just weren’t that exciting and I had a hard time buying in. Face it. A drive through the jungle with feet sticking out of the car, tied to the chair leg, in true life would have resulted in a possible broken ankle or other injury. Couldn’t they have come up with something just a bit more original, and humorous than traipsing through the jungle in an evening gown? It’s been done a thousand times. Really.
Lost City was fun to watch, if slightly unbelievable, and once I set aside the fact that I seen another, better version of this story years ago, it was quite entertaining.
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Kaye Lynne Booth lives, works, and plays in the mountains of Colorado. With a dual emphasis M.F.A. in Creative Writing and a M.A. in Publishing, writing is more than a passion. It’s a way of life. She’s a multi-genre author, who finds inspiration from the nature around her, and her love of the old west, and other odd and quirky things which might surprise you.
She has short stories featured in the following anthologies: The Collapsar Directive (“If You’re Happy and You Know It”); Relationship Add Vice (“The Devil Made Her Do It”); Nightmareland (“The Haunting in Carol’s Woods”); Whispers of the Past (“The Woman in the Water”); Spirits of the West (“Don’t Eat the Pickled Eggs”); and Where Spirits Linger (“The People Upstairs”). Her paranormal mystery novella, Hidden Secrets, and her short story collection, Last Call and Other Short Fiction, are both available in both digital and print editions at most of your favorite book distributors.
When not writing, she keeps up her author’s blog, Writing to be Read, where she posts reflections on her own writing, author interviews and book reviews, along with writing tips and inspirational posts from fellow writers. In addition to creating her own very small publishing house in WordCrafter Press, she offers quality author services, such as editing, social media & book promotion, and online writing courses through WordCrafter Quality Writing & Author Services. As well as serving as judge for the Western Writers of America and sitting on the editorial team for Western State Colorado University and WordFire Press for the Gilded Glass anthology and editing Weird Tales: The Best of the Early Years 1926-27, under Kevin J. Anderson & Jonathan Maberry.
In her spare time, she is bird watching, or gardening, or just soaking up some of that Colorado sunshine.
____________________________________________________________________
Join Kaye Lynne Booth & WordCrafter Press Readers’ Group for WordCrafter Press book & event news, including the awesome releases of author Kaye Lynne Booth. Get a free digital copy of her short story collection, Last Call and Other Short Fiction, as a sampling of her works just for joining.
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Jeff’s Movie Reviews – Coming 2 America
Posted: March 12, 2021 Filed under: Commentary, Film Review, Jeff's Movie Reviews, Movie Review, Movies, Opinion | Tags: Comedy, Coming2America, Eddy Murphy, Jeff's Movie Reviews, Writing to be Read 2 Comments
The Once and Future King?
by Jeff Bowles
So let’s say you’re a movie star who’s been part of the popular imagination for forty years. You’re given the opportunity to reprise a role that helped establish your legacy, and let’s be honest, the big parts aren’t exactly pouring in these days. Should you A). Disregard said opportunity, knowing full well it’s very difficult to capture lightning in a bottle, or B). Throw caution to the wind and have a great time making a follow-up to a movie successive generations know and love?
Eddie Murphy appears to have found himself in just such a situation, because when it came time to make a sequel to Coming to America, he didn’t hesitate. Without a doubt, he and the filmmakers would’ve preferred to debut this new movie in theaters, but that’s not an option during a global pandemic. Coming to America 2 (or is that Coming 2 America?) is available exclusively on the Amazon Prime Video streaming service. The original is widely considered one of the best comedies of the ‘80s. It’s sharp, aggressive, honest, romantic, and best of all, silly in all the right ways. A lot of time has passed since its release, yet it still holds up remarkably well. So why not give it a sequel? Why not take all these fan-favorite characters for another spin around the block?
Here’s why. Nostalgia is only as good as the material propping it up. If a film is going to devote most of its comedic resources to nailing the exact same jokes and situations as its predecessor, it’s got to work twice as hard to prove itself worthy of our time. Unfortunately, Coming 2 America proves nothing except the obvious: you can never go home again. Look, you walk into the barbershop and all the characters are played by Eddie Murphy and Arsenio Hall. Same joke as last time. Still funny, but not as funny as it used to be. Or maybe you go out to listen to a band with a terrible lead singer (also played by Eddie Murphy) and their ridiculous name, Sexual Chocolate, makes you smile. Same joke as last time. Still funny, but…
This pattern appears consistently throughout Coming 2 America’s runtime. Even the basic premise amounts to a variation on a well-established theme. This time around Prince Akeem (or rather, King Akeem) must travel to the US in order to meet his illegitimate son. Hijinks ensue, but um, why does it feel so exhausting? It’s like going to see your favorite band and hearing nothing but cover songs. Wesley Snipes, for instance, plays a pretty clear-eyed comedic version of a murderous warlord turned politician, but his presence does nothing to disrupt the flow of same-old, same-old. No sequel has ever ruined a great predecessor. People may say so, but rarely does the supposition hold water. This sequel, in fact, only makes you want to watch the original more. ‘Cause it was killer fun. You know, yay for that original!
