Thursday, 25 January 2018

'Once Upon a Time in Canada' Chapter 33.

The back pain is acting up again. But I will be hanging out with a bunch of my friends for another photography meetup. So it’s made the thought of the pain go down a bit. But lately, it hasn’t been as bad as it used to be. It’s been a six or seven out of ten, tops. So… should I go out? Not really, I’m not really in the best state yet. But it could be worse. The meetup, as well as the freezing cold, will be on my mind and will help me forget the pain for a while.

I’m not worried about it. If need be, I can just sit down or rest someplace and just review my shots whilst taking it easy. The meetup won’t be as bad as the last one, because this time we’ll be going to the Distillery District for the Lights Festival. Meaning there will be places for me to sit down, for sure. The thing is, the cold isn’t calming down. It’s still going to be chilly.

Okay, technically it’s not Antarctica-level. But it’s not exactly Vancouver-Winter climate either. I may be over exaggerating a bit, but if you were someone who doesn’t live in Toronto (or Canada), you would say the same thing. But it’s a big deal for me since I’ve lived my whole life in New Zealand. I know what you’re saying, I could just wear thicker clothes and dress more warmly then I wouldn’t be that freezing. If only it were that simple.

But the meetup was absolutely fun as always. We got to see and shot a lot of pieces of art that were as bright as Martha Stewart’s house during Christmas. There were all kinds of work on display, and they were bright as hell. To us, it was a gold mine for night photography. To me, it’s the same thing, but just with "God damn, that’s bright" added in.















So instead of the usual photography we’d get up to, we experimented a lot with high ISO and low aperture. Each piece and location required different variations of the ISO and aperture depending on the amount of light that was available in the area.

So far as we were concerned, we were just having a ball. I’m pretty happy of how they turned out, then when we were finished, we went off inside to Mill Street Brew, and had a nice warm dinner and drinks.

Also, see Chapters 32 and 34.

Wednesday, 24 January 2018

Film Review: "Hostiles" (2017).


"We are all... Hostiles." In this Western film written and directed by Scott Cooper, and based on a story by Donald E. Stewart. In 1892, legendary Army Capt. Joseph Blocker reluctantly agrees to escort a dying Cheyenne war chief and his family back to their tribal land. Embarking on a harrowing and perilous journey from Fort Berringer, N.M., to the grasslands of Montana, they soon encounter a young widow whose family was killed on the plains. The travelers must now band together to survive a punishing landscape that's crawling with hostile Comanches and vicious outliers.

In February 2016, it was announced that Scott Cooper would be directing a script from Stewart, with Christian Bale to star in the leading role. The project came to fruition after Stewart's death in 1999, when his widow found his script whilst moving houses. Surprisingly, Stewart had never submitted the script to any studio. This came as a surprise to his widow when she came across it. After seeing Crazy Heart (2009) and Out of the Furnace (2013), she felt that Scott Cooper was the right man to shepherd it towards the screen. In March, Rosamund Pike was cast, and a production start date of July was announced. By late July, Wes Studi, Ben Foster, Stephen Lang, Jesse Plemons, Rory Cochrane, Adam Beach, Q'orianka Kilcher, Timothée Chalamet and Scott Wilson rounded out the cast. Cooper expressly wrote the characters for each member of the cast. Around the same time, with a budget of $40 million, filming began in Santa Fe, New Mexico. The film was shot mostly outdoors, and was shot in chronological order. As the movie was shot on-location during monsoon season, the cast and crew were exposed to the elements. Indeed, filming had to be often shut down for a time because of lightning storms. Kilcher said she suffered from heat stroke during filming.

The film stars Bale, Pike, Studi, Foster, Lang, Plemons, Cochrane, Beach, Kilcher, Chalamet and Wilson. The cast all gave compelling performances that was both elegant and brutal. The cast elevated this down-and-dirty western above its gritty and brutal trappings. Cooper made sure that he took every opportunity to showcase his incredible cast. Bale's performance is as strong, and as energized, as anything he's done on screen for years.

Hostiles not only makes the most of its incredible cast, the film is so compelling that it is hard to turn away. The film is elegantly understated western drama that spins a gripping yarn out of its genre – and leaves audiences with some of the most compelling performances in years. This film elevates the genre, thanks to fiery performances from the cast as well as sharp direction from Cooper. The acting is incredible -- the cast boasts an Oscar winner and two nominees; and visually, the film is bleak and stirring. One could see the film as Cooper's attempt to resurrect a now unfashionable genre. In the end, it's a good movie, definitely worth the price of admission.

