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A funny 2D infinite runner it´s coming, meet ‘Steve’, you new friend that lives in your...
Bob Mann (459 KP) rated Jackie (2016) in Movies
Sep 29, 2021
Spoiler! Her husband gets shot.
“Jackie” tells the story of the spiralling grief, loss and anger of Jackie Kennedy driven by the assassination of JFK in Dallas in November 1963. Hopping backwards and forwards in flashback, the film centres on the first interview given by Jackie (Natalie Portman, “Black Swan”) to a ‘Time’ journalist (Billy Crudup, “Watchmen”, “Spotlight”).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Purple Phoenix Games (2266 KP) rated The Bloody Inn in Tabletop Games
Feb 12, 2022
It’s cliche to post a game review like this so near to Halloween, so I will probably hold off on that. However, what a perfect game to go along with the macabre tone of the Halloween season! Get this: you and your family own a motel in a small town where many travelers stop to rest. You are strapped for cash, so what is a logical step in achieving wealth? Of course! Murdering and robbing your customers upon their stays! No? Not a typical business model? Unsustainable? Pfft. You just aren’t robbing the right customers…
The Bloody Inn is a card-drafting, hand management, horror game of recruiting accomplices and having them carry out dastardly deeds to secure the most money at the end of the game. In it, players take on the roles of one of the inn’s staff members and control pawns in their evil schemes in order to swindle and kill for mountains of francs (it’s set in France, pre-Euro).
To setup, place the main board on the table, give each player the components of their color choice, two Peasant cards, a 10 franc (f) check, and a player aid card. The “traveler deck” is assembled and shuffled per the rules, and placed on the Entrance side of the board. Players choose one room to place a key token in their color, and several gray neutral key tokens are placed in other rooms. Unsuspecting travelers will be staying in these rooms each night. Per the rules, the greediest player is given the first player card and the mischief may begin!
The Bloody Inn is played over several rounds, and each round has players completing three phases: Welcome Travelers, Player Actions, and End of Round. Players will Welcome Travelers to signify the start of the round by the first player drawing one card from the deck at a time and choosing in which room they will be placed.
After Travelers have been welcomed and turn in for the evening, the second phase may begin: Player Actions. In turn order players will be able to perform two actions each round. Players may choose from five different actions, and actions can be repeated for the second action of the round. Players may Bribe a Guest by discarding cards from hand equal to the printed value on the target card’s front. Initially all players simply employ the two starter Peasants, so Bribing is only performed on cards that show a value of 0-2. When a player Bribes a guest, they essentially spend cards from hand to recruit the new guest to their employ. These new employees (accomplices) are then available to be used on future actions. One or two Peasants may also be Bribed from the bistro, adding to a player’s hand of usable human resources.
A player may instead choose to Kill a Guest by similarly discarding the appropriate number of accomplices and adding the freshly-slain guest to their tableau, face-down. The card backs feature a coffin with their “rank” (action number) printed on it. Corpses normally cause no issues, but they will need to be buried under an Annex in order to collect the money in their pockets. Players may use an action to Build an Annex by discarding the appropriate number of accomplices and using a card from hand to build and staff the Annex. Annexes can be used for the action printed on the card bottom, and/or as a housing for corpses, with the Corpses being sent to any player’s Annex via the Bury a Corpse action. Discard the requisite number of accomplices to bury a corpse, and avoid suspicion from the Law.
If none of these actions are attractive to the player, or if they simply wish, they may instead Pass and launder money from the village notary. To do this, either reduce the number of francs from the Wealth Track on the main board in order to gain a 10f check, or turn in a check for 10f on the Wealth Track.
Once all players have taken their two actions, the End of Round is performed. Firstly, if any Travelers remain belonging to the Police type (signified by pistol icons on the top of the card), they will conduct an investigation, finding any unburied corpses. Should a corpse be found in this way, the owning player will need to pay 10f for the local undertaker to dispose of the body respectfully. This not only costs the player 10f, but also the amount of money that could have been gained if they had only buried them or dealt with the Police traveler prior. Next, the Travelers who remain all wake up feeling refreshed and leave the inn by being placed in the discard pile. Once the board has been cleared of all Travelers, accomplices must be paid their wages for their help. For each accomplice in hand, the players must pay 1f from the Wealth Track.
Play continues in this fashion until the main Traveler deck has been depleted twice. Then, players add up their francs and the player with the most in francs and checks is the winner, and just the greatest little murderer/robber/briber in all the land!
