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Kirk Bage (1775 KP) rated Spider-Man: Far From Home (2019) in Movies
Oct 11, 2020 (Updated Jan 22, 2021)
I’m sure I wasn’t alone in the Summer of 2019 when Spider-Man: Far From Home was released in just needing a minute or two, maybe a couple of months, longer to catch my breath after Avengers: Engame, and what very much felt like an ending to the MCU plan that had been in motion since 2008. That climax was so satisfying and complete that the thought of any of them donning the costume and fighting bad guys again so soon felt wrong.
I wasn’t against the survivors having continued adventures, of course not. It was more a question of where do we go from here? And how? Well, perhaps Tom Holland as the youngest and most emotionally resilient of the bunch was the right choice to continue the universe, if any at all. Knowing that Jake Gyllenhaal had been brought onboard certainly added to the appeal, being one of my very favourite actors of the last decade (together with Ryan Gosling and Joaquin Phoenix), but I had made up my mind to skip this one at the cinema.
And so, before any of us knew where we were, it was Spring 2020 and we were all in a different place. Needing films, any films, to fill out the days of lockdown and isolation became a case of make a list and tick them off. This was one of those that made the shortlist around June when I began the trial month of Now TV and discovered that this was where all the big films of the last year I had missed were hiding.
I liked Spider-Man: Homecoming very much, after some initial trepidation over who the heck Jon Watts was, and why he had been trusted with such a big job out of seemingly nowhere? I also really like Tom Holland in the role. I think the idea of making him seem like a naive teenager again is a masterstroke, and he fast became The real Spider-Man in my head. His relationship with Robert Downey Jnr across the last handful of MCU films was rich, genuine and fully rounded, and Holland has managed to pitch the balance between nervy teen and likeable hero quite deftly.
The charm of the first film from Watts was how much it felt like a teen film, full of teens that were actual teens, not adults pretending to be teens. And in this second instalment that element is even more to the fore. It is a travelling road movie that keeps everything fresh and energetic, not giving a moment to dwell despondently on previous events, but looking forward to a bright, hopeful world, full of romance and adventure and discovery.
Other than Holland himself, who grows in stature and maturity as an actor every minute, the rising star of Zendaya as MJ fills the screen very pleasantly, she has a great aura about her for one so young. I am expecting great things from her, especially in the upcoming yet delayed Dune, directed by Denis Villeneuve. She doesn’t have a lot to do here, but steals enough scenes to hint at a serious talent. In fact, most of his classmates seem beyond their years ability-wise, or do they seem that way because of the skilled direction and bottomless production?
It’s also nice to get more time with Samuel L. Jackson as Nick Fury and Marisa Tomei as Aunt May in this one. You always do wonder what the lesser characters have been up to while everyone else was saving the world. But the backbone of the film as a spectacle is the Peter Parker / Quentin Beck face off. Every moment of Holland and Gyllenhaal together feels like a huge movie treat. And knowing nothing about who Quentin Beck was going in from comic book lore, I got a real thrill out of how it all develops.
I came away from my small screen experience of this movie thinking that I had really enjoyed it, but in a very disposable way, that I was happy to leave behind almost instantly. Nothing about it is especially deep or meaningful, just fun! And that was 100% what Marvel needed at this junction in the pantheon. These guys are pretty smart at knowing when and why and how much with these movies, and I’m pleased to say they did it again!
There is some serious work to be done to ever reach the heights of interest generated by the final pairing of Avengers films, and a lot has changed, as it must, as some actors age, some even pass away (RIP CB) and some call it a day. But if nothing else, there feels like there is plenty of mileage left in this incarnation of the friendly neighbourhood Spider-Man, and a lot of new fans to be hauled in by the onscreen romance between Tom Holland and Zendaya’s MJ. Older fans, like me, could maybe care less, but I believe that is the hook to ensure a future generation of fans stay loyal to Marvel. Every hero needs someone to save, after all. I’m still watching.