A couple other potential pitfalls for audiences looking to recapture thirty-three-year-old magic: there’s no swearing. I mean none. No nudity either. Is that a problem in general? Nope, but the first movie had some serious edge to it, and this thing does not. In essence, it feels like a sequel to a totally different film. There’s also a serious lack of material shot on location. For a film that takes place in Africa and New York City, movie sets are uncommonly common. Incidentally, just a few days after its release, Coming 2 America quickly became the most streamed movie on any platform during the COVID-19 era. Go ahead and look it up, Amazon has a hit on their hands.
Realistically, though, they should’ve had to work just a bit harder to earn it. Watch this movie and see how quickly you forget about it. For my wife and me, the shelf life was two days, two whole days, and then it vanished like an errant spray of Soul Glo hair product in the wind.
Oh no, a callback to the original movie. See? They’ve even got me doing it now!
None of this is to suggest Coming 2 America is little more than a jaded corporate cash grab. Sincerely, the movie appears to have been made with the best of artistic intentions. Word on the street is Eddie Murphy now wants to make another entry in his Beverly Hills Cop franchise. Everything old is new again. Or is it the other way around? Let’s try Casablanca 2, or maybe Citizen Kane: Rosebud’s Revenge. Apocalypse Now, Now. Star Wars Episode … nope, never mind. They did that one already.
Jeff’s Movie Reviews gives Coming 2 America a Six out of Ten.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
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Jeff’s Movie Reviews – The Disney+ WandaVision Premiere
Posted: January 29, 2021 Filed under: Comic books, Comic Hero, Jeff's Movie Reviews, Movie Review, Movies, Super Hero, Super Villains, Visual Media | Tags: Comic book movies, Jeff's Movie Reviews, Marvel, Movie Review, WandaVision, Writing to be Read Leave a comment
Marvel Meets Dick Van Dyke
by Jeff Bowles
On January 15th, the video streaming service Disney+ premiered the first of its Marvel Studios television series, WandaVision. The show is tied into the larger Marvel Cinematic Universe, which for better or worse means it’s a more meaningful viewing experience if you’re familiar with a few of the newer Marvel movies, most notably Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame. By no means are the two premier episodes entirely dependent on those other films, because really, WandaVision is a Marvel production of a different color (or is that Technicolor?).
WandaVision is high-concept for a comic book adaptation. It’s a hybrid classic sitcom and superhero movie, though the first two episodes depend much more heavily on the sitcom tropes than on muscles and powers. It pays expert homage to old fifties and sixties shows like The Dick Van Dyke Show and I Dream of Jeannie, and it does so in a fairly clear-eyed fashion. Disney+ and Marvel Studios were wise to premier the first two episodes together, because at first blush, the series doesn’t seem to have much more going for it than being a classic American television pastiche.
It’s pretty clear by the end of episode two, however, that there’s something interesting and probably sinister happening underneath an otherwise slick and squeaky-clean black and white veneer. When last we saw Avengers Wanda Maximoff and The Vision, they were embroiled in the whole Infinity Saga thing. The mad Titan Thanos killed Vision to take the elemental stone locked inside his cranial matrix, and a bit later on (after some significant time travel shenanigans) Wanda helped the rest of the Marvel heroes take Thanos down for good. So what are the two of them doing here, living in I Love Lucy land? The show offers a few tantalizing hints, but so far, nothing super concrete.
As with most of the stuff Marvel commits to the screen, WandaVision is based on a couple different comic book source stories. I won’t and can’t spoil it for you, because the cinematic universe always diverges from the comics, and for good reason. But it will be intriguing to see how the series evolves from here. Lots of fun to be had with the concept, and I hope the show takes full advantage of every fun detail it’s set up so far.
