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Peter Russell (61 KP) rated Legacy of Dragonholt in Tabletop Games
May 3, 2019
Its an rpg without a dm (1 more)
The biggest book based choose your adventure youve probably ever played
As with any choose your adventure choices can seem limiting (2 more)
The game is the only one of its kind and feels like it should be a series, but unfortunately discontinued
Its a one time playthrough
Largest choose your adventure ever
This game takes on roleplaying games for a single player rpg experience using "choose your adventure" style mechanics. At the beginning of the game a player makes a character, chooses a class and chooses skills. These character design choices do very much affect gameplay, providing different adventure paths/ options for characters of different races or having given skills in a situation. The box includes multiple adventures, each with a rough playtime of 30-60 minutes, though it can become longer with more players. Each booklet is designed to be played as a single gaming session, providing a convenient place to stop for the night or for a breather. The game also has a story tracking mechanic where bubbles are filled in based on choices made. These can affect interaction with npcs or track overarching campaign events that have shaped the world.
I played through this game once and it took me about 6 hours and feel tgere are not enough alternate choices to merit another playthrough. Even though the game says it can be played with 1 to 6 players I recommend one player because only a single choice can be made with each entry and multiple players may not agree on a single course of action. For this game you fo need some tablespace as there are lots of tracking sheets and books and possibly a map you will have out.
*Minor Spoiler Ahead
My overall view of this game is that I wish it was different in one of two ways.
1. It would be nice if there were expansions to this where a character could carry over to another campaign or an expansion that weaves in more npc drama. At the end there are only 4 possible endings and then the game just ends, I wanted more, but knew it would never be.
2. This game with all of its tracking was more akin to muds and I feel it would have been better suited (at least for single player) as an interactive book for a computer where the tracking is done behind the scenes. This would of provided more mystery and made the game feel more in the moment rather than breaking out of the story to reference tracking sheets to see if a choice was allowed.
I played through this game once and it took me about 6 hours and feel tgere are not enough alternate choices to merit another playthrough. Even though the game says it can be played with 1 to 6 players I recommend one player because only a single choice can be made with each entry and multiple players may not agree on a single course of action. For this game you fo need some tablespace as there are lots of tracking sheets and books and possibly a map you will have out.
*Minor Spoiler Ahead
My overall view of this game is that I wish it was different in one of two ways.
1. It would be nice if there were expansions to this where a character could carry over to another campaign or an expansion that weaves in more npc drama. At the end there are only 4 possible endings and then the game just ends, I wanted more, but knew it would never be.
2. This game with all of its tracking was more akin to muds and I feel it would have been better suited (at least for single player) as an interactive book for a computer where the tracking is done behind the scenes. This would of provided more mystery and made the game feel more in the moment rather than breaking out of the story to reference tracking sheets to see if a choice was allowed.
Bob Mann (459 KP) rated The Accountant (2016) in Movies
Sep 29, 2021
Rain Man with a Kalashnikov.
(Another Bob the Movie Man Showcase Theatre).
The scene: studio execs in a board room in Warner Brothers. Greg Silverman, head of Creative Development walks into the room full of his most creative guys and slams a script by Bill Dubuque onto the table.
Silverman: “Affleck needs a real zinger of a film to follow his Batman work and this is it… but we we need a really riveting title… something to grab everyone’s attention and get them begging to pay their ticket money to see. Hit me!”
Creative 1: “The Autist?”
Silverman: “Like your thinking…. good Oscar associations… but perhaps a tad non-PC.”
Creative 2: “Under the Skin?”
Silverman: “Been done. Besides, don’t want everyone thinking they’re going to see THAT much of Johansson again”
A grey looking financial director, sitting in the corner: “Er… sir… I’ve got an idea….”
=====
So… it’s not the most PR-friendly title in the world, but it is a whole lot more interesting than it sounds. Ben Affleck plays the titular accountant (who may or may not be called Christian Wolff) – a sort of evil Jack Reacher of the financial world: off-the-grid behind multiple aliases and with financial fingers in more murky pies around the world than seems tasteful.