I wasn’t against the survivors having continued adventures, of course not. It was more a question of where do we go from here? And how? Well, perhaps Tom Holland as the youngest and most emotionally resilient of the bunch was the right choice to continue the universe, if any at all. Knowing that Jake Gyllenhaal had been brought onboard certainly added to the appeal, being one of my very favourite actors of the last decade (together with Ryan Gosling and Joaquin Phoenix), but I had made up my mind to skip this one at the cinema.
And so, before any of us knew where we were, it was Spring 2020 and we were all in a different place. Needing films, any films, to fill out the days of lockdown and isolation became a case of make a list and tick them off. This was one of those that made the shortlist around June when I began the trial month of Now TV and discovered that this was where all the big films of the last year I had missed were hiding.
I liked Spider-Man: Homecoming very much, after some initial trepidation over who the heck Jon Watts was, and why he had been trusted with such a big job out of seemingly nowhere? I also really like Tom Holland in the role. I think the idea of making him seem like a naive teenager again is a masterstroke, and he fast became The real Spider-Man in my head. His relationship with Robert Downey Jnr across the last handful of MCU films was rich, genuine and fully rounded, and Holland has managed to pitch the balance between nervy teen and likeable hero quite deftly.
The charm of the first film from Watts was how much it felt like a teen film, full of teens that were actual teens, not adults pretending to be teens. And in this second instalment that element is even more to the fore. It is a travelling road movie that keeps everything fresh and energetic, not giving a moment to dwell despondently on previous events, but looking forward to a bright, hopeful world, full of romance and adventure and discovery.
Other than Holland himself, who grows in stature and maturity as an actor every minute, the rising star of Zendaya as MJ fills the screen very pleasantly, she has a great aura about her for one so young. I am expecting great things from her, especially in the upcoming yet delayed Dune, directed by Denis Villeneuve. She doesn’t have a lot to do here, but steals enough scenes to hint at a serious talent. In fact, most of his classmates seem beyond their years ability-wise, or do they seem that way because of the skilled direction and bottomless production?
It’s also nice to get more time with Samuel L. Jackson as Nick Fury and Marisa Tomei as Aunt May in this one. You always do wonder what the lesser characters have been up to while everyone else was saving the world. But the backbone of the film as a spectacle is the Peter Parker / Quentin Beck face off. Every moment of Holland and Gyllenhaal together feels like a huge movie treat. And knowing nothing about who Quentin Beck was going in from comic book lore, I got a real thrill out of how it all develops.
I came away from my small screen experience of this movie thinking that I had really enjoyed it, but in a very disposable way, that I was happy to leave behind almost instantly. Nothing about it is especially deep or meaningful, just fun! And that was 100% what Marvel needed at this junction in the pantheon. These guys are pretty smart at knowing when and why and how much with these movies, and I’m pleased to say they did it again!
There is some serious work to be done to ever reach the heights of interest generated by the final pairing of Avengers films, and a lot has changed, as it must, as some actors age, some even pass away (RIP CB) and some call it a day. But if nothing else, there feels like there is plenty of mileage left in this incarnation of the friendly neighbourhood Spider-Man, and a lot of new fans to be hauled in by the onscreen romance between Tom Holland and Zendaya’s MJ. Older fans, like me, could maybe care less, but I believe that is the hook to ensure a future generation of fans stay loyal to Marvel. Every hero needs someone to save, after all. I’m still watching.
The Cleaner of Chartres
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'A lovely book ...wise at heart and filled with colourful characters' Joanne Harris, author of...
Chris Sawin (602 KP) rated Spider-Man: No Way Home (2021) in Movies
Dec 18, 2021
Willem Dafoe (2 more)
The on-screen bickering between characters.
The Doc Ock, Doctor Strange, and villainous team-up action sequences.
The humor doesn't always land. (2 more)
Peter's idiotic logic.
Lizard is supremely underutilized.
Riding the Nostalgia Train
Spider-Man: No Way Home picks up immediately after the events of Spider-Man: Far From Home. Quentin Beck (Jake Gyllenhaal) has revealed to the world that Peter Parker (Tom Holland) is Spider-Man. The world is torn in thinking that Peter is either still a hero or behind the drone attacks on London like Beck stated before his death.