The tone of WandaVision is pretty spot on, with a few notable exceptions. Sometimes jokes land in an authentic and genuine manner, and at other times they feel more synthetic than The Vision himself. For instance, in one sequence Vision accidently eats a piece of chewing gum, and it makes him act comically inebriated. For some reason. Again, sitcom logic. Paul Bettany, who plays the android Avenger, must enjoy the opportunity to put a new spin on this guy, because he really gives it everything he’s got. Marvel is taking a risk with this show, and that’s much appreciated. Other comic book movie franchises have gotten stale, but the MCU is proving once again it’s never willing to rest on its creative laurels. Superficially so, at least.
Ultimately, Bettany and co-star Elizabeth Olsen are really charming and comfortable together. Vision and Wanda Maximoff have a long and storied Marvel romance, so it’s fun watching this whole interesting take on superhero storytelling unfold. Some fans may find it slow and laborious. I mean, no big action scenes or sweeping and typically overly dramatic character moments? Really?
But this is good television if you ask me, Americana masquerading as Americana. Truth be told, it’s got more creative potential in its little finger than most comic movies released in the last quarter century had tucked away inside their entire utility belts. The shared universe model is both fundamentally flawed and incredibly successful because it discourages outsiders and incentives people willing to dig in and enjoy a much larger overarching narrative. It won’t be for everyone, but that’s how it’s always been with comics and comic book fans. The good news with WandaVision is that it’s likely to ensnare you if you let it, regardless of whether you can tell Iron Man from War Machine, Winter Soldier from The Falcon, Hulk from She-Hulk.
By the way, She-Hulk, Falcon and Winter Soldier, Loki, Ms. Marvel, and a whole host of other Marvel heroes are getting Disney+ shows in the months and years ahead. Brave new world, if you’re looking forward to it. Eventually you’ll need a Master’s degree to understand the whole complex storyline. Lucky for you, I proudly hold that exact degree.
Jeff’s Movie Reviews gives the premier of WandaVision an Eight out of Ten.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
Want to be sure not to miss any of Jeff’s Movie Reviews? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress
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Jeff’s Movie Reviews – Wonder Woman 1984
Posted: January 8, 2021 Filed under: Action/Adventure, Comic books, Comic Hero, Jeff's Movie Reviews, Movie Review, Movies, Review, Super Hero, Super Villains | Tags: Comic Book Heros, DC Comics, Jeff Bowles, Jeff's Movie Reviews, Wonder Woman, Wonder Woman 1984, Writing to be Read 2 CommentsA Little Less Wonderful
by Jeff Bowles
When the first Wonder Woman film hit theaters three years ago, it was met with substantial fanfare. The Greek goddess superheroine is more than just a cultural phenomenon, she’s a feminist icon, a symbol of strength and nobility for millions of people all over the world. Her first major foray onto the big screen meant more to some people than anything else DC Comics has ever produced, so yeah, its sequel has quite a bit to live up to.
Wonder Woman 1984 is, if nothing else, an interesting product of its time, 2020, a year in which it was supposed to have been released in theaters in July. Coronavirus forced Warner Bros. to push the film until December, and the studio chose to do so by mixing a theatrical release with a special limited release on the home video streaming platform, HBO Max. So you can watch this movie right now at home for a small membership fee, kind of a remarkable thing in the history of cinema. New movies always used to be, you know, out at the movies. But now, who knows?
Subsequently, the flick has been met with much less fanfare than its predecessor enjoyed. Wonder Woman 1984 has been a success of sorts, but it’s doubtful to make much of an impact beyond that. The reasons for this aren’t merely limited to its precarious release schedule. The story makes some choices that keep it from being quite as wonderful as it deserves to be.
For one, Wonder Woman 1984 revolves around a somewhat ridiculous McGuffin that allows for wishes to come true. This is a comic book movie, of course, which I have to admit I’m a huge fan of, even when they’re loud and dumb. But it’s almost as if the entirety of the plot was constructed on a simple and somewhat lazy notion to resurrect one key dead character. That would be Chris Pine’s Steve Trevor, Wonder Woman’s traditional love interest. The movie works best when the two share screen time. Their chemistry is relatable and infectious, so it’s no surprise writer/director Patty Jenkins wanted to pull him back into the fold.
Also returning is Gal Gadot as the titular hero, and she’s still great. More comfortable this time around, perhaps, but then, she’s played the character a total of four times now. SNL alum Kristen Wiig joins the cast as a relatable if slightly goofy foil/villain whose wish to be just like Wonder Woman goes wrong in all the right ways. The Mandalorian’s Pedro Pascal plays Maxwell Lord, a DC bad guy who first appeared in a 1987 Justice League comic and who has now been given the 1984 self-help guru treatment. Pascal gives the guy a lot of juice. A lot of juice. Perhaps its best not to say too much more about it than that.