Not only is he a mathematical genius with the numbers, but is also extremely handy with his fists and an arsenal of high powered weaponry he keeps in his executive trailer home… ready to up-roots and disappear at any time.
Supported over the phone by a mysterious ‘Pepper-Potts-style’ personal assistant, who appears more machine than person, Affleck is guided from job to job, dropping in the occasional “normal” job to keep the authorities off his tail. One of these is for a bio-technology company headed up by Lamar Black (John Lithgow) who brings him in – against the wishes of his FD and long term friend Ed Chilton (Andy Umberger) – since all appears not quite right in the books. Junior accountant Dana Cummings (Anna “Pitch Perfect” Kendrick) is the young lady who has seen the discrepancy but can’t track it down in the labyrinthine accounts.
This so called ‘safe’ job lands both him and Dana in extreme danger as person or persons unknown, fronted by a hired ‘heavy’ played by Jon Bernthal, try to prevent some dodgy activities coming to the surface.
As a parallel thread, the head of the Treasury Department’s Crime Enforcement Division, Ray King (J.K. Simmons, “Whiplash”) strong-arms (for no readily apparent reason) analyst Marybeth Medina (an impressive Cynthia Addai-Robinson) into pursuing Wolff. With a keen intellect and a strong incentive she begins to close in.
Directed by Gavin O’ Connor, this – for me – is a frustratingly inconsistent film. When it flies, it really flies well, both at an action level and at a dramatic level. The flashback scenes to Wolff’s childhood are well done, showing how the autistic and needy youngster who needed compassion, quiet and understanding got the exact opposite from his militaristic father (Robert C Treveiler) to ‘jolt him out of’ his condition. It is easy to understand how he turned out the way he did.
On the flip side, the plot progression almost deliberately shines a spotlight on some questions (no spoilers) that if you ask them you immediately see the answers, resulting in most of the rest of the plot falling into place without shock or surprise. There was only one genuine twist for me, right at the end of the film, that I didn’t see coming.
The script by Bill Dubuque (“The Judge”) delivers some really nice scenes between Affleck and Kendrick, some smart (and genuinely funny) one-liners and one of the best abruptly ended speeches since Samuel L. Jackson’s in “Deep Blue Sea”. However, the whole Treasury Investigation story-line (however good it is to see J.K. Simmons act) is somewhat superfluous to the whole thing and just doesn’t work.
Kendrick and Affleck have good chemistry, with Affleck trying desperately to breathe some likeability into what is a pretty cold and calculating character. It’s hard though to empathise with someone who – albeit indirectly – is the source of such misery around the world through drugs, terrorism, dictatorships and God-knows what else. Kendrick plays kooky and naive really well, but she really ought to get some protocols sorted out around letting people into her apartment: she really doesn’t seem to learn!
It’s a nice idea and entertaining to watch, but the delivery is flawed.
The scene: studio execs in a board room in Warner Brothers. Greg Silverman, head of Creative Development walks into the room full of his most creative guys and slams a script by Bill Dubuque onto the table.
Silverman: “Affleck needs a real zinger of a film to follow his Batman work and this is it… but we we need a really riveting title… something to grab everyone’s attention and get them begging to pay their ticket money to see. Hit me!”
Creative 1: “The Autist?”
Silverman: “Like your thinking…. good Oscar associations… but perhaps a tad non-PC.”
Creative 2: “Under the Skin?”
Silverman: “Been done. Besides, don’t want everyone thinking they’re going to see THAT much of Johansson again”
A grey looking financial director, sitting in the corner: “Er… sir… I’ve got an idea….”
=====
So… it’s not the most PR-friendly title in the world, but it is a whole lot more interesting than it sounds. Ben Affleck plays the titular accountant (who may or may not be called Christian Wolff) – a sort of evil Jack Reacher of the financial world: off-the-grid behind multiple aliases and with financial fingers in more murky pies around the world than seems tasteful.
Not only is he a mathematical genius with the numbers, but is also extremely handy with his fists and an arsenal of high powered weaponry he keeps in his executive trailer home… ready to up-roots and disappear at any time.