Peter is now in a relationship with MJ (Zendaya) while Ned (Jacob Batalon) tags along as the third wheel more than the guy in the chair. As the three attempt to get into MIT and other colleges, MJ and Ned are punished for being associated with Peter. Feeling guilty, Peter takes it upon himself to contact Doctor Strange (Benedict Cumberbatch), who eventually agrees to perform a spell that would make everyone forget that Peter Parker is Spider-Man. However, Peter’s motor mouth and constant need to change Strange’s spell botches it and ends up opening the multiverse.
Early on, the humor in Spider-Man: No Way Home is lacking and a little lame. Much of the film rides on Peter’s relationship with MJ. Peter, MJ, and Ned have become inseparable in the film thanks to the events of Homecoming, Far From Home, Infinity War, and Endgame. Nearly everything boils down to them making decisions as a trio even when Peter is out there as Spider-Man. The humor in the film doesn’t really find its footing until the villains come along and even then it starts off pretty rough (making fun of the Otto Octavius name in the trailer is a prime example).
Peter’s solution to all of these villains invading his universe from their own is pure stupidity. The desire to do what’s best for someone’s well being is there and you understand why Peter is so adamant about going in the direction that he does. However, he has the opportunity to end all of this early on with little to no repercussions other than some structural damage that he is able to repair in one night.
Peter chooses to change the fate of these villains with the best intentions and suffers for it. In a way, it’s inevitable as it factors in to and is motivation for who Peter Parker and Spider-Man are as essentially one heroic character. “It’s what they do,” as they say several times in the film. That doesn’t mean you have to swallow it as something a supposed genius and one of Marvel’s smartest minds would conjure up though.
Next to the surprises the film has in store for first time viewers, the villains are arguably the highlight of the film. Peter’s fight with Doctor Octopus (Alfred Molina) on the bridge is nearly on par with the Spider-Man/Doc Ock fight on the train from Spider-Man 2. Willem Dafoe is also still Spider-Man’s greatest and most sinister adversary as Norman Osborn/The Green Goblin two decades later.
Dafoe’s one stipulation for returning to the franchise was that he would be allowed to do all of his own stunts even at 66 years old; he believes it all factors in to his performance and it shows. You feel sympathy for Norman and admire his brilliance, but he’s plagued with this gushingly nefarious and uncontrollable alternate personality. With that reverberating laugh and amazing facial expressions, Dafoe literally steals the film every time he’s on screen.
The bickering in the film results in some of the most entertaining sequences in the film. There’s at least two instances, one between all of the villains when they’re all in the same room and another sequence later that occurs right before the big fight scene between Spider-Man and the five villains that have crossed over, that are just incredible and it’s basically just dialogue.
Screenwriters Chris McKenna and Erik Sommers deserve a lot of the credit. If it wasn’t for their writing then those back-and-forth dialogue exchanges between characters wouldn’t exist. But the performances from the cast also factor in to how great those sequences are. Much of the older returning cast have joked about only returning for the money, but it’s clear that there was some enjoyment of not only the script but also being able to work with such a talented group of people.
Speaking of trains, the Spider-Man/Doctor Strange battle in the mirror dimension is one of No Way Home’s visual treats. Doctor Strange and his magical origins opened up the cosmic aspect for the MCU, which has always resulted in trippy and otherworldly sequences that are tonally different and unlike anything else from the other Marvel films. Seeing Spider-Man swing around as the world is upside down while dodging kaleidoscopic skyscrapers and barely escaping gravity defying portals results in a sequence especially memorable for MCU fans.
Spider-Man: No Way Home isn’t without its flaws, but it is mostly exactly what it’s advertised to be. The film doesn’t necessarily redefine the, “With great power comes great responsibility,” aspect for Tom Holland’s Spider-Man but it without a doubt gives the MCU version of Spider-Man his version of that principle. No Way Home is a nostalgic extravaganza that exceeds expectations and is a perfect and satisfying bookend for the first three Tom Holland Spider-Man movies.