Components. This game really has a modest amount of components, but they are all similarly great quality. The main board acts as the inn’s room display, the Wealth Track, AND the bistro (where Peasants are discarded, as opposed to being placed in the normal discard pile). I love when components pull double or triple duty. That said, the player aids not only remind the players of the phases and actions from which they may choose, but it also provides the player with a starter Annex that can be used to bury their first corpse! HOW COOL IS THAT?! However, the greatest thing that stands out in regards to the components is the overall look and feel of the game. The character artist for this one is Weberson Santiago, and he has also illustrated games such as the new Quest (the new version of The Resistance: Avalon), Coup, and the new Whirling Witchcraft. I adore his art style, even though I shouldn’t. My typical preference of character art is semi-realism (like that of Kwanchai Moriya), but this style is really unique and perfectly applied to the theme. Great matchup of artist and game here. I do have one silly wish for this game: PLEASE change the player colors. I mean, I am so tired of having the choice between red, blue, green, and yellow. Take a Cue from my good friend Scott Brady and use one of the more interesting color choices. I mean, even to fit in with the theme here a more appropriate palette could include a brown, black, orange, and yellow or something. Be bold!!
I knew right away that this was a great game for me. Yes, the theme is super dark and macabre, which is rare for me to enjoy, but I would only play this with adults anyway so I am unbothered by it. However, the puzzle that lies within this box is one that I thoroughly enjoy solving every round. What I neglected to mention up top is the fact that when actions are taken (Bribing, Killing, Building Annexes, and Burying Corpses) if you happen to have certain card types in hand, then the cost of discards is reduced by the number of cards present. For example, if I were to Bribe a Police card from the rooms in my first action, they have an affinity for killing (messed up, I know) and will thus help me to perform a Kill action on the next turn by reducing the number of accomplices I would need to discard for that action. Side benefit: by taking the Police Travelers off the board, they then will not perform their investigations in the morning.
Another aspect I truly enjoy about The Bloody Inn is that many cards have that dual-purpose mechanic I appreciate. The player aid is also an Annex. Brilliant! Many of the Annex cards can also offer one-time or recurring powers. It’s just so satisfying to grab cards that can combo well with each other in order to fulfill your evil plans. Every card is important, and when they can offer more than one benefit, I am a happy gamer.
I cannot express how happy I am to have decided to purchase this one. I have seen the BGG ratings and rankings, but always thought I wouldn’t like it due to its very adult theme, but boy was I wrong! This is one of the best games I have played recently and I hope to even bling it out a bit, maybe even with new player colors like I suggested earlier. Laura and my wife were able to join me for this one and they agree with me – this one is excellent and definitely worth consideration into anyone’s collection. Purple Phoenix Games gives this one a dastardly 15 / 18. Yeah, it’s perfect for Halloweentime, but also for ANY time. If you are looking for something a little grim and grisly with lighter rules and lots of interesting choices, you need to check out The Bloody Inn. Grab lots of Police cards and go on a killing spree for me!
The Bloody Inn is a card-drafting, hand management, horror game of recruiting accomplices and having them carry out dastardly deeds to secure the most money at the end of the game. In it, players take on the roles of one of the inn’s staff members and control pawns in their evil schemes in order to swindle and kill for mountains of francs (it’s set in France, pre-Euro).
To setup, place the main board on the table, give each player the components of their color choice, two Peasant cards, a 10 franc (f) check, and a player aid card. The “traveler deck” is assembled and shuffled per the rules, and placed on the Entrance side of the board. Players choose one room to place a key token in their color, and several gray neutral key tokens are placed in other rooms. Unsuspecting travelers will be staying in these rooms each night. Per the rules, the greediest player is given the first player card and the mischief may begin!
The Bloody Inn is played over several rounds, and each round has players completing three phases: Welcome Travelers, Player Actions, and End of Round. Players will Welcome Travelers to signify the start of the round by the first player drawing one card from the deck at a time and choosing in which room they will be placed.
After Travelers have been welcomed and turn in for the evening, the second phase may begin: Player Actions. In turn order players will be able to perform two actions each round. Players may choose from five different actions, and actions can be repeated for the second action of the round. Players may Bribe a Guest by discarding cards from hand equal to the printed value on the target card’s front. Initially all players simply employ the two starter Peasants, so Bribing is only performed on cards that show a value of 0-2. When a player Bribes a guest, they essentially spend cards from hand to recruit the new guest to their employ. These new employees (accomplices) are then available to be used on future actions. One or two Peasants may also be Bribed from the bistro, adding to a player’s hand of usable human resources.