Supported over the phone by a mysterious ‘Pepper-Potts-style’ personal assistant, who appears more machine than person, Affleck is guided from job to job, dropping in the occasional “normal” job to keep the authorities off his tail. One of these is for a bio-technology company headed up by Lamar Black (John Lithgow) who brings him in – against the wishes of his FD and long term friend Ed Chilton (Andy Umberger) – since all appears not quite right in the books. Junior accountant Dana Cummings (Anna “Pitch Perfect” Kendrick) is the young lady who has seen the discrepancy but can’t track it down in the labyrinthine accounts.
This so called ‘safe’ job lands both him and Dana in extreme danger as person or persons unknown, fronted by a hired ‘heavy’ played by Jon Bernthal, try to prevent some dodgy activities coming to the surface.
As a parallel thread, the head of the Treasury Department’s Crime Enforcement Division, Ray King (J.K. Simmons, “Whiplash”) strong-arms (for no readily apparent reason) analyst Marybeth Medina (an impressive Cynthia Addai-Robinson) into pursuing Wolff. With a keen intellect and a strong incentive she begins to close in.
Directed by Gavin O’ Connor, this – for me – is a frustratingly inconsistent film. When it flies, it really flies well, both at an action level and at a dramatic level. The flashback scenes to Wolff’s childhood are well done, showing how the autistic and needy youngster who needed compassion, quiet and understanding got the exact opposite from his militaristic father (Robert C Treveiler) to ‘jolt him out of’ his condition. It is easy to understand how he turned out the way he did.
On the flip side, the plot progression almost deliberately shines a spotlight on some questions (no spoilers) that if you ask them you immediately see the answers, resulting in most of the rest of the plot falling into place without shock or surprise. There was only one genuine twist for me, right at the end of the film, that I didn’t see coming.
The script by Bill Dubuque (“The Judge”) delivers some really nice scenes between Affleck and Kendrick, some smart (and genuinely funny) one-liners and one of the best abruptly ended speeches since Samuel L. Jackson’s in “Deep Blue Sea”. However, the whole Treasury Investigation story-line (however good it is to see J.K. Simmons act) is somewhat superfluous to the whole thing and just doesn’t work.
Kendrick and Affleck have good chemistry, with Affleck trying desperately to breathe some likeability into what is a pretty cold and calculating character. It’s hard though to empathise with someone who – albeit indirectly – is the source of such misery around the world through drugs, terrorism, dictatorships and God-knows what else. Kendrick plays kooky and naive really well, but she really ought to get some protocols sorted out around letting people into her apartment: she really doesn’t seem to learn!
It’s a nice idea and entertaining to watch, but the delivery is flawed.
KittyMiku (138 KP) rated Witch's Bell in Books
May 23, 2019
This was a free book on Amazon and the reviews make you wonder if you should even pick it up, but I still did and I have never been happier. I did find some of the complaints to be true to word, but I did enjoy the book way too much to just say it wasn't worth the read. However, we will be discussing Ebony Bell and her adventures and what Bell may have been done to make it better. Let's dive in.
So first of all, I fell in love with the idea behind this book and apparently the series. With characters like Nathan Wall and Ebony Bell, I couldn't help but be intrigued on whatever relationships was forming between them. I think this book was pretty well thought out considering it cold have left the scenes bare making it hard to visualize where the characters were and what was exactly going on. However, I did think there could have been a little less rambling about different things, though I feel it may be foreshadowing for other books. I feel that even though Ebony was pretty fleshed out, that there could have been a little more on the other characters we find ourselves following a bit. For example, Avery's mother is described by her looks and a bit of how she acted when Ebony was a child, but as a member of the Coven, I wanted a little more. Like how did she become apart of the Coven who were supposedly the strongest witches around as well as the oldest? It left a few questions popping to mind and hope they will be answered in the future. Nathan was another character I felt could have been fleshed out a bit more and not really semi revealed at the end. It left a lot to be desired, but again could just be information that makes you want to read on.