One of the problems with the movie is that it doesn’t seem to feel the need to indulge in 80s-themed nostalgia in any major way, not like other recent shows and movies set in the decade have done. Odd, considering they wanted me to know the year it takes place months and months before it ever came out. Oh, there’s some paltry lip service to the year 1984 scattered here and there. An early action set-piece takes place in a mall, for instance. But again, no 80s tunes or anything? No Simple Minds? No New Coke references? What gives, dudes?
Wonder Woman 1984 comes together all right in the end, but really, it’s just another example of a DC Comics adaptation that’s barely handled well enough to justify its own existence. I’m a pretty big comics fan when it comes down to it. Gosh, it’s getting harder and harder to compete in that space. They’ve already announced Wonder Woman 3. Let’s hope Patty Jenkins and Warner Bros. bring a bit more punch to the superhero party next time.
Jeff’s Movie Reviews gives Wonder Woman 1984 a Six out of Ten.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
Want to be sure not to miss any of Jeff’s Movie Reviews? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress
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Jeff’s Movie Reviews – The Godfather, Coda: The Death of Michael Corleone
Posted: December 11, 2020 Filed under: Commentary, Jeff's Movie Reviews, Movie Review, Movies | Tags: Jeff's Movie Reviews, Movie Review, The Godfather Coda, Writing to be Read 3 Comments“Just When I Thought I was Out…”
by Jeff Bowles
There are few more legendary films than The Godfather and at least one of its two sequels. The American Film Institute named Part I the third most important movie of all time, coming in behind only Casablanca and Citizen Kane. The Godfather Part II is held up by many as a true cinematic masterpiece, superior to the first in every way, with a richness and depth rarely found in Hollywood films.
And then there’s The Godfather Part III, largely considered the weakest in the series, if not one of the weakest closing chapters of any film franchise, period. It suffered from a jumbled and imprecise development cycle, very nearly crumbling under the weight of its own narrative legacy. Originally released in 1990, The Godfather Part III was overly operatic, self-reverential, far too dependent on its own aging formula. Some casting missteps didn’t help matters either, nor did a story that had little of the depth or urgency of the previous two films.
Now, thirty years later, director and co-writer Francis Ford Coppola has resurrected The Godfather Part III with a new title and a new cut that is leaner, more focused, slightly (very slightly) different in tone and subtext, and essentially, not all that much better than it was three decades ago.
Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone (as it’s now known) may have an insanely verbose title, but let’s face it, the original cut was an odd duck anyway. Admittedly, it’s not such a bad movie to revisit. Michael Corleone and his supporting cast are some of the best drawn and most acutely emotional film characters of all time. And yet, shifting a few elements around and cutting a bit of bulk does not storytelling redemption make. The movie looks fantastic due to a new remaster and a simultaneous limited theatrical release alongside blu-ray and home streaming options. And yes, the deeper themes explored by the series as a whole stand in slightly starker and clearer relief than they did previously. But only if you’re seriously paying attention, because really, this is basically the same movie with a longer title.
Al Pacino’s Michael Corleone is a different man than the angry, murderous mafia don who ordered the death of his own brother in Part II. The truth is, Michael thinks he can buy his way into Heaven. Good deeds, charitable works, liquidating all non-legitimate assets and operations, cozying up to the church, becoming a better father. Family and the breakdown of familial bonds is one of the key themes of the entire series, and Michael’s family has been broken for years. His ex-wife, Kaye (played by the always wonderful Diane Keaton) dreads him and the bad memories that still plague her, and his two adult children love but barely trust him. Don Corleone wants out, but as his famous line of dialogue goes, just when you think you’re out … well, you know the rest.
The film benefits from increased contextual musculature and sinew, and the “new’ beginning and end aren’t so much new as better placed and/or better executed. Is it reason enough to watch all three in marathon fashion? Sure, why not? In the age of pandemic lockdowns, who’s to say what movie night can look like. As far as Coppola is concerned, The Godfather Part III was poorly named anyway. A coda, in musical terms, is a concluding passage that summarizes main themes and very often offers a sort of flourishing resolution. The Godfather, Coda does that in a way, but again, if you haven’t seen the original cut in years, it’s doubtful you’ll notice much difference.
Even still, time has a way of making old things shine. The first two films have aged remarkably well, and the series simply wouldn’t feel the same without an ambitious but clunky concluding chapter.