Peter is now in a relationship with MJ (Zendaya) while Ned (Jacob Batalon) tags along as the third wheel more than the guy in the chair. As the three attempt to get into MIT and other colleges, MJ and Ned are punished for being associated with Peter. Feeling guilty, Peter takes it upon himself to contact Doctor Strange (Benedict Cumberbatch), who eventually agrees to perform a spell that would make everyone forget that Peter Parker is Spider-Man. However, Peter’s motor mouth and constant need to change Strange’s spell botches it and ends up opening the multiverse.
Early on, the humor in Spider-Man: No Way Home is lacking and a little lame. Much of the film rides on Peter’s relationship with MJ. Peter, MJ, and Ned have become inseparable in the film thanks to the events of Homecoming, Far From Home, Infinity War, and Endgame. Nearly everything boils down to them making decisions as a trio even when Peter is out there as Spider-Man. The humor in the film doesn’t really find its footing until the villains come along and even then it starts off pretty rough (making fun of the Otto Octavius name in the trailer is a prime example).
Peter’s solution to all of these villains invading his universe from their own is pure stupidity. The desire to do what’s best for someone’s well being is there and you understand why Peter is so adamant about going in the direction that he does. However, he has the opportunity to end all of this early on with little to no repercussions other than some structural damage that he is able to repair in one night.
Peter chooses to change the fate of these villains with the best intentions and suffers for it. In a way, it’s inevitable as it factors in to and is motivation for who Peter Parker and Spider-Man are as essentially one heroic character. “It’s what they do,” as they say several times in the film. That doesn’t mean you have to swallow it as something a supposed genius and one of Marvel’s smartest minds would conjure up though.
Next to the surprises the film has in store for first time viewers, the villains are arguably the highlight of the film. Peter’s fight with Doctor Octopus (Alfred Molina) on the bridge is nearly on par with the Spider-Man/Doc Ock fight on the train from Spider-Man 2. Willem Dafoe is also still Spider-Man’s greatest and most sinister adversary as Norman Osborn/The Green Goblin two decades later.
Dafoe’s one stipulation for returning to the franchise was that he would be allowed to do all of his own stunts even at 66 years old; he believes it all factors in to his performance and it shows. You feel sympathy for Norman and admire his brilliance, but he’s plagued with this gushingly nefarious and uncontrollable alternate personality. With that reverberating laugh and amazing facial expressions, Dafoe literally steals the film every time he’s on screen.
The bickering in the film results in some of the most entertaining sequences in the film. There’s at least two instances, one between all of the villains when they’re all in the same room and another sequence later that occurs right before the big fight scene between Spider-Man and the five villains that have crossed over, that are just incredible and it’s basically just dialogue.
Screenwriters Chris McKenna and Erik Sommers deserve a lot of the credit. If it wasn’t for their writing then those back-and-forth dialogue exchanges between characters wouldn’t exist. But the performances from the cast also factor in to how great those sequences are. Much of the older returning cast have joked about only returning for the money, but it’s clear that there was some enjoyment of not only the script but also being able to work with such a talented group of people.
Speaking of trains, the Spider-Man/Doctor Strange battle in the mirror dimension is one of No Way Home’s visual treats. Doctor Strange and his magical origins opened up the cosmic aspect for the MCU, which has always resulted in trippy and otherworldly sequences that are tonally different and unlike anything else from the other Marvel films. Seeing Spider-Man swing around as the world is upside down while dodging kaleidoscopic skyscrapers and barely escaping gravity defying portals results in a sequence especially memorable for MCU fans.
Spider-Man: No Way Home isn’t without its flaws, but it is mostly exactly what it’s advertised to be. The film doesn’t necessarily redefine the, “With great power comes great responsibility,” aspect for Tom Holland’s Spider-Man but it without a doubt gives the MCU version of Spider-Man his version of that principle. No Way Home is a nostalgic extravaganza that exceeds expectations and is a perfect and satisfying bookend for the first three Tom Holland Spider-Man movies.
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BookInspector (124 KP) rated The Dark Net in Books
Sep 24, 2020
More reviews on https://bbookinspector.wordpress.com
After reading “Here and Gone” by Haylen Beck, I got very interested in the dark net, which is like a black market for everything, so, when I saw this book available for request, I did not hesitate. Another thing which intrigued me about this book, was its cover, I think it describes the mood of this book very accurately.