 Simon says Hostiles receives:



Also, see my review for Black Mass.

Monday, 22 January 2018

'Once Upon a Time in Canada' Chapter 32.

It was time for another photo meetup. Yep. I only wish that I had better clothes for the freezing cold outside.

My day was 'interesting.' In the beginning, walking to there was where it got 'interesting, not only because of the extreme cold. But it was largely thanks to me slipping on the ice, and badly hurting my back and my ass. Now looking back it in retrospect, it’s still not funny. But my friend, Michael, found it extremely funny. He didn’t laugh out loud, mind you. But I could see it in his douchey eyes. But according to him, he only found it extremely funny after my roommate, Christine, called him to ask what the hell happened, and to tell him that he "broke her roommate." And at this time, I’m trying to hold it together and try not to scream too loud, as well as try to get back up. This is what happened when I stupidly thought I could climb that small hill of ice, and neglect my safety. All of it is stupid, I know. But don’t look at me like that; we’ve all done stupid things at least once in our lives.

You may be wondering how I got along with the rest of the day. I just barely got by, even though the pain was constant due to a lot of walking around and carrying heavy camera equipment in the freezing cold. But I got a lot of great shots too, and my regular friends in the group were there, such as Cody.

Most of the morning was spent taking shots of the sunrise at Ontario Place; what a morning. Any sort of pain was thankfully somewhat subdued due to having fun with my friends.

















Also, see Chapters 31 and 33.

Saturday, 20 January 2018

Film Review: "Godzilla: Planet of the Monsters" ("ゴジラ: 怪獣惑星") (2017).



"Who will be extinct, Humanity or Godzilla?" This is the question asked in Godzilla: Planet of the Monsters (ゴジラ: 怪獣惑星). This Japanese computer-animated science fiction kaiju film co-directed by Kōbun Shizuno and Hiroyuki Seshita, written by Gen Urobuchi, produced by Toho Animation, and animated by Polygon Pictures. This is the 32nd film in the Godzilla franchise, the 30th Godzilla film produced by Toho, and the first animated film in the franchise. Years into the future and the human race has been defeated several times by the new ruling force of the planet: "kaijus". And the ruler of that force is Godzilla, The King of the Monsters. Humanity is in such defeat, plans to leave the planet have been made, and several people have been chosen to look at a new planet to see if it is inhabitable. Realizing it's not, though, the human race resorts to plan B: to defeat Godzilla and take back their planet.

In August 2016, Toho announced that an animated Godzilla film was being developed, targeted for a 2017 release. In addition, this will be the first entry in a trilogy, with the second and third installments tentatively scheduled for release in 2018. Ironically, it was originally envisioned as an anime series, but the success of Shin Godzilla's Japanese theatrical release convinced the creators to combine the narrative into a trilogy of movies and put them into cinemas in Japan. Gen Urobuchi, and Kobun Shizuno and Hiroyuki Seshita were announced as the writer, and co-directors, as well as Polygon Pictures providing the animation. In January 2017, Urobuchi announced the main cast on his twitter account, which included Mamoru Miyano, Takahiro Sakurai, Tomokazu Sugita, Junichi Suwabe, Kenta Miyake, Kana Hanazawa, Yūki Kaji, Daisuke Ono, Kenyu Horiuchi, Kazuya Nakai, and Kazuhiro Yamaji. In March 2017, Toho announced that the film would be the first film in a new trilogy. About the production, co-director Shizuno stated, "From the start, we had the blessing of Toho to not be constrained by previous entries in the franchise, and with the freedom of imagination offered by animation I feel we have come up with a cool new form for Godzilla." On Godzilla's new design, co-director Seshita stated, "With his masses of muscle fibers and unique body tissue to support his enormous bulk, this is an extraordinarily rugged-looking physique. It was an overwhelming presence that reverberated through the whole project, like a fearsome deity that even we who created it must prostrate ourselves before. That is our Godzilla."

For Godzilla: Planet of the Monsters, directors Shizuno and Seshita, and writer Urobuchi, unleashed all of their potent excesses back into the world of Godzilla, for better and/or worse. Chilling and occasionally thoughtful exploration of the mythology of Godzilla with an environmental perspective, gratifying character interactions, terrific action scenes and production design. If you're looking for a story with loyalty to the Godzilla lore, you won't find it here, but as darkly-tinged sci-fi action monster romps with a unique concept and premise go, you could do much worse.