When it comes to The Godfather, Coda, you may want to leave the gun and take the cannoli, if you don’t mind the dumb Clemenza reference, but if you’re at all interested in what this new version brings to the table, there’s certainly worse mob stories to binge at home on a Saturday afternoon. I mean seriously. Netflix again, dear?
Jeff’s Movie Reviews gives The Godfather, Coda: The Death of Michael Corleone a Seven out of Ten.
Look at how they massacred my boy!
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
Want to be sure not to miss any of Jeff’s Movie Reviews? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress
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Jeff’s Movie Reviews – The Queen’s Gambit
Posted: November 13, 2020 Filed under: Jeff's Movie Reviews, Movies, Opinion, Review | Tags: Chess, Jeff's Movie Reviews, The Queen's Gambit, Writing to be Read 2 CommentsSeduction by Chess
by Jeff Bowles
Chess is not typically known for excitement or suspense. The game of kings has certainly been portrayed any number of ways by Hollywood throughout the years, but Netflix’s new limited series The Queen’s Gambit makes it look passionate, dangerous, and well, sexy.
Maybe it’s the stylish 60s themes, fashions, and music. Or perhaps the magic of this series is in the writing, which is sharp, compelling, and just a little bit wild. So too is the basic look of the show. Each and every chess match (and there are quite a few scattered across seven hour-long episodes) has a different feel, a different level of intensity. And make no mistake, The Queen’s Gambit is all about intensity. To finish a single match is to look into the hungry and carnal eyes of your opponent and ask for another round. And here I thought chess was boring.
No two ways about it, Beth Harmon (played by the wonderful Anya Taylor-Joy) is a child prodigy. After a terrible car accident kills her mother, she’s sent to an orphanage and there befriends a lowly janitor who lives in a veritable dungeon of a basement. The janitor, by the way, happens to be a chess wizard himself. After some brief instruction and the early rumblings of blind obsession, Beth beats him, his chess club (all at once in a series of simultaneous matches) and then begins to play on the larger American circuit. She becomes an overnight sensation, her face on magazine covers, her name known to anyone interested in the game. But the fire in her belly is unquenchable. She’s a marvel and a ticking time-bomb. We know she will explode. The only question is when.
We are talking about the 1960s here, and at that time chess and master chess players were honored and respected worldwide. Beth’s basement-dwelling mentor warns her genius often comes at a price. Her personal demons take the forms of addiction, mental illness, and compulsion. Every single night is an opportunity for her to practice and read and imagine (or perhaps hallucinate) whole matches upside down on the ceiling above her bed. She pops a few of her favorite pills, which are never specifically named, maybe has a drink or two, and then she lies down and watches as the shadowy game unfolds above her.
The Queen’s Gambit is based on a novel by Walter Tevis, who passed away in 1984. It’s a shame he didn’t live to see the adaptation, because Netflix has done his book justice. There’s real emotion and drama here. Beth Harmon is a fascinating character, and though she’s entirely fictional, she and her world are so fully realized you might mistake her for an actual public figure. The show drips with passion and lust. It’s incredibly sexy at times. Imagine making chess sexy.
How rare is it to find someone who burns for something, anything, as much as Beth burns for chess? Mastering the game, explosive, sometimes cold, almost always calculated, but there’s a beating heart inside her, a need for appreciation, recognition, for someone to love and understand her. Even those closest to her see her as an enigma. So incredibly young, stunningly beautiful, dressed in the most Chic fashions of the time. A genius, absolutely. But always at a distance, just beyond everyone’s reach, right where she likes it.
Drug addiction adds an interesting element to The Queen’s Gambit. Self-destruction, it seems, can be as seductive as a tender kiss. Even if the acting weren’t top notch across the board (and it is), the fascination, drama, and blind ambition emanating from Tevis’ narrative is stunning. If you were as determined to become the greatest chess master of all time, you might develop a drug problem, too. Then again, maybe you wouldn’t. Beth Harmon comes from tragedy, and it follows her wherever she goes. Adopted by a married couple whose relationship was on the rocks to begin with, she learns from a very early age the only way to get by in this world is to commit to personal freedom and absolute autonomy. She drinks, she pops pills, but the ultimate question of what it all costs comes down to this: if genius and madness go hand-in-hand, when does the ride stop? Where must the line be drawn?
We’re never really sure Beth Harmon receives the answers to these questions. The Queen’s Gambit is an unexpectedly charming, gripping, and seductive limited series all fans of excellent storytelling need to stream immediately.
