Author Archives: EveHelena

Kevin Isbell Brings New Life to a Spanish Revival Bungalow

Kevin Isbell Brings New Life to a Spanish Revival Bungalow

A Charming Spanish Revival Bungalow For Sale in Austin - Hooked on Houses

“As soon as I saw that giant shuttered window, there was no turning back,”

says designer Kevin Isbell of the Spanish Revival home in the Fairfax neighborhood

of Los Angeles that he and his partner, Gianantonio Corna, now call home. But this wasn’t just any switch of street addresses:

With the move, Isbell officially relocated his New York design practice to the West Coast. So, that is to say,

those shutters were good enough to inspire a cross-country move.

Isbell was immediately smitten with the architecture of the home

(“it’s a style you just don’t get in New York,” he says) and set about creating a design

scheme that honored those bones while reflecting his own style.

“A lot of these old bungalow are getting sold and knocked down to build behemoth houses,”

says the designer. His process was the opposite:

Maintain the original charm while making minimal changes to create a comfortable,

personality-filled living space — all while working with an almost entirely blank canvas

(Isbell only moved a small amount of his belongings with him

, opting instead to source locally for his new home). Here’s how he did it. สถาปนิก

7 Cool Kitchen Gadgets That Would Make Your Life Easier

7 Cool Kitchen Gadgets That Would Make Your Life Easier
This jumbo kitchen gadget compilation has all the latest inspiration you could need, whether you’re looking to round out your own collection, decorating a newly remodeled kitchen, or searching for a last-minute housewarming gift or a thoughtful present for a talented chef – there’s something here for anybody and everybody. Kitchen tools are always a great and useful investment because everybody eats, after all! Even for those who don’t necessarily enjoy cooking, it’s still nicer to spend time in stylish kitchens and it’s always easier if you have the tools to make the process as pleasant and enjoyable as possible.

Separate whites and yolks with precision – just crack the egg into a bowl, and use the colorful silicone fish to suction up the yolk. It couldn’t get any easier than that! And this cheerful little guy is much cuter than any of the industrial devices out there.

Kids and adults alike can’t resist an adorable stylized breakfast. These egg molds are made of silicone so they won’t scratch the pan, and the flexibility offers an easy release for a neat form every time. If you know any parents caring for picky eaters, this little tool just might make all the difference. They also work for pancakes!

Slice a whole banana at once with this handy banana-shaped slicer! It’s a great way to get kids involved in preparing their own snacks – no knife needed.

Apple slicers are must-have tools for anyone who likes to snack, dip, bake, and arrange tasty apple snacks. The Calphalon Easy Grip slicer has the added benefit of large sturdy handles for easier slicing, with a raised construction so you don’t rap your knuckles on the cutting board.

Watch the gears turn as this transparent apple peeler cuts the skin from the apple like a knife through butter. A spring-loaded mechanism fits the shapes of apples of any size. And no engineer or mechanic would be able to resist this gadget as a gift.

It’s automatic, adjustable, and comes with built-in storage for the spare blades… what’s not to love? Of course, the Rotato Express does more than just potatoes – the robotic arm adjusts easily to any small to medium sized fruit or vegetable.

Spiraling can be a tricky technique to master by hand. The Brieftons tri-blade vegetable spiralizer includes an angel hair blade, a spaghetti blade, and a flat blade – a versatile combination. Brieftons claim to fame is their lifetime “heaviest and sturdiest” guarantee. ออกแบบบ้าน

Reviews Logan Is “Logan” more powerful because of what the superhero

Reviews Logan Is “Logan” more powerful because of what the superhero

Logan Font | Hyperpix

Is “Logan” more powerful because of what the superhero genre has delivered over the last decade?

Does it seem both groundbreaking and classic because it doesn’t feel like a modern superhero movie,

especially those with the Marvel brand? Don’t worry.

I’m not going to dissect the flaws of the Marvel and DC brands,

but it’s undeniable that the modern superhero movie has relied on CGI,

particularly in final acts comprised almost entirely of apocalyptic explosions.

And so many of them have served as bridges between franchise entries

that one feels like they’re constantly watching previews for the next movie instead of experiencing the one they’re watching.

“Logan” has stakes that feel real, and fight choreography that’s fluid and gorgeous instead

of just computer-generated effects. Most importantly, “Logan” has characters with which you identify and about whom you care.

It’s not just “great for a superhero movie,” it’s a great movie for any genre. อ่านต่อ


Reviews parasite It’s so clichéd at this point in the critical

Reviews parasite It’s so clichéd at this point in the critical

Parasite review: A chilling thrill ride about inequality - Vox

It’s so clichéd at this point in the critical conversation during the hot take season of festivals to say,

“You’ve never seen a movie quite like X.”