Simon says Godzilla: Planet of the Monsters (ゴジラ: 怪獣惑星) receives:

Wednesday, 17 January 2018

Film Review: "1987: When the Day Comes" (2017).



"The truth must be told." This is 1987: When the Day Comes. This South Korean political thriller film directed by Jang Joon-hwan, and written by Kim Kyung-chan. In 1987 Korea, under an oppressive military regime, a Seoul National University Linguistics student named Park Jong-cheol (박종철) is killed during a police interrogation involving waterboarding techniques. Government officials are quick to cover up the death and order the body to be cremated. A prosecutor who is supposed to sign the cremation release, raises questions about the twenty-one-year-old student dying of a heart attack, and begins looking into the case for the truth. Despite a systematic attempt to silence everyone involved in the case, the truth gets out, causing an eruption of public outrage.

From June 10 to June 29, 1987 saw the nationwide democracy movement June Struggle (6월 민주항쟁), also known as the June Democracy Movement or June Democratic Uprising, generate mass protests throughout South Korea. On June 9, as demonstrations intensified, Yonsei University students swore to take action and protested at the university. During the protest, a tear gas grenade mortally wounded Business Administration student Lee Han-yeol (이한열) by penetrated his skull. In critical condition, Lee died on July 5, after the regime had agreed to the people's demands. After his death, he quickly became a symbol of the subsequent protests over the weeks that followed. On July 9, a national funeral was held for Lee and over one million citizens attended. The demonstrations forced the ruling government to hold elections and institute other democratic reforms which led to the establishment of the Sixth Republic, the present day government of South Korea. On June 10th, the military regime of President Chun Doo-hwan announced its choice of Roh Tae-woo as the next president. The public designation of Chun's successor was seen as a final affront to a delayed and deferred process to revise the South Korean constitution to permit direct election of the President. Although pressure on the regime, in the form of demonstrations by students and other groups, had been building for some time, the announcement finally triggered massive and effective protests. Unwilling to resort to violence before the 1988 Olympic Games, and (correctly) believing that Roh could win competitive elections anyway given divisions within the opposition, Chun and Roh acceded to the key demands of direct presidential elections and restoration of civil liberties. Although Roh was duly elected as president that December with a bare plurality, the democratic consolidation of South Korea was fully underway.

The film stars Kim Yoon-seok, Ha Jung-woo, Yoo Hae-jin, Kim Tae-ri, Park Hee-soon, Lee Hee-joon, and Kim Eui-sung. The lively and rousing performances of the film's versatile cast carries the film and its ever relevant pro-democracy message.

The film is a very hard to watch, although highly realistic film, that uses shock in order to present a clear political message. The film picks a subject ingrained in the Korean subconscious while retaining relevance.

Simon says 1987: When the Day Comes receives:


Monday, 15 January 2018

Film Review: "Paddington 2" (2017).


"Paddington is back. Join the adventure" in Paddington 2. This directed by Paul King, adapted by King and Simon Farnaby, and based on the stories of the character Paddington Bear, created by Michael Bond. It is the sequel to Paddington (2014). Paddington is happily settled with the Brown family in Windsor Gardens, where he has become a popular member of the community, spreading joy and marmalade wherever he goes. While searching for the perfect present for his beloved Aunt Lucy's 100th birthday, Paddington spots a unique pop-up book in Mr. Gruber's antique shop, and embarks upon a series of odd jobs to buy it. But when the book is stolen, it's up to Paddington and the Browns to unmask the thief.

In April 2015, producer David Heyman confirmed that a sequel was in development. In October 2015, it was announced that King would return to direct, and pen the script with Farnaby. By late October 2016, it was announced that Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, Peter Capaldi, Madeleine Harris, Samuel Joslin, and Imelda Staunton would return to reprise their roles. In addition, Hugh Grant, Brendan Gleeson, Joanna Lumley, Richard Ayoade, and Noah Taylor rounded out the film's cast. At the same time, principal photography commenced, and wrapped in late June 2017. Filming took place throughout England, especially at at Pinewood Studios and Warner Bros. Studios, Leavesden. Bond died on the last day of filming, and six months before the release of this movie, at the age of ninety-one.