Jeff’s Movie Reviews gives it a Nine out of Ten.
I think that’s checkmate, everyone.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
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Jeff’s Movie Reviews – The Trial of the Chicago 7
Posted: October 16, 2020 Filed under: Film Review, Jeff's Movie Reviews, Movie Review, Movies | Tags: Historical Drama, Jeff's Movie Reviews, The Trail of the Chicago 7, Writing to be Read 2 CommentsBomb Throwers and Peacemakers
by Jeff Bowles
Movie reviews generally don’t work when the reviewer gets too opinionated. Politics, for instance. Just kind of common sense “the movie guy” shouldn’t vent his issues with this candidate or that major event all over your nice, unsuspecting blog visit. I don’t even have to be qualified to tell you that, do I? I’m not qualified, by the way, not in the least, but then, who among us is? Look ma, no hands.
It should be noted, however, that this movie reviewer is a human being, and as is the annoying habit of most human beings, he can’t help actually having an opinion. And a unique perspective, he might add.
I might add. Sorry.
I’m a Millennial, which means Aaron Sorkin’s new political courtroom drama, The Trial of the Chicago 7, is perhaps made with me in mind. After all—and it’s clear as day for everyone with news access to see—the events surrounding the 1968 Democratic National Convention closely mirror protests and riots happening at this very moment, all over this country, chiefly led or supported by people my approximate age.
It feels like if you’re in your twenties or thirties in this day and age, you’re expected to be a revolutionary in one sense or another. At one point I had a nice job as a technical writer, and as the young blood, the fresh meat, revolution was supposed to have been my forte. That word, revolution. I wonder if most people understand what it means before an honest to god revolutionary moment has broken out. They definitely understand afterward, as did the eight men put on trial for an alleged conspiracy to incite a riot and provoke Chicago police into acting violently against Vietnam War protesters during the ‘68 DNC. This whole thing is so tied up in politics, nostalgia, and bright yet somehow startlingly foggy memory that it binds up my fingers and makes it difficult to type the full length of this review. And that’s saying something. I haven’t even gotten out of my bathrobe yet.
Truthfully? I’m more of a peacemaker than a bomb thrower. I think I recognize a time and place for the latter, but as the former, I can’t get behind violence for the sake of ideas, the most transient of all puffy white clouds in humankind’s mental skyline. The Trial of the Chicago 7 seems bent on assuring me revolution is a positive thing. Should I take the film’s word for it? I wonder. In fact, I find I’ve always had to wonder.
Aaron Sorkin is known for precisely two things: incredibly sharp pacing, dialogue, and character work that’s often rendered too slickly and can add up to less than the sum of its parts. And The West Wing. That too.
That this film has been in the works for fourteen years doesn’t surprise me, nor does Sorkin’s clear intention to finally produce and release it just before the 2020 general election. Yes, it’s star-studded and wonderfully written, and yes, it’s also too whimsical and nonorganic to present the events of that time and place with any kind of genuine honesty. Basically, all the historical components are there. These young men, they couldn’t have understood what they were in for. Sacha Baron Cohen is too old to play Abbie Hoffman but knocks it out of the park regardless, and Jerry Rubin is basically turned into a two-hour-long stoner joke.
But what the heck? It’s not as sensationalized as an Oliver Stone movie, and I believe general consensus circa 2020 is that these eight men stood for something noble and endured a fascist political trial under a federal judge who had no intention of doing anything less than screwing them to the wall. Again, this seems to be Sorkin’s intended memorandum, and again, I don’t think I’m all that interested in agreeing or disagreeing. I’m the movie reviewer, after all. The movie is what it is, and my role is cut and dry.
Except to say this. If violent (and I must be frank, even nonviolent) revolutions are so effective, why do human beings always seem to wind up entangled in them? My mind works this way: there will never be a positive and lasting human revolution until and unless human beings themselves, on both an individual and collective level, revolutionize their own archaic hearts and minds. This nonsense of us versus them, this grand illusion, it has plagued us from the very beginning. I don’t bow down to more of it, and I realize I might be alone in that kind of thinking.
Also, very simply, it must be asked if Sorkin himself is aware of the ability of commercialized entertainment to stoke passionate societal flames almost as easily as calling for blood from behind a podium. The potential responsibility inherent in such an acknowledgment, it may be too much for his kind of star power. Regardless, his new Netflix film is easy to enjoy, to digest, and to dismiss. And really, isn’t that the best sort of popcorn entertainment?