A player may instead choose to Kill a Guest by similarly discarding the appropriate number of accomplices and adding the freshly-slain guest to their tableau, face-down. The card backs feature a coffin with their “rank” (action number) printed on it. Corpses normally cause no issues, but they will need to be buried under an Annex in order to collect the money in their pockets. Players may use an action to Build an Annex by discarding the appropriate number of accomplices and using a card from hand to build and staff the Annex. Annexes can be used for the action printed on the card bottom, and/or as a housing for corpses, with the Corpses being sent to any player’s Annex via the Bury a Corpse action. Discard the requisite number of accomplices to bury a corpse, and avoid suspicion from the Law.
If none of these actions are attractive to the player, or if they simply wish, they may instead Pass and launder money from the village notary. To do this, either reduce the number of francs from the Wealth Track on the main board in order to gain a 10f check, or turn in a check for 10f on the Wealth Track.
Once all players have taken their two actions, the End of Round is performed. Firstly, if any Travelers remain belonging to the Police type (signified by pistol icons on the top of the card), they will conduct an investigation, finding any unburied corpses. Should a corpse be found in this way, the owning player will need to pay 10f for the local undertaker to dispose of the body respectfully. This not only costs the player 10f, but also the amount of money that could have been gained if they had only buried them or dealt with the Police traveler prior. Next, the Travelers who remain all wake up feeling refreshed and leave the inn by being placed in the discard pile. Once the board has been cleared of all Travelers, accomplices must be paid their wages for their help. For each accomplice in hand, the players must pay 1f from the Wealth Track.
Play continues in this fashion until the main Traveler deck has been depleted twice. Then, players add up their francs and the player with the most in francs and checks is the winner, and just the greatest little murderer/robber/briber in all the land!
Components. This game really has a modest amount of components, but they are all similarly great quality. The main board acts as the inn’s room display, the Wealth Track, AND the bistro (where Peasants are discarded, as opposed to being placed in the normal discard pile). I love when components pull double or triple duty. That said, the player aids not only remind the players of the phases and actions from which they may choose, but it also provides the player with a starter Annex that can be used to bury their first corpse! HOW COOL IS THAT?! However, the greatest thing that stands out in regards to the components is the overall look and feel of the game. The character artist for this one is Weberson Santiago, and he has also illustrated games such as the new Quest (the new version of The Resistance: Avalon), Coup, and the new Whirling Witchcraft. I adore his art style, even though I shouldn’t. My typical preference of character art is semi-realism (like that of Kwanchai Moriya), but this style is really unique and perfectly applied to the theme. Great matchup of artist and game here. I do have one silly wish for this game: PLEASE change the player colors. I mean, I am so tired of having the choice between red, blue, green, and yellow. Take a Cue from my good friend Scott Brady and use one of the more interesting color choices. I mean, even to fit in with the theme here a more appropriate palette could include a brown, black, orange, and yellow or something. Be bold!!
I knew right away that this was a great game for me. Yes, the theme is super dark and macabre, which is rare for me to enjoy, but I would only play this with adults anyway so I am unbothered by it. However, the puzzle that lies within this box is one that I thoroughly enjoy solving every round. What I neglected to mention up top is the fact that when actions are taken (Bribing, Killing, Building Annexes, and Burying Corpses) if you happen to have certain card types in hand, then the cost of discards is reduced by the number of cards present. For example, if I were to Bribe a Police card from the rooms in my first action, they have an affinity for killing (messed up, I know) and will thus help me to perform a Kill action on the next turn by reducing the number of accomplices I would need to discard for that action. Side benefit: by taking the Police Travelers off the board, they then will not perform their investigations in the morning.
Another aspect I truly enjoy about The Bloody Inn is that many cards have that dual-purpose mechanic I appreciate. The player aid is also an Annex. Brilliant! Many of the Annex cards can also offer one-time or recurring powers. It’s just so satisfying to grab cards that can combo well with each other in order to fulfill your evil plans. Every card is important, and when they can offer more than one benefit, I am a happy gamer.
I cannot express how happy I am to have decided to purchase this one. I have seen the BGG ratings and rankings, but always thought I wouldn’t like it due to its very adult theme, but boy was I wrong! This is one of the best games I have played recently and I hope to even bling it out a bit, maybe even with new player colors like I suggested earlier. Laura and my wife were able to join me for this one and they agree with me – this one is excellent and definitely worth consideration into anyone’s collection. Purple Phoenix Games gives this one a dastardly 15 / 18. Yeah, it’s perfect for Halloweentime, but also for ANY time. If you are looking for something a little grim and grisly with lighter rules and lots of interesting choices, you need to check out The Bloody Inn. Grab lots of Police cards and go on a killing spree for me!