I loved, and I mean LOVED, how when Ebony had her magic blocked from her, the way she saw things changed a bit. Do not get me wrong, her outfits made me giggle, but seeing her actually notice the small things even though she didn't have to and hadn't noticed before, was kind of nice. You were able to see her actually begin to appreciate things she hadn't before. I always love seeing characters grow as a person. Ebony had learned to really appreciate what she was seeing as well as what she had. To see her struggle had brought some delight and I found myself a little mad at how she would forget the most important thing she had thought about until it was almost too late. I did find that the use of other characters did help make what was going on around her seem a little more dire.
I found the love interest between Ebony and Nathan to be a bit subtle, which was kind of nice since it left a lot of room for something to blossom a wonderful romance. I do like how Nate gets under Ebony's skin and no matter how hard she tries rattle him he is unfazed. This made them polar opposites, which made me smile a bit, Though I would have loved to see more between them in the form of witty banter and teasing. but what I was given, I didn't think it was all that bad, just could have been more.
Overall, I would rate this book 4 stars out of 5 stars. There could have been more given and even explained something better while not rambling on things that made you begin to question a character's mental state. I loved the story line and hope that as the books move forward we can figure it all out about our mysterious Detective Nathan Wall, the Coven and whoever is behind trying to rewrite Ebony Bell's story.
So first of all, I fell in love with the idea behind this book and apparently the series. With characters like Nathan Wall and Ebony Bell, I couldn't help but be intrigued on whatever relationships was forming between them. I think this book was pretty well thought out considering it cold have left the scenes bare making it hard to visualize where the characters were and what was exactly going on. However, I did think there could have been a little less rambling about different things, though I feel it may be foreshadowing for other books. I feel that even though Ebony was pretty fleshed out, that there could have been a little more on the other characters we find ourselves following a bit. For example, Avery's mother is described by her looks and a bit of how she acted when Ebony was a child, but as a member of the Coven, I wanted a little more. Like how did she become apart of the Coven who were supposedly the strongest witches around as well as the oldest? It left a few questions popping to mind and hope they will be answered in the future. Nathan was another character I felt could have been fleshed out a bit more and not really semi revealed at the end. It left a lot to be desired, but again could just be information that makes you want to read on.
I loved, and I mean LOVED, how when Ebony had her magic blocked from her, the way she saw things changed a bit. Do not get me wrong, her outfits made me giggle, but seeing her actually notice the small things even though she didn't have to and hadn't noticed before, was kind of nice. You were able to see her actually begin to appreciate things she hadn't before. I always love seeing characters grow as a person. Ebony had learned to really appreciate what she was seeing as well as what she had. To see her struggle had brought some delight and I found myself a little mad at how she would forget the most important thing she had thought about until it was almost too late. I did find that the use of other characters did help make what was going on around her seem a little more dire.
I found the love interest between Ebony and Nathan to be a bit subtle, which was kind of nice since it left a lot of room for something to blossom a wonderful romance. I do like how Nate gets under Ebony's skin and no matter how hard she tries rattle him he is unfazed. This made them polar opposites, which made me smile a bit, Though I would have loved to see more between them in the form of witty banter and teasing. but what I was given, I didn't think it was all that bad, just could have been more.
Overall, I would rate this book 4 stars out of 5 stars. There could have been more given and even explained something better while not rambling on things that made you begin to question a character's mental state. I loved the story line and hope that as the books move forward we can figure it all out about our mysterious Detective Nathan Wall, the Coven and whoever is behind trying to rewrite Ebony Bell's story.
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
Gareth von Kallenbach (980 KP) rated Everest (2015) in Movies
Jun 19, 2019
Ever since Sir Edmund Hillary reached the peak of Mount Everest in 1953, the mountain has been the Holy Grail for climbers of all experience levels despite the fact that the mountain has claimed more than a few victims over the years from those who have attempted to reach the summit which is also known as “The Killing Zone”.
In the new film “Everest”, audiences get an up close look at the beauty and danger of the mountain as told by real men and women who risked it all for a shot at greatness.
Based on the books Into Thin Air and The Climb: Tragic Ambitions on Everest by two of the survivors, the film looks at an expedition in 1996 that until recently was the most tragic climb on the mountain and caused real concern about the commercialization of the mountain.
