Jade_chan

So much to see! Wonderful costumes, sceneries, shots! But the entire first half is sadly hurried. No sooner have we learned a new information / met a new character that we're (literally) galloping to the next tidbit of info. I groaned in annoyance several times at perfectly, lavishly set-up scenes being cut abruptly short. The character's relationships suffer from it too, since it's often hard to tell who's who (so many brothers to remember!) and what their deal with each other is.

Apparently the first cut was 4 hours long, well i want at least one of those back! 120 minutes didn't do the story justice and made it lack the gravitas and heart it so evidently had in store. We stay on the surface of those complex historical events and don't reach the depth that was in reach.

Why the good rating despite this pacing issue you might ask? Well what we get is SO VERY GOOD. The production value is off the charts and i'm starved for medieval content that DOES feel medieval - religious chants, dancing, foreign codexes of honour, ruthles swordfights, and a staggering disregard for the life of the common folk (you do NOT want to live in 14th century Scotland...).

The toll of war feels heavy and bitter, and so do the fights. The last battle scene alone makes the movie worth the watch.

The entire production feels lived-in, functional, real - no leather armor or stupid haircuts/make-up in sight, no cheap modern fabrics, no huge improbable armies, that's the kind of time-travel cinema offers and i love it! Especially when we get such beautiful vistas of my beloved Scotland as a backdrop.

In the moments that do not feel rushed, Chris Pine makes for a fantastic lead and his co-stars are very compelling too (special mention to King Edward, Angus and Black Dougal). Some scenes (especially on the West Coast Isles) were so humane and fond, it made me desperately crave a much longer, fuller movie. Photography and cinematography were gorgeous throughout.

I'll keep my eyes open for an extended edition that gives the movie the meat it needs and slows the pace down.

What can I say, I had a blast. Lawrence is, of course, perfect, but her co-lead has a lot of moments to shine too and was genuinely adorable.

The comedic timing of this movie is spot on and made me laugh out loud multiple times, i had to pause i was laughing so hard. The gags are varied, the conflict and plot felt surprisingly real and wasn't too contrived, the characters were genuine and layered...

A movie with heart, not dumbed down too much, sentimental but manages not to be cheesy. So yeah, big recommendation! One of the best romcoms i've seen in recent years. Lawrence is perfect in comedies!

Where to start? This show ravished my heart. I loved every single second of the 8 episodes and had difficulties thinking of anything else the entire week. To me, this TV show is an incredible accomplishment that makes the most out of the medium and excels on every single level.

Plot: Camille, a reporter with some serious problems, returns to her small Southern home town to report on the murder of two teen girls. She has to reckon with her own family bagage in doing so.

Rarely have I witnessed such an atmosphere in a movie or show. Incredibly heavy and oppressive (impeccable sound-design, watch with headphones for optimal experience), despite the visuals telling us an entire different story. A beautiful summer-sweetness (gorgeous young girls in pastel outfits, pristine interiors in soft lighting) that turns cloying, bloody and rotten in the blink of an eye. The show lives from those contrasts, from the rot beneath the beauty, the ugly and violent darkness hidden beneath velvety voices and beautiful appearances.

We experience all of this (the Southern culture, the progression of the intrigue, the lush Missouri nature) through Camille's eyes, a deeply damaged woman trapped in her past traumas. We follow her closely, her gaze guiding us through her journey. Late director Jean-Marc Vallée chooses an intuitive, almost expressionistic way of weaving Camille's thoughts and memories into the present, through flashbacks and associations that appear and disappear in the blink of an eye. In part confusing, in part deeply illuminating, and always requiring an attentive viewer.

Despite those unconventional editing choices, the dialogues and acting bring an almost naturalistic sensibility to the show. Amy Adams is excellent as Camille, her vulnerability and raw edges almost difficult to witness. She is FASCINATING and endearing as an adult still trapped in her teenage experiences. Patricia Clarkson and newcomer Eliza Scanlen are equally stellar in their roles and give frighteningly intense performances for their respective, enthralling characters.

After a first episode that is one of the best hours of television I've ever seen, rich in reveals and deeply intriguing, the show finds a rhythm in its reveals, its twists and turns, with very rare lulls but instead a steady increase in tension and darkness that is almost difficult to endure. I'm still reeling from the ending.

I'm deeply grateful for Gilian Flynn's writing that puts the focus on women, the darkness of the female condition and especially of that of teenage girls. The story feels almost allegorical in part, though people more clever than me would have to unweave that richly woven tapestry of meaning.

I know I will be thinking about this show for ages and rewatching it more than once.

(Also, bonus points for introducing me to a new musical discovery, "The Acid")