Purple Phoenix Games (2266 KP) rated Sagrada in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
In Sagrada, you are an artist who has been tasked with creating a beautiful stained glass window. Working piece by piece, you build a masterpiece – the likes of which have never before been witnessed. Finding the perfect pieces can be tricky, but through careful use of your tools and with your artistic vision, you can create the best window in the town! The game is played over 10 rounds in which players draft dice and place them in their windows, following certain placement restrictions. A set number of tools are available for use, and can aid you in manipulating the dice to your benefit. Points are scored based on successful completion of private and public objectives, and the player with the highest score at the end of 10 drafting rounds is the winner!
My favorite part about playing Sagrada solo is that the game is essentially played the same way, regardless of player count. The only difference is how you win! In both group and solo play, each player will draft two dice every round. In group play, any leftover dice are discarded, while in solo play, the remaining two dice will be added towards the Target Score – the score you are trying to beat at the end of the game! To find the Target Score, you add all of the die values of your unused dice from each round. If, at the end of the 10 rounds, you have earned more points than the Target Score, you win! But if the Target Score is higher than your final score, you lose.
The game play differences are simple enough, but actually winning the game solo is a different story. I have played Sagrada solo quite a bit, and have won maybe 25% of the time. Depending on which window card and objectives are in play, and because of placement restrictions, I often have to sacrifice high-valued dice to the Target Score. And since there are no placement restrictions for the Target Score, and two dice are added to it each round, it is very easy for that score to sky-rocket. I either barely pull off a win, or I lose by a huge margin. Playing in a group is nicer in this regard because the other players have the same placement restrictions that I have – nobody is just getting points for free. Without the Target Score, there really is no way to play Sagrada solo, but it makes the game feel a little imbalanced to me.
Just because it is difficult to win solo does not mean that I do not like the game. It requires quite a bit of strategy, and that keeps me engaged for the entire game. There are dice placement restrictions based on color AND value, so there are two different ways in which you have to constantly be strategizing. You can’t just focus on either value or color – your strategy must always be changing based on which color dice are drawn and what values are subsequently rolled. Even with the amount of strategy required, Sagrada actually plays pretty quickly as a solo game, and I really like that. I like the challenge of this game, and often try to play until I can win. Since I can finish an entire solo game in probably 10-15 minutes, I am able to get multiple plays in a row!
Sagrada is a challenging game to play solo, but not in a way that feels futile. I don’t win a lot, but the strategic implications and the pretty dice colors are what keep me coming back to this game! If you haven’t tried Sagrada solo yet, I’d encourage you to give it a shot. But be warned – you might not always win.
https://purplephoenixgames.wordpress.com/2019/02/26/solo-chronicles-sagrada/
In Sagrada, you are an artist who has been tasked with creating a beautiful stained glass window. Working piece by piece, you build a masterpiece – the likes of which have never before been witnessed. Finding the perfect pieces can be tricky, but through careful use of your tools and with your artistic vision, you can create the best window in the town! The game is played over 10 rounds in which players draft dice and place them in their windows, following certain placement restrictions. A set number of tools are available for use, and can aid you in manipulating the dice to your benefit. Points are scored based on successful completion of private and public objectives, and the player with the highest score at the end of 10 drafting rounds is the winner!
My favorite part about playing Sagrada solo is that the game is essentially played the same way, regardless of player count. The only difference is how you win! In both group and solo play, each player will draft two dice every round. In group play, any leftover dice are discarded, while in solo play, the remaining two dice will be added towards the Target Score – the score you are trying to beat at the end of the game! To find the Target Score, you add all of the die values of your unused dice from each round. If, at the end of the 10 rounds, you have earned more points than the Target Score, you win! But if the Target Score is higher than your final score, you lose.
The game play differences are simple enough, but actually winning the game solo is a different story. I have played Sagrada solo quite a bit, and have won maybe 25% of the time. Depending on which window card and objectives are in play, and because of placement restrictions, I often have to sacrifice high-valued dice to the Target Score. And since there are no placement restrictions for the Target Score, and two dice are added to it each round, it is very easy for that score to sky-rocket. I either barely pull off a win, or I lose by a huge margin. Playing in a group is nicer in this regard because the other players have the same placement restrictions that I have – nobody is just getting points for free. Without the Target Score, there really is no way to play Sagrada solo, but it makes the game feel a little imbalanced to me.
Just because it is difficult to win solo does not mean that I do not like the game. It requires quite a bit of strategy, and that keeps me engaged for the entire game. There are dice placement restrictions based on color AND value, so there are two different ways in which you have to constantly be strategizing. You can’t just focus on either value or color – your strategy must always be changing based on which color dice are drawn and what values are subsequently rolled. Even with the amount of strategy required, Sagrada actually plays pretty quickly as a solo game, and I really like that. I like the challenge of this game, and often try to play until I can win. Since I can finish an entire solo game in probably 10-15 minutes, I am able to get multiple plays in a row!