I could engage with The Trial of the Chicago 7 a bit further, but not easily, not without being forced into more politics. Systemic racism is addressed, for instance. But not in a way that will satisfy people sick to death of the anglo-savior storytelling trope. Again, nuts to politics, what about the beating heart of a man gagged and shackled in the middle of a US courtroom? That would be Bobby Seale, the event depicted without teeth but after a fashion, I suppose, accurately enough. What about a growing awareness that essentially, we have the same soul, the same tormented passions? Does that kind of thinking seem present or absent in today’s politics? Or the politics of 1968? Or of any other era for that matter?
The wheel keeps spinning, the bomb throwers throw, the peacemakers do their best, and somehow, one way or another, all of it seems destined to end up on my TV.
Jeff’s Movie Reviews gives Netflix’s The Trial of the Chicago 7 a seven out of ten. Good enough for government work, if government work is indeed on offer.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
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Jeff’s Movie Reviews – Bill & Ted Face the Music
Posted: September 11, 2020 Filed under: Commentary, Jeff's Movie Reviews, Movie Review, Movies, Opinion, Review | Tags: Bill & Ted Face the Music, Jeff Bowles, Jeff's Movie Reviews, Movie Review, Writing to be Read 4 CommentsParty On, Dudes
by Jeff Bowles
Nostalgia is a fickle thing. Sometimes it can make new spins on old content sparkle. Then again, it can also blind us to bad movies, books, TV shows, really anything marketable to our hungry and impatient inner kids. Nostalgia is often manipulated by the entertainment powers that be. Apart from sex and death, it’s Hollywood’s number one favorite tool. So how did this happen? How did we come to see the release of a new Bill & Ted movie in the year 2020, almost three decades after the last entry in the series, the aptly titled Bill & Ted’s Bogus Journey? In that movie, the hapless, witless duo from San Dimas, California went to Hell and back. Literally. Gosh, where else can we take them? More importantly, should we even bother? Especially since stars Keanu Reeves and Alex Winter aren’t exactly high school students anymore?
The answer is that while Bill & Ted Face the Music occasionally misses the mark, it never leaves us feeling empty or bored, especially if that nostalgia factor is in play. I first saw the original when I was a kid. I’m a product of the 80s and 90s, so you can bet this movie was more entertaining for me than it would be for audiences either much older or much younger than I. But if you’re in the mood for a fun, funny, ridiculous time travel movie that’s no more or less useless or necessary than the first entries in this series, look no further. Bill & Ted Face the Music is a great excuse to stay home and stream, avoid the movie theaters, avoid that pesky virus. Heck, I’m not even sure Face the Music would’ve survived in the normal corporate theater chain climate. It’s kind of a specialty product, one nobody was looking or even asking for.
Bill S. Preston Esq. and Ted Theodore Logan have had a hard few decades since they braved the time-ways and journeyed through Hell and Heaven. Their band, Wild Stallions, has failed to ignite the period of world peace and excellence guaranteed by their old mentor, Rufus, and though they actually can play their instruments now, nobody cares about their music, which must be a shock for supposed rock and role messiahs. And on top of everything else, their marriages to the royal princesses (remember them?) are falling apart. It is a most heinous and non-excellent time, dudes.
The rest of the plot is a hodgepodge of different ideas that reflect places and faces we’ve seen before. Bill and Ted must write that one amazing song they’ve been trying to write since they were young, and screw the basic scientific efficacy of the concept of time travel, they’ve only got a few hours to write it. So what do they do? Cheat and try to steal it from their future selves, of course. Meanwhile, their teenage daughters—also cheerfully known as Bill and Ted—go on a quest of their own to recruit for Wild Stallions the likes of Jimmy Hendrix, Louis Armstrong, and Mozart. You see, the girls still believe in their dads, perhaps blindly so. After all, we’ve been promised Bill and Ted would save the world twice before. What makes anyone think they’re likely to do it now?
As you can see, there’s a lot going on here. And it’s only an hour-and-a-half long. More jokes land than miss, and there’s a larger supporting cast that’s hilarious to watch, including a robot assassin that feels terrible, just terrible for killing the wrong targets and the return of fan favorite the Grim Reaper, the ultimate rock bass player, Death himself.
Ultimately, the ride proves worthwhile, especially since Reeves and Winter give it their all. Neither seems terribly put out they’re having to reprise roles they haven’t played since the first Bush administration. They still hit their “dudes” and “whoas” with perfect timing, and it’s genuinely nice to see them again. I’m sure these guys never thought they’d star in another Bill & Ted, and to listen to them chat about it in interviews, they couldn’t have had a more enjoyable time making it if they’d tried.