The film stars Whishaw, Bonneville, Hawkins, Grant, Gleeson, Harris, Joslin, Walters, Broadbent, Capaldi, Lumley, Staunton, Gambon, Ayoade, and Taylor. Better story, better acting, better characters and better effects. All they need is to sort out the dialogue next time, and everyone's a winner. The three main leads, especially Whishaw, Bonneville, and Hawkins, have gained in confidence and grown nicely into their roles and all of the regular ensemble from the first film return.

Though perhaps more enchanting for younger audiences, Paddington 2 is nevertheless both a little darker and livelier than its predecessor, expanding and improving upon the first film's universe. King does a real wonderful job of being faithful to the story but also taking it into a cinematic era. It is funnier and more exciting than its predecessor, and adorned with some of the most stunning special effects ever. This time, the adventures of the world's most famous young wizard come mixed with a stiff dose of the menacing. Have no fear, you legions of Paddington fans: the film is a solid step forward in the movie adaptations of Bond's much-read books. The film is good enough to satisfy hard-core fans, even if it falls short of being truly transporting moviemaking. Despite its sophomoric awkwardness, the film is a welcome delivery of childlike wonder for a planet of ever- increasing ugliness. The film isn't perfect, but it's everything it should be: fun, exciting, humorous and stirring.

Simon says Paddington 2 receives:



Also, see my review for Paddington.

Sunday, 14 January 2018

Film Review: "The Post" (2017).



"'In the First Amendment the Founding Fathers gave the free press the protection it must have to fulfill its essential role in our democracy. The press was to serve the governed, not the governors.'" This is at the heart of The Post. This political thriller film directed by Steven Spielberg, and written by Liz Hannah and Josh Singer. The film explores the unlikely partnership between The Washington Post’s Katharine Graham, the first female publisher of a major American newspaper, and editor Ben Bradlee, as they race to catch up with The New York Times to expose a massive cover-up of government secrets that spanned three decades and four U.S. Presidents. The two must overcome their differences as they risk their careers – and their very freedom – to help bring long-buried truths to light.

In October 2016, Amy Pascal won a bid for the rights to Liz Hannah's first produced screenplay, which featured on the 2016 Black List of the most-liked scripts of the year. In March 2017, it was announced that Spielberg was in negotiations to direct and produce the film after halting pre-production of The Kidnapping of Edgardo Mortara, with Meryl Streep and Tom Hanks to star. Spielberg wanted to make and release the film as quickly as possible given the parallels between its theme and the burgeoning political 'fake news' climate in the U.S. The film would mark the first collaboration between, Spielberg, Streep, and Hanks. Spielberg worked on the film while post-production work continued on the visual effects-heavy Ready Player One (2018), a method he had previously used during the concurrent productions of Jurassic Park and Schindler's List in 1993. Josh Singer was hired to re-write the screenplay ten weeks before filming. Principal photography on the film began in late May in New York. In early June, it was announced that the project, retitled The Papers. In addition, Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford, and Zach Woods were cast. Filming concluded and post-production began in late July. In late August, the film's title reverted to The Post. Spielberg finished the final cut of the film in early November 2017, with the final sound mix also completed with the musical score a week later, in mid November. The gestation from script to final cut lasted a modest 9 months.

The film stars Streep and Hanks, with Paulson, Odenkirk, Letts, Whitford, Greenwood, Coon, Rhys, Brie, Cross, Letts, Plemons, Stuhlbarg, and Woods. The cast proved to be the best ensemble in any Spielberg film, even though their characterizations were razor-thin. Streep and Hanks proved to be solid leads together, and magnetic whenever they were in the scenes. 

The Post is a taut, solidly acted paean to the benefits of a free press and the dangers of unchecked power, made all the more effective by its origins in real-life events. A superbly crafted and engrossingly detailed account of The Washington Post journalists and their attempts to publish the Pentagon Papers.

Simon says The Post receives:



Also, see my review for The BFG.

Thursday, 11 January 2018

Film Review: "I, Tonya" (2017).



"There's no need to have class when you have talent." This perfectly encapsulates I, Tonya. This biographical film directed by Craig Gillespie and written by Steven Rogers. Based on the unbelievable, but true events, this is a darkly comedic tale of American figure skater, Tonya Harding, and one of the most sensational scandals in sports history. Though Harding was the first American woman to complete a triple axel in competition, her legacy was forever defined by her association with an infamous, ill-conceived, and even more poorly executed attack on fellow Olympic competitor Nancy Kerrigan.