Sagrada is a challenging game to play solo, but not in a way that feels futile. I don’t win a lot, but the strategic implications and the pretty dice colors are what keep me coming back to this game! If you haven’t tried Sagrada solo yet, I’d encourage you to give it a shot. But be warned – you might not always win.
https://purplephoenixgames.wordpress.com/2019/02/26/solo-chronicles-sagrada/
Gareth von Kallenbach (971 KP) rated Walk the Line (2005) in Movies
Aug 14, 2019
Condensing something as vast and complex as the life of a person into a film is often a daunting task. With so many events that comprise the span of an individual, knowing what to cover and what to omit is a daunting task for any writer. For an icon like Johnny Cash, this task becomes monumental as not only does the history and humanity of the individual need to be captured, but the very soul of the artist as well.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Monacello: The Little Monk: Book 1
Geraldine McCaughrean and Jana Diemberger
Book
A haunting legend from the Undercity of Naples "Goblin" "Gremlin!" "Demon!" Strange little creature....
Emma @ The Movies (1786 KP) rated Finding Steve McQueen (2019) in Movies
Nov 9, 2020
This heist comedy (we'll come to that later) sounds pretty good from the synopsis, I can't really elaborate much on it like I normally would because, for once, it's spot on!
I had a big issue almost straight off the bat... "In 1972"... that's how the synopsis starts. I had reread it just before starting the film and as it begins it actually flashes up "1980", very quickly it's explained (and it makes sense) but I didn't enjoy starting the film with that confusion. Now, if I was seeing this in the cinema it wouldn't have been an issue because you don't tend to sit there in the trailers reading the synopsis before it starts, but with it hitting digital you will be instantly seeing it before you press play... I know it's a really minor thing to be bugged by... but it did bug me.
The reason for the jump in years is that we're seeing Harry Barber telling his girlfriend, Molly, the story of his past and the heist. Flashbacks are a time-honoured tradition in films, but they're difficult to get right. The story jumps several times, but there's very little differentiation between time unless the diner is involved on one side of the jump. At one point it jumps because he talks at the camera and we hop back to Molly talking, it stuck out... it either never happened again or it blended in so well that I didn't notice it. It wouldn't be the first film to add something random like that and abandon the style choice. Some else will have to let me know if it happened more than I think it did.
These two things, combined with some free moving camerawork (that you know I hate) meant that I found the beginning of Finding Steve McQueen, especially when the heist that is pushed in the marketing doesn't appear for quite a while.
IMDb lists crime thriller as a guide... thriller is definitely the wrong word. Heist comedy (as per the PR I saw) is definitely more accurate, though I didn't find it particularly funny. It did bring a mild laugh out of me, but not enough to stamp it with the comedy tag. Even "heist" feels like it doesn't fit well, it may be about one but what's presented is much heavier on other parts of the story. It's more like a biopic with romance than crime. In the end that's a little bit disappointing when you're looking forward to crime.
William Fichtner was an instant standout for me, I thought he handled the role of Enzo Rotella particularly well, and there was a great dynamic with Louis Lombardi as Pauly. Rachael Taylor as Molly Murphy was great too, when she wasn't freaking me out with how much she looked like Nicole Kidman. Somehow I've never noticed that before so I'll have to put it down to a cunning makeup artist.
From there though I was underwhelmed. I'm not familiar with Travis Fimmel, and sadly, from this performance I've not been convinced to check out anything in his back catalogue. Apart from two well-played emotional scenes I didn't enjoy the character of Harry Barber at all.
Had this been advertised as a biography instead of a crime/heist then I probably would have had a more favourable opinion, but we're presented with a slow and light film. I'm not expecting all crime films to be gritty and dark, but I do expect them to focus more on the actual crime and investigation. That's also where I found the flashback idea falling apart because we're shown things for context that Harry wouldn't have known and been able to tell Molly.
What I did love about this film was the setting and the look of everything. It had a wonderful freshness about it and that coupled with the costumes felt natural and like it captured the era perfectly.
I by no means hated this film, but I was extremely disappointed. The way the story was balanced means that the heist gets lost in everything else that's happening and although it's hailed as an amazing feat in American history it doesn't feel all that impressive in this portrayal. The only real criminal thing about this film was the underuse of Forest Whitaker.
