The Hollywood Reporter states: 'The Keepers is fascinating and often gripping because it makes the argument that shining a light on enshrouded horrors takes many forms and doesn't have a statute of limitations, even if the law does.'
Variety calls it 'The best true-crime docuseries yet.'
Time accurately state why The Keepers is superior to another popular Netflix crime docuseries: '...that's the crucial difference between this show and, say, the 2015 Netflix sensation Making a Murderer, whose directors clomped heavily over a complicated story. Their aggressive point of view goaded viewers toward certitude. White, by contrast, isn't asking us to be the sleuths. He's depicting the process of discovery among mourners. The "detectives" we follow are Cesnik's former students who set out to solve the case. This isn't just more respectful to the victim than other true-crime stories, with their breathless delight at new clues. It's also more effective.'
The Keepers is a 7-episode Netflix documentary that explores the unsolved 1969 murder of Sister Cathy Cesnik, who was a teacher at the all-girls Archbishop Keough High School in Baltimore. I won't go into the story, other than it involves unbelievably heinous abuse and cover-up by the Catholic Church, Baltimore Police Department, & the city and state governments. What I will say is that this documentary is leagues above some of the prior crime docuseries that have been so popular of late.
What this documentary does well is it tells the story through recollections of the players involved. It doesn't purposely leave out evidence like Making of a Murderer did. It doesn't force a view down someone's throat. It just lets the story reveal itself, point by point, through people's spoken word. Because the story is so shocking, so horrific, and so engaging, this style works wonderfully.
This isn't a story for the faint of heart. It goes deeply into how purely evil human beings may be. But it's a well-crafted trip, and therefore I highly recommend it. Perhaps a few episodes drag at points, but within moments, they get right back on track.
This isn't a documentary that's going to make you feel good. Nonetheless, it's something I feel should be watched. Yes, you will cringe. But at the end of it, you'll understand a little more about what human beings are capable of doing than you knew before the ride. If you think you can handle it, please give The Keepers a try.
My rating: 9.3/10.
Last week it was announced that a new series is coming to Netflix; one based off of The Witcher novels—a fantasy series written by Polish author Andrzej Sapkowski. The books are widely popular, having been translated into 19 languages. Perhaps most people are familiar with The Witcher, however, because of the video game series. The Witcher 3, which was released a little over two years ago, won many Game-of-the-Year awards. I recently finished the main quest (and have started the first expansion pack), and it's easily one of my favorite games of all time.
Everyone needs to become super excited about this Netflix series. I'm sure they're going to throw a ton of money at it. But right now, millions of people have to be anxious as hell over the casting.
What makes The Witcher special is the wonderfully crafted characters. The story is that of the no-nonsense Geralt of Rivia, the White Wolf, who is a Witcher. Witchers have special abilities they use as hired monster hunters. Though the monsters are varied, the real color comes from the humans. Yennefer, the strong-willed sorceress and sometime love of Geralt's. Ciri, the feisty and rebellious princess, who Geralt thinks of as a daughter. Triss, also a sorceress, who is madly in love with Geralt. Dandelion, the often clueless and coin-stricken bard. Zoltan, the much-too confident dwarf. It's an ultra wide-varied cast of characters that rarely fails to intrigue.
If done well, this could be Netflix's Game of Thrones. The characters are that good.
So get excited. The Witcher will relieve some of the pain of Bloodline ending too soon. It could become Netflix's signature show.
I am truly horrible at blitz chess. I will blunder, it's just a matter of when. But I'm working on it. I like studying a bit of chess on most days. I'm trying to train my mind into reading positions more quickly. It's just that I'm not consistent under tight time constraints, so I'm always rated several hundred points lower in blitz & bullet than I am at slower times.
This game, though, might be one of my quickest wins ever. It's a great example of the dangers of not grabbing control of the middle when you can, and of how quickly, especially under blitz conditions, one blunder can lead to disaster.
Gbell619's resignation came after move 8:
The other day I watched the film for the first time since I was a kid. The 1973 Western was directed by and starred Clint Eastwood. I had forgotten what a good film it was.
We see few Westerns made today because they tend to do horribly at the international box office. I think High Plains Drifter could be made today and could probably see profit. The beauty of the film is in its simplicity. It's based on character much more so than plot.
Clint plays a stranger who rides into a small Western mining town, gets into immediate trouble at the saloon, proves his skills at shooting a revolver, and is then hired to defend the town against a gang who will be coming to cause havoc. What makes the film so interesting is the cast of characters that inhabit the town, and their interaction with the stranger who has them do outrageous things in preparation for the final showdown. It's that simple. They prepare for the gang, and then the gang rides in at the end.
The film ends with an ambiguous/supernatural tone that isn't needed at all. It tried to go a bit too far. But besides the over-the-top reveal, it worked well throughout, and in very limited locations. Ninety percent of it takes place in a small town, one that was obviously built for the shoot. There are the scenic shots of the vast plains of the American West to add cinematic value, all of which looked to be simple, easy-to-shoot setups.
Fascinating characters who are well cast are what makes High Plains Drifter work. It is in some ways the anti-Western with a true anti-hero. It relies on character to make up for the limited space in which it takes place. It hits its notes well, and besides the disappointing try at the end, it doesn't attempt to be more than it should.
It's definitely worth the watch.
I'd never seen the classic film before watching it last week. Having watched it almost 70 years after its release, I had problems with it that I'm sure no one sitting in the theatre in 1953 had.