Some lingering frustrations may ensue if you’ve allowed your brain to clock in at any moment during the running length. Also know this: the special effects were finished during the initial stages of the COVID outbreak, so some of them don’t look as bodacious as they otherwise might.
But so what? Bill & Ted Face the Music has a mind to rock you, entertain and overwhelm you with its nostalgic charm, and just like the original, you might actually learn something about yourself and the world. Like the fact that the great Satchmo was one of Jimi Hendrix’s key influences. Or that you’ve got more of that old goofy teenager lurking in your heart than you thought.
Jeff’s Movie Reviews gives Bill & Ted Face the Music a 7 out of 10.
Now do me a favor and be excellent to each other out there. After all, any one of us can change the world. We just need to sing the right song. Catch you later, blog-reading dudes!
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
Want to be sure not to miss any of Jeff’s Movie Reviews? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress
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Jeff’s Movie Reviews – Mortal Kombat (2021)
Posted: May 14, 2021 | Author: Jeff Bowles | Filed under: Commentary, Jeff's Movie Reviews, Movie Review, Movies, Opinion, Video Games | Tags: Jeff's Movie Reviews, Mortal Kombat, Movie Review, Movies, Video Games, Writing to be Read | Leave a commentFinish him!
by Jeff Bowles
Movies based on popular video games aren’t typically known for their excellence. Among gamers and industry vets, they aren’t even known to please longtime fans in any serious way. Just check out some of the more financially successful ventures into this difficult field, films like Warcraft, Detective Pikachu (which actually wasn’t all that bad), the Tomb Raider series, Prince of Persia, Monster Hunter, all six entries in the Resident Evil franchise, Sonic the Hedgehog….
The problem usually lies in a misunderstanding of what makes video games tick, the basic fact they’re more fun to play than watch. Also a certain greedy approach to cash cows that otherwise net billions annually. Interactive, choice-driven, challenging, often containing stories that work precisely because players feel totally immersed.
Games can and do look and smell like movies, but they aren’t the same thing. An enterprising filmmaker would be loath to adapt a video game beat-for-beat. What would be the point? The most common approach is to try and split the difference, to take a few popular franchise characters, perhaps mix them in with some new no-name placeholders, invent a plot that is similar but not identical to the original, and then race the whole thing through production, packaging, and release.
The new Mortal Kombat film is no different. It thinks it understands what longtime fans want, but in reality it’s just a hodgepodge of half-baked ideas and mishandled IP. Honestly, I don’t know if you’ve ever played a MK game in your life, but the series isn’t about story, not really. It’s about gore and hyperviolence, the kind of bloody entertainment that rewards complex finisher moves so brutal they have but one appropriate name: fatalities.
This latest stab at the franchise wants to include all the blood and death, not sugar coat things like the famously inadequate Mortal Kombat movies made in the mid-90s. Lots of people grew up with those films, and Warner Bros. is convinced an updated, adult-friendly retread will hit the spot. For the most part, it does not. The story is messy, the action is simultaneously choppy and too slow (not sure how they managed that one), and let’s not mince words, so many different characters get thrown at you, it’s entirely possible you’ll need a PH.D. in Kombat-ology to keep up.
I’m old enough to remember a time many moms and dads would refuse to let their kids play Mortal Kombat. Video games have only gotten increasingly more realistic since then. A gaming series that pushes the violence and willfully misspells the word ‘Kombat‘ is never going to yield an Academy Award winner. Kome on, all you Klassic Mortal Kombat Kompetitors! Why no Kostly retread of Street Fighter, or Kan we finally Konsider the genre Kompromised?
Skip this movie if you can. Go play the newest Mortal Kombat video game, lucky number eleven, which at least understands what fans show up to see. Blood, blood, and even more blood, gameplay that is tight and fierce, competitive tournaments that let you test yourself against other players, and a story that is serviceable at best.
Because the vast majority of MK players don’t care about story. That just goes without saying. Remove all the things that make the games immersive fun, and you’re left with a whole heap of meh.
Kill the Koncept, Warner Bros.. Kan’t tell you how Kreatively Konstipated this Kategory has beKome.
Jeff’s Movie Reviews gives the new Mortal Kombat movie a Five out of Ten.
Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative work can be found in God’s Body: Book One – The Fall, Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, Love/Madness/Demon, is available on Amazon now!
Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!
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