Such a statement has become overused to such a degree that it’s impossible to be taken seriously,

like how too many major new movies are gifted the m-word: masterpiece.

So how do critics convey when a film truly is unexpectedly,

brilliantly unpredictable in ways that feel revelatory?

And what do we do when we see an actual “masterpiece” in this era of critics crying wolf?

Especially one with so many twists and turns that the best writing about it

will be long after spoiler warnings aren’t needed? I’ll do my best because Bong Joon-ho’s

“Parasite” is unquestionably one of the best films of the year. Just trust me on this one.

Bong has made several films about class (including “Snowpiercer” and “Okja”),

but “Parasite” may be his most daring examination of the structural inequity that has come to define the world.

It is a tonal juggling act that first feels like a satire—a comedy of manners

that bounces a group of lovable con artists off a very wealthy family of awkward eccentrics.

And then Bong takes a hard right turn that asks us what we’re watching and sends us hurtling to bloodshed.

Can the poor really just step into the world of the rich?

The second half of “Parasite” is one of the most daring things I’ve seen in years narratively.

The film constantly threatens to come apart—to take one convoluted turn too many in ways that sink the project—but

Bong holds it all together, and the result is breathtaking.

Kim Ki-woo (Choi Woo-sik) and his family live on the edge of poverty.

They fold pizza boxes for a delivery company to make some cash, steal wi-fi from the coffee shop nearby,

and leave the windows open when the neighborhood is being fumigated to deal with their own infestation.

Kim Ki-woo’s life changes when a friend offers to recommend him as an English tutor for a girl

he’s been working with as the friend has to go out of the country for a while.อ่านต่อ

Reviews Mad Max: Fury Road George Miller’s “Mad Max” films

Reviews Mad Max: Fury Road George Miller’s “Mad Max” films

Best 2010s car chase movies: From John Wick to Mad Max | British GQ

George Miller’s “Mad Max” films didn’t just make Mel Gibson a star—they completely
transformed post-apocalyptic entertainment with their visceral stunt work and singular vision of an increasingly desperate future.
Three decades after the last film, the oft-maligned “Mad Max Beyond Thunderdome,”
Miller finally returns to this desolate landscape for the highly-anticipated “Mad Max: Fury Road,”
recasting the title role in the grizzled visage of Tom Hardy and upping the stakes
with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect.
From its very first scenes, “Fury Road” vibrates with the energy of a veteran filmmaker working at the top of his game,
pushing us forward without the cheap special effects or paper-thin characters that have so often defined the modern summer blockbuster.
Miller hasn’t just returned with a new installment in a money-making franchise.อ่านต่อ


Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Reviews A tiger can crowd a lifeboat Ang Lee’s “Life of Pi” is a miraculous

Life of Pi - A Film - Life of Pi

Ang Lee’s “Life of Pi” is a miraculous achievement of storytelling and a landmark of visual mastery.
Inspired by a worldwide best-seller that many readers must have assumed was unfilmable,
it is a triumph over its difficulties. It is also a moving spiritual achievement,
a movie whose title could have been shortened to “life.”
The story involves the 227 days that its teenage hero spends drifting across the Pacific in a lifeboat with a Bengal tiger.
They find themselves in the same boat after an amusing and colorful prologue,
which in itself could have been enlarged into an exciting family film.
Then it expands into a parable of survival, acceptance and adaptation. I imagine even Yann Martel,
the novel’s French-Canadian author, must be delighted to see how the usual kind of
Hollywood manhandling has been sidestepped by Lee’s poetic idealism.

The story begins in a small family zoo in Pondichery, India, where the boy christened Piscine is raised.

Piscine translates from French to English as “swimming pool,” but in an India where many more speak English than French,

his playmates of course nickname him “pee.” Determined to put an end to this, อ่านต่อ


Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Why Gone Girl's Amy Dunne is the Most Disturbing Female Villain of All Time | Psych of a Psycho - YouTube

“Gone Girl” is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
It is also a film that shifts emphasis and perspective so many times that you may feel as though you’re watching five short movies strung together,
each morphing into the next.
At first, “Gone Girl” seems to tell the story of a man who might or might not have killed somebody,
and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people
who believe in his innocence can’t help wondering. His name is Nick Dunne (Ben Affleck). He’s a college professor and a blocked writer.
His dissatisfied wife Amy (Rosamund Pike) disappears one day,
prompting local cops to open a missing persons case that becomes a murder investigation
after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy’s diary,
read in voice-over by Amy and accompanied by flashbacks,
hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway).
Were things ever really all that sunny, though? If they weren’t,

which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives

(Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy’s case?

Can we trust what Amy tells us, via her diary? Is one of the spouses lying?

Are they both lying? If so, to what end?