The story is about a princess, Ann (Audrey Hepburn), who is visiting Rome. Ann is tired of her structured routine, so she sneaks out of the embassy at night to explore the city. She meets Joe (Gregory Peck), an American reporter who works for the American News Service. Joe shows Ann around the town, secretly having a friend photograph them so he can sell a story about her, behind her back.
The problem that I had, even though it's kind of a romantic comedy, is it's very hard to accept Gregory Peck as such a fiendish character because he's so imprinted into our brains as Atticus Finch. To Kill A Mockingbird came out in 1962, nine years after Roman Holiday. But being so many decades after both films, it feels like Peck is miscast in Roman Holiday. That's the downside of having a performance for the ages—it's hard to accept your acting as anything else.
Roman Holiday was one of Audrey Hepburn's early films, and she won the Academy Award for Best Actress for it. It was obvious from her performance that she would go down in history as one of the greatest actresses of all time. She lit up the screen unlike few people ever have.
I feel the film deserved its Best Picture nomination. It's a very good film. I'm sure Peck played fantastically to that 1953 audience. I'd certainly like to have seen Robert Mitchum in the role of Joe, though. It's just too hard to hate Gregory Peck. It would be like putting Tom Hanks (or Audrey Hepburn) in a bad guy role. Too hard to buy.
I definitely recommend watching the film, however. They're both outstanding, iconic actors doing their thing with a fun script, with the beautiful backdrop of Rome behind them. It's classic through-and-through, and if you can buy Mr. Peck as something far less likable than Atticus, I'm sure you'll even love it more than I did.
This is full of spoilers, so please don't read on if you haven't seen the movie.
Kenneth Lonergan wrote an incredible script. However, I'm not satisfied with his ending. This is the second fantastic movie from 2016 (the other being Hell or High Water) that went with a soft ending to the detriment of the film. This is breaking with the tradition of having a climax, and then a denouement to finish the story.
Manchester by the Sea ends with Lee, sitting at a dinner table, telling his teenage nephew Patrick that the family friend George will adopt him so that he can stay in Manchester. In the following scene, Lee and Patrick walk down a road, bouncing a ball. Lee tells Patrick that he can't stay in Manchester because he "...can't beat it," meaning he can't beat the bad memories of the place, and that he'll look for a two-bedroom apartment so that Patrick can visit him. The film closes with the two going out on the boat to fish.
The reason why this ending is so unsatisfying is because it ends with a reveal and not a completion of Lee's character arc.
A much better ending would have been: Lee drops off Patrick at George's house. They hug and hold back the tears outside of the house as Lee hands Patrick off to his new family. Let gets in his car, turns it on, and starts backing out of the driveway. He stops at the end of the driveway. He contemplates. A tear drops down his face. We see a CU of his hand fumbling around the keys near the ignition. The hand shakes. He turns off the car. Cut to Black.
This would have shown that Lee finished his arc: that he had grown to a place where he'd be willing to face all of his demons in order to honor his dead brother and take care of the nephew who he really loved.
I can't argue with Lonergan's decision. He made one of the best films of recent memory. However, I'm sick of these soft endings attached to otherwise fantastic films. This devastating film would have been so much better by alluding to greater hope for Lee's future. It would have made all the pain that we suffered while watching through the incredible sadness dissipate away in a most satisfying way.
Pop the balloon. Don't let the air squeeze out of a pinhole leak. That's no way to end a great story.
Unfortunately, I didn't get to see the film in the theatre, so like most of the world, I waited around for it to get to Amazon Prime. I'm not sure why, but for some reason, I didn't believe I'd like this film as much as the critics. Maybe it was the Matt Damon connection, not sure.
Turns out, I was wrong. Manchester by the Sea is one of the best American films in recent memory.
For a sub-$10M picture, this film is extremely well-crafted. Yes, there's the occasional poorly framed shot, or cut that doesn't work as well as it should. But for every one of those instances, there are many compositions and sequences that blow you away. There are scenes that are fantastically well done, like a funeral scene without dialogue. It's done entirely in slow motion (and I usually detest slow motion) under music, and all you can do is read the actors' lips, but you don't need to, because the performances are so strong, you understand what was being said.
I now understand why Casey Affleck won that Academy Award. This is a performance for the ages. Kyle Chandler and Michelle Williams are superb as usual. And Lucas Hedges kills it as the teenager trying to deal with the death of his dad. But the excellent casting doesn't stop there. From top to bottom, this film is solidly acted.
Yes, this movie is heartbreaking. It's so emotional, it's hard to sit through at times. But it's so well written, acted, and directed, it's something to be appreciated. The nuances in the relationships are absolutely incredible. It makes this story believable. The scenes ring so true, it's almost as if the film bar has been raised.
There are two minor problems with the film. First, it pushes too far in some instances. A bit of restraint would have been more effective. And second, (minor spoiler alert), I'm not a fan of the soft ending.
That being said, Manchester by the Sea is a prime example of storytelling done right. You could teach a semester-long filmmaking class on this movie alone. So if you haven't seen it, grab that Kleenex box, and turn on your Amazon Prime.
One last note: thank God that Matt Damon had to drop out of the lead because of scheduling. Without Casey Affleck, this wouldn't have been half the film it turned out to be.
My rating: 9.8/10.
Jon David Rosten, author of
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