As a biography I could have seen clear to give this a 3, maybe a 3.5, but as a crime I can't give it more than a 2. It feels entirely misrepresented, had it not been for the few excellent performances, and the hope of exciting crime drama, I think I would have turned it off.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/finding-steve-mcqueen-movie-review.html
I had a big issue almost straight off the bat... "In 1972"... that's how the synopsis starts. I had reread it just before starting the film and as it begins it actually flashes up "1980", very quickly it's explained (and it makes sense) but I didn't enjoy starting the film with that confusion. Now, if I was seeing this in the cinema it wouldn't have been an issue because you don't tend to sit there in the trailers reading the synopsis before it starts, but with it hitting digital you will be instantly seeing it before you press play... I know it's a really minor thing to be bugged by... but it did bug me.
The reason for the jump in years is that we're seeing Harry Barber telling his girlfriend, Molly, the story of his past and the heist. Flashbacks are a time-honoured tradition in films, but they're difficult to get right. The story jumps several times, but there's very little differentiation between time unless the diner is involved on one side of the jump. At one point it jumps because he talks at the camera and we hop back to Molly talking, it stuck out... it either never happened again or it blended in so well that I didn't notice it. It wouldn't be the first film to add something random like that and abandon the style choice. Some else will have to let me know if it happened more than I think it did.
These two things, combined with some free moving camerawork (that you know I hate) meant that I found the beginning of Finding Steve McQueen, especially when the heist that is pushed in the marketing doesn't appear for quite a while.
IMDb lists crime thriller as a guide... thriller is definitely the wrong word. Heist comedy (as per the PR I saw) is definitely more accurate, though I didn't find it particularly funny. It did bring a mild laugh out of me, but not enough to stamp it with the comedy tag. Even "heist" feels like it doesn't fit well, it may be about one but what's presented is much heavier on other parts of the story. It's more like a biopic with romance than crime. In the end that's a little bit disappointing when you're looking forward to crime.
William Fichtner was an instant standout for me, I thought he handled the role of Enzo Rotella particularly well, and there was a great dynamic with Louis Lombardi as Pauly. Rachael Taylor as Molly Murphy was great too, when she wasn't freaking me out with how much she looked like Nicole Kidman. Somehow I've never noticed that before so I'll have to put it down to a cunning makeup artist.
From there though I was underwhelmed. I'm not familiar with Travis Fimmel, and sadly, from this performance I've not been convinced to check out anything in his back catalogue. Apart from two well-played emotional scenes I didn't enjoy the character of Harry Barber at all.
Had this been advertised as a biography instead of a crime/heist then I probably would have had a more favourable opinion, but we're presented with a slow and light film. I'm not expecting all crime films to be gritty and dark, but I do expect them to focus more on the actual crime and investigation. That's also where I found the flashback idea falling apart because we're shown things for context that Harry wouldn't have known and been able to tell Molly.
What I did love about this film was the setting and the look of everything. It had a wonderful freshness about it and that coupled with the costumes felt natural and like it captured the era perfectly.
I by no means hated this film, but I was extremely disappointed. The way the story was balanced means that the heist gets lost in everything else that's happening and although it's hailed as an amazing feat in American history it doesn't feel all that impressive in this portrayal. The only real criminal thing about this film was the underuse of Forest Whitaker.
As a biography I could have seen clear to give this a 3, maybe a 3.5, but as a crime I can't give it more than a 2. It feels entirely misrepresented, had it not been for the few excellent performances, and the hope of exciting crime drama, I think I would have turned it off.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/11/finding-steve-mcqueen-movie-review.html
BankofMarquis (1832 KP) rated Toy Story 4 (2019) in Movies
Jun 25, 2019
Another TOY STORY triumph for PIXAR
When I first heard that Pixar was going to make a 4th TOY STORY film, I found myself firmly in the camp of "why are they doing this? The 3rd film tied off the trilogy marvelously well and 4th film was not needed" But...I trust Pixar, and when it was revealed that both Tom Hanks and Tim Allen were back on board after reading the script, my fears were alleviated quite a bit, but I still had some unease in the pit of my stomach.
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)
I shouldn't have worried. For TOY STORY 4 is a wonderful addition to the adventures of Woody, Buzz and gang. It fits in nicely with the other films in the series and brings just the right amount of joy, fun, adventure and emotional heft.
Picking up the adventures of these toys as they now belong to Bonnie (after being gifted to Bonnie when their original owner, Andy, went off to college at the end of Toy Story 3), things have progressed realistically enough. The "order of things" in Bonnie's room is somewhat different than in Andy's. Woody, the old Cowboy doll, is relegated (more often than not) to the closet while Bonnie plays more with Jessie, Buzz and others. Into this group comes "Forky" a plastic spork that is made into a toy by Bonnie at Kindergarten. In a nice reversal of the first Toy Story film, Woody works hard to ensure that Forky is accepted into the group.