Screenwriter Steven Rogers was inspired to write the film after watching a documentary about ice skating which mentioned Tonya Harding. Rogers successfully managed to secure interviews with Harding and ex-husband Jeff Gillooly. Both remembered the events of the 1994 attack on Nancy Kerrigan very differently. Rogers never had experience interviewing a real-life subject before the film. He initially called her agent to obtain the life rights to her story and got a Motel 6. When he finally tracked her down, he found her extremely forthcoming over a two-day interview. Harding didn't feel like she had anything to lose at that point. However, Rogers failed to secure an interview with Harding's mother LaVona Golden after tracking her down. The script was featured on the 2016 Black List of the most-liked scripts of the year. The script caught the attention of Robbie, who did not realize it was based on a real event until after she finished reading it. Immediately prior to filming, Robbie flew to Portland, Oregon to meet with Harding. Although a member of an amateur ice hockey league, Robbie didn't have that much skating experience before taking on the role. To prepare for the role and the skating scenes, Robbie trained for four months. Robbie trained with Sarah Kawahara - Nancy Kerrigan's former choreographer. Principal photography began in late January 2017 in Macon, Georgia. Throughout the shoot, Robbie suffered from a herniated disc in her neck, and had routine MRIs to ensure it was safe for her to continue filming skating scenes. Although Robbie trained for the role, she wasn't be able to do Harding's triple Axel, as very few people in the world are able to. Thus the choreography was achieved through Robbie's skating doubles, Heidi Munger and Anna Malkova, and CGI. Filming wrapped in March, with pickups in Atlanta in May.

Robbie stars as Harding, with Sebastian Stan, Allison Janney, Julianne Nicholson, Caitlin Carver, and Bobby Cannavale. The cast gave incredible performances from start to finish. Robbie gives an iconic turn as the fiery Harding. Janney gives a tour-de-force performance as Harding's acid-tongued mother. Both performances are sure to have awards coming their way.

Absurd, self-referential, and irreverent to a fault, I, Toyna finds Margot Robbie at their most infectiously dynamic. The film wants us to be interested in characters who appear to be dull people to start with, but made interesting by their delusions because what they did and what they truly are.

Simon says I, Tonya receives:



Also, see my review for Million Dollar Arm.

Wednesday, 10 January 2018

Film Review: "Molly's Game" (2017).


"Deal with her." For this is Molly's Game. This biographical crime drama film written and directed by Aaron Sorkin, in his directorial debut, and based on the memoir, Molly's Game: The True Story of the 26-Year-Old Woman Behind the Most Exclusive, High-Stakes Underground Poker Game in the World, by Molly Bloom. The film centres on Molly Bloom, a beautiful young Olympic-class skier, who ran the world's most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by seventeen FBI agents wielding automatic weapons. Her players included Hollywood royalty, sports stars, business titans, and finally, unbeknownst to her, the Russian mob. Her only ally was her criminal defense lawyer Charlie Jaffey, who learned that there was much more to Molly than the tabloids led us to believe.

In mid November 2014, The Mark Gordon Company bought the feature film adaptation rights to Molly Bloom's memoir with Sorkin hired to adapt the memoir. In early 2016, it was announced that Sorkin would make his directorial debut on the film. By early November, Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Jeremy Strong, Chris O'Dowd, and Bill Camp were cast. Chastain was both Bloom and Sorkin's first choice to play Bloom herself. At the same time, principal photography commenced, and wrapped in early February 2017. Filming took place in Toronto, Ontario, Canada. Due to Sorkin's desire for realism, right down to the way players handled cards during games, all of the extras in the card games were professional poker players.

The film stars Chastain, Elba, Costner, Cera, Strong, O'Dowd, Camp, and Greene. The film gave stunning knockout performances, especially Chastain. Chastain doesn't just closely physically resemble the woman, but she also fully delivers the essentials of how we have come to perceive the man. The cast vanishes into their parts, buried under makeup and a distinctive New York accents, Elba's chameleonesque transformation is bested only by Chastain, whose vivid expressions and constant movement turn him into a physical marvel.