This novel has a wide variety of characters to choose from (see description), and every character had a story to tell, which made this book really rich and appealing to me. Lela was chosen as the main character of this novel. She was trying to uncover a secret enterprise, which does not leave any trace in the records, and is related to some nasty murders. I think that B. Percy chose her very wisely; she is very old fashion and hates technology, and only this kind of character can survive in this book. I really like when author allows more than one character to express themselves, and Percy didn’t disappoint me in this book with that.
The narrative of this techno-thriller was really dark and riveting, in some places really disturbing. I will admit that, like most of the people these days, I could not live a day without internet, but after reading this book, I started thinking that, this needs to change. Internet is way more powerful than we imagine, and that is kind of scary. This book has an interesting combination of genres; it is horror/sci-fi/thriller. It has real life problems mixed with fiction which makes it an interesting read, but some parts were over the top for me. Even though I love technology, I was slightly overwhelmed with all the terms used in this book, which sometimes felt like reading an IT textbook, and unfortunately my mind would just glide through that information.
This book is not for everyone, you need to know something about internet and have a strong stomach to enjoy it. It offers great action, plenty of twists and turns and is quite distressing. The chapters are quite short, so the reading experience is pleasant and the change of action and characters didn’t make me bored. I think that Percy done a great research for this book and I enjoyed the new things I got to learn about the dark net. The ending of this book was really interesting, and I think it rounded up the book really nicely. So, to conclude, I had an interesting reading experience, and if you like all things internet and are not scared of blood and murders, you might actually find this book really entertaining and enlightening.
Was given this book by publisher for honest review
After reading “Here and Gone” by Haylen Beck, I got very interested in the dark net, which is like a black market for everything, so, when I saw this book available for request, I did not hesitate. Another thing which intrigued me about this book, was its cover, I think it describes the mood of this book very accurately.
This novel has a wide variety of characters to choose from (see description), and every character had a story to tell, which made this book really rich and appealing to me. Lela was chosen as the main character of this novel. She was trying to uncover a secret enterprise, which does not leave any trace in the records, and is related to some nasty murders. I think that B. Percy chose her very wisely; she is very old fashion and hates technology, and only this kind of character can survive in this book. I really like when author allows more than one character to express themselves, and Percy didn’t disappoint me in this book with that.
The narrative of this techno-thriller was really dark and riveting, in some places really disturbing. I will admit that, like most of the people these days, I could not live a day without internet, but after reading this book, I started thinking that, this needs to change. Internet is way more powerful than we imagine, and that is kind of scary. This book has an interesting combination of genres; it is horror/sci-fi/thriller. It has real life problems mixed with fiction which makes it an interesting read, but some parts were over the top for me. Even though I love technology, I was slightly overwhelmed with all the terms used in this book, which sometimes felt like reading an IT textbook, and unfortunately my mind would just glide through that information.
This book is not for everyone, you need to know something about internet and have a strong stomach to enjoy it. It offers great action, plenty of twists and turns and is quite distressing. The chapters are quite short, so the reading experience is pleasant and the change of action and characters didn’t make me bored. I think that Percy done a great research for this book and I enjoyed the new things I got to learn about the dark net. The ending of this book was really interesting, and I think it rounded up the book really nicely. So, to conclude, I had an interesting reading experience, and if you like all things internet and are not scared of blood and murders, you might actually find this book really entertaining and enlightening.
Was given this book by publisher for honest review
BankofMarquis (1832 KP) rated Napoleon (2023) in Movies
Dec 6, 2023
Whole Does Not Equal The Sum of it's Parts
The new Epic Motion Picture NAPOLEON is the perfect example of the term “the whole does not equal the sum of the parts”. There are some very, very good items in this film, they just don’t combine to make a Motion Picture above the average.
Directed by Ridley Scott (GLADIATOR), NAPOLEON tells the tale of the titular Frenchman who rises to great power only to fall to great defeat. It is a story ripe for a fascinating film, this just isn’t that film.