The film raises these questions and others, and it answers nearly all of them,

often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be.

As directed by David Fincher (“Se7en,” “Zodiac”) and as adapted by Gillian Flynn from her bestselling potboiler,

“Gone Girl” suggests one of those overheated,

fairly comic-bookish “R”-rated thrillers that were everywhere in the late ’80s and early ’90s.

Like those sorts of pictures, “Gone Girl” is dependent upon reversals of expectation and point-of-view.

As soon as you get a handle on what it is, it becomes something else, then something else again.

Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn’t read Flynn’s book. อ่านต่อ


The first time we see Michael Keaton in his tighty-whities in “Birdman”


The first time we see Michael Keaton in his tighty-whities in “Birdman”
it’s from behind. His character, a formerly high-flying movie star, is sitting in the lotus position in his dressing room of a historic Broadway theatre, only he’s levitating above the ground.
Bathed in sunlight streaming in from an open window, he looks peaceful.
But a voice inside his head is growling, grumbling,
gnawing at him grotesquely about matters both large and small.
The next time we see Keaton in his tighty-whities in “Birdman,”

he’s dashing frantically through Times Square at night, having accidentally locked himself out of that same theatre in the middle of a performance of a Raymond Carver production that he stars in, wrote and directed.

He’s swimming upstream through a river of gawking tourists, autograph seekers, food carts and street performers.

But despite the chaos that surrounds him, he seems purposeful, driven and–for the first time–oddly content.

These are the extremes that director Alejandro G. Inarritu navigates with audacious ambition and spectacular skill

in “Birdman”–the full title of which is “Birdman or (The Unexpected Virtue of Ignorance).” อ่านต่อ

Film Review Baby Driver : Baby Driver is a concerto

Film Review Baby Driver : Baby Driver is a concerto

Movie Review: Baby Driver & Dunkirk | Destination KSA

Poetry before prose. Baby Driver is a concerto in sixth gear and an adrenaline shot to the heart.
Better films may release this year,
but it’s difficult to imagine any supplying cinematic joy in such generous doses.
If Fury Road was Wagner on wheels, this chrome wheeled,
fuel injected musical is Beethoven’s Ninth.
That Edgar Wright is responsible for it is hardly surprising. Few directors since Steven
Spielberg have been able to marshal this convincingly
the various tricks of cinema for the purposes of pure entertainment.
Each whip pan, every tracking shot is deployed for maximum impact.
In an age of bewilderingly quick editing,
Wright seems to cut at exactly the right moment—and to elicit a reaction.
A breathless one-take might be followed by a chopped-up chase:
whatever makes the scene work, the material sing.

All this trickery is grounded in the familiarity of genre.
Baby Driver is, essentially, a “one last job and I’m out” movie,
a scenario that’s as central to the heist narrative as
the exercise montage is to the sports film. Baby (Ansel Elgort) is a getaway driver,
a prodigiously talented young man with a quirk: he must have music—his music,
spread over multiple iPods—playing in his ears constantly,
to drown out the tinnitus that’s dogged him ever since an accident when he was little.
He’s in debt to Doc (Kevin Spacey),
a crime boss whose car he mistakenly stole and who’s extracting payment for that one heist at a time.

In 1973, George Lucas introduced the idea of a mixtape soundtrack with American Graffiti,
and Martin Scorsese timed Harvey Kietel’s head hitting
the pillow in Mean Streets to the pistol-shot opening of Be My Baby.
The backbeat of rock has been a fixture in American film-making ever since, yet,
even within this tradition, Wright does something unique,
using Baby’s tinnitus to create a wholly convincing rock musical.
Movement is inextricably linked to sound, only, instead of just having bodies in motion,
Wright makes the entire screen move to the beat.
Screeching tires blend with guitar solos, fingers drum in time to the percussion.
Elgort dances, the camera dances,
the film seems to dance too. อ่านต่อ

Reviews Arrival about the recent surge of personal stories

Reviews Arrival about the recent surge of personal stories

Arrival -

Much has been written about the recent surge of personal stories being told through the horror genre in films like “It Follows,”
“The Witch” and “The Babadook,” but there’s an equally interesting trend in the science fiction genre as well.
Over the last few years, we’ve seen the genre used not only to examine the power of space travel or a post-apocalyptic future
but as a way to address common humanity more than futuristic adventure stories. Joining films like “Gravity,”
“Interstellar” and “The Martian” is Denis Villeneuve’s ambitious and moving “ Arrival ,”
a movie that’s about the day the universe changed forever but becomes more focused on a single story even as it’s expanding its worldwide narrative.

It is more about grief, time, communication and compassion than it is warp speed, and it’s a film that asks questions.

How do we approach that which terrifies us? Why is it important to communicate through language and not action? อ่านต่อ