Like the former Olympic-class skier turned underground poker empire owner co-founded by its subject, Molly's Game enlists brilliant writer Aaron Sorkin to deliver a product whose elegance belies the intricate complexities at its core. Sorkin's direction temperamentally complements his highly theatrical three-act study. The film is a wildly creative fantasia, a brilliant, maddening, ingeniously designed and monstrously self-aggrandizing movie. The film is a kind of talk opera. Sorkin overkill but the same could be said for the best of them: David Mamet, Edward Albee, Paddy Chayefsky and even William Shakespeare. Sorkin is not trying to do anything but write in his own style, thus this film and its exceptional dialogue leaves its mark as profoundly as Jobs himself left his. Despite the film constantly informing you of just how incredibly important everything all is, it's surprisingly interesting how we truly care about what's taking place. Sorkin lacks the usual whirlwind editing styles of Fincher and Boyle, and instead develops an engrossing chamber piece.

Simon says Molly's Game receives:


Tuesday, 9 January 2018

Film Review: "Phantom Thread" (2017).


From the director of There Will Be Blood and The Master comes Phantom Thread. This romantic period drama film written and directed by Paul Thomas Anderson. Set in the glamour of 1950s post-war London, renowned dressmaker Reynolds Woodcock and his sister Cyril are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock's life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma, who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love.

Anderson got the initial idea for the film while he was sick in bed one day. His wife, Maya Rudolph, was tending to him and gave him a look that made him realize that she had not looked at him with such tenderness and love in a long time. Anderson was later fascinated by the fashion industry after reading about designer Cristóbal Balenciaga. For the lead character of Reynolds Woodcock, Anderson loosely based him on English-American fashion designer, Charles James. By late January 2017, Daniel Day-Lewis, Vicky Krieps, Lesley Manville, Camilla Rutherford, Gina McKee, Brian Gleeson, and Harriet Sansom Harris were cast. In preparation for the film, Daniel Day-Lewis watched archival footage of 1940s and 1950s fashion shows, studied famous designers, consulted with the curator of fashion and textiles at the Victoria and Albert Museum in London, and apprenticed under Marc Happel, head of the costume department at the New York City Ballet. He also learned how to sew, and he practiced on his wife Rebecca Miller, trying to recreate a Balenciaga sheath dress that was inspired by a school uniform. At the same time, with a budget of $35 million, principal photography commenced, and wrapped in late April. Filming took place throughout England. In June 2017, it was reported that Anderson would be serving as his own cinematographer on the film as his regular cinematographer Robert Elswit was unavailable during production. However, Anderson refuted the claim in November, stating that there is no official credit for the cinematography and that it was a "collaborative effort". Anderson and Bauman pushed their 35mm film stock and filled the frame with haze in order to "dirty up" the image. In addition, it was announced that Day-Lewis would retire from acting after this film.

The film stars Day-Lewis, Krieps, Manville, Rutherford, McKee, Gleeson, and Harris. Terrific performances were given by the cast, especially Day-Lewis, Krieps, and Manville. Though Day-Lewis seethes juicily in his final role, under the weight of all that allegory, Woodcock steadily grows more docile and less fascinating, wasting away to just a cackle and an empty leer.

Phantom Thread was so good that it's making me rethink those last six PTA features. An amazing study of power, control and relationship dynamics, expertly crafted by Anderson. The cinematography is breathtaking and the score by Jonny Greenwood is mesmerizingly original.

Simon says Phantom Thread receives:



Also, see my review for The Master.

Tuesday, 2 January 2018

'Once Upon a Time in Canada' Chapter 31.

You have to admit that I have done a good job. You have to agree with me on this one, I’m living in a nice apartment with good roommates, I’ve made a bunch of friends, and, most importantly, I’ve got a job. Not a great job, but a job nonetheless. And all by New Years Day 2018!

At first, after arriving in Toronto, I thought things weren’t going to work out, and I would have to pack up my bags and go home with my tail between my legs. But after six months of hard work and perseverance, luckily, that wasn’t the case. But I’ve still got a long way to go, so I’ve still got a lot of work to do.

But I believe that, for this year, I can do better. Even if it takes me months and months to get there. But it should all pay off, eventually. I have some time. Seventeen months to be exact. I guess I can’t slow down, nor can I take risky chances for what is essentially my one chance at a second chance.

But enough of that, I got to celebrate the New Year with a nice Korean BBQ dinner, at Korean Grill House on Queen Street, in the evening. After my mundane day of resting and grocery shopping, of course. I know what you’re asking, "Did you celebrate with friends?" Like I said before, they’re all away with their families. I wish they were here with me. Anyways, I guess all that matters is that I’ve made it to 2018.

Also, see Chapters 30 and 32.