Without revealing too much of the plot, the gang (including Woody and Forky) go on a roadtrip with Bonnie in her parents' rented RV and end up in a small-ish town where a carnival is taking place across the street from an Antique store that houses Woody's old flame, Bo Peep. New characters are introduced, old characters are given a moment (or two) to shine and adventures and shenanigans ensue, with an emotionally satisfying climax - you know, a TOY STORY film.
This one continues to progress these toys "lives" and adventures in such a smart, natural and clever way that I did not feel that I was watching the same film again. I was watching characters I love continue to live, learn, grow and progress - a very smart choice by these filmmakers.
As always, the voice cast is superb. Tim Allen (Buzz Lightyear), Joan Cusak (Jessie), Wallace Shawn (Rex), John Ratzenberger (Piggy) and even the late Don Rickles (Mr. PotatoHead) are all back and contribute greatly to the finished result. It is like putting on an old, comfortable sweater on a somewhat chilly day. You get a reassuring shiver of warmth.
But the filmmakers don't stop there - Annie Potts is back as Bo Peep (she - and the Bo Peep character - were in the original Toy Story). Add to these voices, the marvelous work by Christina Hendricks (Gabby Gabby), Key & Peele (Ducky & Bunny), Carl Weathers (all the Combat Carls) and Tony Hale (wonderfully quirky as Forky) and we have quite the ensemble of interesting, quirky characters - growing and enriching the "Universe" they are in (quite like what Marvel has done with their "Universe"). Special notice needs to be made of Keanu Reeves work as Canadian Daredevil toy Duke Kaboom (the Canadian Evil Kneivel), it is the most entertaining - to me - of all the new characters.
But...make no mistake...this film belongs to Tom Hanks as Woody. It has taken me 4 films to realize this, but Hanks good guy "everyman" portrayal of Woody is the heart and soul of these pictures and this 4th film is Woody's film - as his character comes full circle from the paranoid toy who wants to keep living his safe existence to something much, much more in this film. It isn't hyperbole of me to say that I would be just fine for Hanks to receive an Oscar nomination for his voice work in this film - he is that good.
Interestingly enough, Pixar brought in a novice Director, Josh Cooley, to helm this film. It is his first feature film directing experience, but he is a veteran Pixar face - having written INSIDE OUT and was the main Storyboard Artist for UP - his direction looks like someone who was comfortable in this medium - and with the style of film that Pixar (usually) goes for - and he does terrific work here.
I really enjoyed the journey of the characters (especially Woody) in this film. I need not have worried about Pixar making a 4th Toy Story - they nailed the landing again.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank (OfMarquis)
Take Me Apart by Kelela
5.8
Rate It
Album Watch
With great anticipation, Kelela's debut album emerges as an epic portrait of an artist spanning the...
dance electronic R&B pop
Louise (64 KP) rated The Problem with Forever in Books
Jul 2, 2018
I have really wanted to read something by Jennifer L Armentrout for a while, one being the lux series that I have heard a lot of people in the blogosphere rave about. I wasn’t expecting to like this book as much as I did! Your probably think I say that for all the books I read, but I try not to set expectations too high. This book was addictive, I managed to read 70% of it in one day and stayed up until the early hours of the morning just so I could finish it, even though I knew I was going to be sooo tired for work the next day.
Mallory Dodge hasn’t had the easiest start in life, she grew up in Foster homes and some that were pretty awful, so much that she becomes withdrawn and the only way to keep herself safe and from drawing attention to herself is to remain as quiet as a ‘Mouse’. Until one horrific incident she manages to escape the horrific abuse that she was subjected to and adopted by Carl and Rosa two doctors that treated her but she will forever be scarred mentally and physically. Mallory is returning to a state school after being home schooled for the previous 4 years and somewhat apprehensive. Being silent has held Mallory back and she needs to start getting on with her life and one is to start socializing with people her own age and building her confidence, otherwise she fears she will be this way forever.
All is going well on her first day, well she hasn’t spoken to anyone but at least she is at school which is a big tick in the box. One of her classes is speech, one of the hardest lessons for her to overcome. She spots a boy who feels familiar to her, but it couldn’t be, could it? When the boy seats himself next to her in speech she is shocked, the boy is Rider Stark…. her best friend from when she was in the foster home, her saviour and protector, one that experienced all those awful things with her, he knows her like no-one else. With emotions and feelings about Rider all over the place, her foster parents not happy with his sudden appearance and what it will mean, Mallory has to break the silence to save everything.