There are many, many things that work in this movie, like the performance of Oscar Winner Joaquin Phoenix (THE JOKER) as Napoleon. He plays him as an enigmatic figure who is over-compensating for a lack of…something. Bravery? Self-Confidence? Height? That’s the problem, the film never delves into it, it just gives us a quirky character - strongly played by Phoenix - who is, obviously, using his power and skills as a General to cover up a flaw…whatever that is.
Vanessa Kirby (Oscar Nominated for PIECES OF A WOMAN a few years back) is equally strong and enigmatic as Napoleon’s Empress, Josephine. Kirby’s performance is, probably, the strongest in the film as she plays Josephine as strong and independent, living by her own rules and knowing that she has the powerful Napoleon at her beck-and-call. But, again, we never really find out the person behind the facade and her scenes with Phoenix/Napoleon fall flat for there never is any really love or passion between the 2 of them, just a “baby boy” fawning all over Josephine and a manipulative (we think) social climber using this “baby boy”.
4x Oscar Nominee (but never a winner) Ridley Scott (GLADIATOR) knows how to produce an EPIC and he puts together some EPIC Battle Scenes and Napoleon’s Emperor Inauguration scene is one to behold (which is why you should see this film on the largest screen possible) but these scenes seem isolated and separated from the rest of the film.
And, there, is where the problem of the film is. We have an interesting performance by Phoenix, a strong performance by Kirby and EPIC scenes from Scott, but they all seem isolated and in their own film and never quite gel together to build any emotional connection. All seem cold, flat and calculated. There is none of the passion that Napoleon says he has for France.
Go to marvel at the craft of the film, leave feeling unfulfilled, emotionally by NAPOLEON.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Directed by Ridley Scott (GLADIATOR), NAPOLEON tells the tale of the titular Frenchman who rises to great power only to fall to great defeat. It is a story ripe for a fascinating film, this just isn’t that film.
There are many, many things that work in this movie, like the performance of Oscar Winner Joaquin Phoenix (THE JOKER) as Napoleon. He plays him as an enigmatic figure who is over-compensating for a lack of…something. Bravery? Self-Confidence? Height? That’s the problem, the film never delves into it, it just gives us a quirky character - strongly played by Phoenix - who is, obviously, using his power and skills as a General to cover up a flaw…whatever that is.
Vanessa Kirby (Oscar Nominated for PIECES OF A WOMAN a few years back) is equally strong and enigmatic as Napoleon’s Empress, Josephine. Kirby’s performance is, probably, the strongest in the film as she plays Josephine as strong and independent, living by her own rules and knowing that she has the powerful Napoleon at her beck-and-call. But, again, we never really find out the person behind the facade and her scenes with Phoenix/Napoleon fall flat for there never is any really love or passion between the 2 of them, just a “baby boy” fawning all over Josephine and a manipulative (we think) social climber using this “baby boy”.
4x Oscar Nominee (but never a winner) Ridley Scott (GLADIATOR) knows how to produce an EPIC and he puts together some EPIC Battle Scenes and Napoleon’s Emperor Inauguration scene is one to behold (which is why you should see this film on the largest screen possible) but these scenes seem isolated and separated from the rest of the film.
And, there, is where the problem of the film is. We have an interesting performance by Phoenix, a strong performance by Kirby and EPIC scenes from Scott, but they all seem isolated and in their own film and never quite gel together to build any emotional connection. All seem cold, flat and calculated. There is none of the passion that Napoleon says he has for France.
Go to marvel at the craft of the film, leave feeling unfulfilled, emotionally by NAPOLEON.
Letter Grade: B-
6 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Sophia (Bookwyrming Thoughts) (530 KP) rated The Fire Artist in Books
Jan 23, 2020
The cover and the synopsis for <i>The Fire Artist</i> looked so pretty, I had cover fever for a few seconds while trying to decide between 5 plus other books (I planned on walking away with 3 books for 4 weeks, not 100 books).
And the fact it was one of the newest residents at the library and when you own nearly zilch books (two), getting your hands on a shiny copy of a book is a wondrous feeling and a rarity.