OK! I need to start off with the cover, how beautiful is this book and the colours? This would instantly draw me in and buy it, you can just tell its contemporary. This book a massive 480 pages and there wasn’t a dull moment. This is such an emotional story, there is swoon worthy romance with a hot guy, there are sad times and times when my heart was racing because I was scared for Mallory and Rider, what would happen to them both.
Mallory’s character was amazing with so much development, she was such a different girl at the finish and I was overcome with pride as of how well she had managed and grew. She is a likeable character always trying to please everyone, she is shy and timid making you really feel for her.
Rider, he is Mallory’s protector and he always will be. It’s what he knows best. He skips class to make sure Mallory is not alone at lunch, he doesn’t do much when he does attend his lessons but he is an artist (not to him). He is so caring and like perfect boyfriend material it was impossible not to swoon.
Some could say the romance was a bit insta-lovey but for me it wasn’t. They hadn’t seen each other in 4 years and they were reconnecting wanting to get to know each other again and find out how life has been since they last saw each other. But their friendship was totally different from 4 years ago, and they both knew it. There was an attraction that wasn’t there before.
Throughout the story Mallory has flashbacks to when she was younger and the abuse(physically and verbally) that herself and Rider were subjected to and what lead to the incident. It shows how Rider cared for Mallory and how there pasts had shaped the people they had become.
I really liked most of the side characters in this book, there was Ainsley which was Mallory’s best friend outside of school. Hector and Jayden were cheeky chappies who Rider lived with. Paige and Carl I didn’t really warm to but I think that’s mainly because they were getting in the way of Mallory’s happiness .
This story is addictive, beautiful and heart warming, I enjoyed every page and would definitely recommend it.
I rated this 4 out of stars
I received a copy of this from Netgalley and the publisher in exchange for an honest review.
Mallory Dodge hasn’t had the easiest start in life, she grew up in Foster homes and some that were pretty awful, so much that she becomes withdrawn and the only way to keep herself safe and from drawing attention to herself is to remain as quiet as a ‘Mouse’. Until one horrific incident she manages to escape the horrific abuse that she was subjected to and adopted by Carl and Rosa two doctors that treated her but she will forever be scarred mentally and physically. Mallory is returning to a state school after being home schooled for the previous 4 years and somewhat apprehensive. Being silent has held Mallory back and she needs to start getting on with her life and one is to start socializing with people her own age and building her confidence, otherwise she fears she will be this way forever.
All is going well on her first day, well she hasn’t spoken to anyone but at least she is at school which is a big tick in the box. One of her classes is speech, one of the hardest lessons for her to overcome. She spots a boy who feels familiar to her, but it couldn’t be, could it? When the boy seats himself next to her in speech she is shocked, the boy is Rider Stark…. her best friend from when she was in the foster home, her saviour and protector, one that experienced all those awful things with her, he knows her like no-one else. With emotions and feelings about Rider all over the place, her foster parents not happy with his sudden appearance and what it will mean, Mallory has to break the silence to save everything.
OK! I need to start off with the cover, how beautiful is this book and the colours? This would instantly draw me in and buy it, you can just tell its contemporary. This book a massive 480 pages and there wasn’t a dull moment. This is such an emotional story, there is swoon worthy romance with a hot guy, there are sad times and times when my heart was racing because I was scared for Mallory and Rider, what would happen to them both.
Mallory’s character was amazing with so much development, she was such a different girl at the finish and I was overcome with pride as of how well she had managed and grew. She is a likeable character always trying to please everyone, she is shy and timid making you really feel for her.
Rider, he is Mallory’s protector and he always will be. It’s what he knows best. He skips class to make sure Mallory is not alone at lunch, he doesn’t do much when he does attend his lessons but he is an artist (not to him). He is so caring and like perfect boyfriend material it was impossible not to swoon.
Some could say the romance was a bit insta-lovey but for me it wasn’t. They hadn’t seen each other in 4 years and they were reconnecting wanting to get to know each other again and find out how life has been since they last saw each other. But their friendship was totally different from 4 years ago, and they both knew it. There was an attraction that wasn’t there before.
Throughout the story Mallory has flashbacks to when she was younger and the abuse(physically and verbally) that herself and Rider were subjected to and what lead to the incident. It shows how Rider cared for Mallory and how there pasts had shaped the people they had become.
I really liked most of the side characters in this book, there was Ainsley which was Mallory’s best friend outside of school. Hector and Jayden were cheeky chappies who Rider lived with. Paige and Carl I didn’t really warm to but I think that’s mainly because they were getting in the way of Mallory’s happiness .
This story is addictive, beautiful and heart warming, I enjoyed every page and would definitely recommend it.
I rated this 4 out of stars
I received a copy of this from Netgalley and the publisher in exchange for an honest review.