<i>The Fire Artist</i> gets <b>straight to the point from the very beginning there's really no stalling going on here.</b> Whitney reveals early on that Aria has problems as a fire artist, and that it needs to be replenished often if she wants to keep her control and not face her father's wrath. But then Aria is recruited by the M.E. Leagues, the highest honor an elemental artist can get, and she has to find another way to continue keeping her fire powers.
<b>The world building here is amazing the peace in the Middle East isn't just "there"</b> simply because someone in a prestigious family did something while everyone else went down to rock bottom, said someone succeeded and as a result, everyone respects the person and bows down to them. The history of how the Middle East came to be in accordance to the book seems to be <b>based off current events in the Middle East, making the book seem a little realistic rather than utmost fantasy</b>. The granters Whitney portrays throughout <i>The Fire Artist</i> aren't just "there" (though they are just "there") for everyone's beck and call <b>the granters seemed to be unified with rules and whatnot rather than each granter working individually on their own.</b>
<b>The romance between Taj and Aria also isn't one that rushes quickly it's slowly developing as the book progresses and it doesn't overshadow the overall plot</b> (a huge peeve of mine). The conversations between the two are entertaining enough that despite the fact Aria takes her time in making her wish, I personally don't mind because I'm too busy enjoying the book to even care.
I do, however, have a little peeve against Aria for stalking the dude before they even met. Surely that never goes well if the dude actually finds out.
Though to be honest, if Aria <i>had</i> made her wish too early in the book instead of stalling awhile, the book would have ended much too quickly. The world building and character development would have been terrible no one (aside from the author) would ever know precisely how the peace in the Middle East really came to be (oh, so everyone just whipped up a treaty?) or gotten the chance to really know Aria and Taj as characters.
There are no regrets in reading this <i>The Fire Artist</i> is as pretty on the inside as it is on the outside.
<a href="https://bookwyrmingthoughts.com/review-the-fire-artist-by-daisy-whitney/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
And the fact it was one of the newest residents at the library and when you own nearly zilch books (two), getting your hands on a shiny copy of a book is a wondrous feeling and a rarity.
<i>The Fire Artist</i> gets <b>straight to the point from the very beginning there's really no stalling going on here.</b> Whitney reveals early on that Aria has problems as a fire artist, and that it needs to be replenished often if she wants to keep her control and not face her father's wrath. But then Aria is recruited by the M.E. Leagues, the highest honor an elemental artist can get, and she has to find another way to continue keeping her fire powers.
<b>The world building here is amazing the peace in the Middle East isn't just "there"</b> simply because someone in a prestigious family did something while everyone else went down to rock bottom, said someone succeeded and as a result, everyone respects the person and bows down to them. The history of how the Middle East came to be in accordance to the book seems to be <b>based off current events in the Middle East, making the book seem a little realistic rather than utmost fantasy</b>. The granters Whitney portrays throughout <i>The Fire Artist</i> aren't just "there" (though they are just "there") for everyone's beck and call <b>the granters seemed to be unified with rules and whatnot rather than each granter working individually on their own.</b>
<b>The romance between Taj and Aria also isn't one that rushes quickly it's slowly developing as the book progresses and it doesn't overshadow the overall plot</b> (a huge peeve of mine). The conversations between the two are entertaining enough that despite the fact Aria takes her time in making her wish, I personally don't mind because I'm too busy enjoying the book to even care.
I do, however, have a little peeve against Aria for stalking the dude before they even met. Surely that never goes well if the dude actually finds out.
Though to be honest, if Aria <i>had</i> made her wish too early in the book instead of stalling awhile, the book would have ended much too quickly. The world building and character development would have been terrible no one (aside from the author) would ever know precisely how the peace in the Middle East really came to be (oh, so everyone just whipped up a treaty?) or gotten the chance to really know Aria and Taj as characters.
There are no regrets in reading this <i>The Fire Artist</i> is as pretty on the inside as it is on the outside.
<a href="https://bookwyrmingthoughts.com/review-the-fire-artist-by-daisy-whitney/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>