Jason Clarke stars as Rob Hall, an experienced guide and climber who has operated a very successful company which charges $65,000 a head for the chance at greatness.
As the film opens, Rob is leaving his pregnant wife behind in New Zealand to lead a group up the mountain. The weather looks good during the brief window where they have a chance to climb to the top, and despite a record number of groups waiting to climb, Rob is confident he can get his crew to the top.
Rob has a seasoned and professional crew and with a journalist in tow, he is ready to procedure but always operates from a position of safety and care. It is attention to safety that causes Rob to be labeled a “hand holder” from rival guide Scott Fisher (Jake Gyllenhaal).
Despite their rival nature and different styles, Rob and Scott decide to combine forces and work with one another to get their clients up the mountain and work to secure the all-important climbing ropes.
As the climb goes well, we learn about the various characters and get some great supporting work from Sam Worthington, Josh Brolin, and the diverse and very engaging cast of the film.
Naturally things do not go as planned as a series of weather induced tragedies set in and forces the climbers to battle overwhelming odds to survive in a deadly race against time.
Aside from the amazing visual where you can really see the challenge and danger of climbing at an altitude usually reserved for 747s, the film which will be shown only in IMAX 3D screens shows the passion and endurance of those willing to pay a small fortune and risk death for one of the greatest challenges out there.
Director Baltasar Kormakur is to be praised for a visually compelling film that lets the setting and characters propel the story and does not resort to Hollywood gimmicks like over embellished storms, cave ins, and scenes common in most Disaster films and focused on the events as depicted by the survivors.
It was difficult at times to identify key characters as when they are all bundled up in a storm, telling who was who became a real challenge at times, but imagine how hard it was for those who were actually there.
If you are looking for a character driven action film with amazing scenery, you will want to make sure to see this film as it is as unforgettable a tale with amazing visuals.
http://sknr.net/2015/09/18/everest/
In the new film “Everest”, audiences get an up close look at the beauty and danger of the mountain as told by real men and women who risked it all for a shot at greatness.
Based on the books Into Thin Air and The Climb: Tragic Ambitions on Everest by two of the survivors, the film looks at an expedition in 1996 that until recently was the most tragic climb on the mountain and caused real concern about the commercialization of the mountain.
Jason Clarke stars as Rob Hall, an experienced guide and climber who has operated a very successful company which charges $65,000 a head for the chance at greatness.
As the film opens, Rob is leaving his pregnant wife behind in New Zealand to lead a group up the mountain. The weather looks good during the brief window where they have a chance to climb to the top, and despite a record number of groups waiting to climb, Rob is confident he can get his crew to the top.
Rob has a seasoned and professional crew and with a journalist in tow, he is ready to procedure but always operates from a position of safety and care. It is attention to safety that causes Rob to be labeled a “hand holder” from rival guide Scott Fisher (Jake Gyllenhaal).
Despite their rival nature and different styles, Rob and Scott decide to combine forces and work with one another to get their clients up the mountain and work to secure the all-important climbing ropes.
As the climb goes well, we learn about the various characters and get some great supporting work from Sam Worthington, Josh Brolin, and the diverse and very engaging cast of the film.
Naturally things do not go as planned as a series of weather induced tragedies set in and forces the climbers to battle overwhelming odds to survive in a deadly race against time.
Aside from the amazing visual where you can really see the challenge and danger of climbing at an altitude usually reserved for 747s, the film which will be shown only in IMAX 3D screens shows the passion and endurance of those willing to pay a small fortune and risk death for one of the greatest challenges out there.
Director Baltasar Kormakur is to be praised for a visually compelling film that lets the setting and characters propel the story and does not resort to Hollywood gimmicks like over embellished storms, cave ins, and scenes common in most Disaster films and focused on the events as depicted by the survivors.
It was difficult at times to identify key characters as when they are all bundled up in a storm, telling who was who became a real challenge at times, but imagine how hard it was for those who were actually there.
If you are looking for a character driven action film with amazing scenery, you will want to make sure to see this film as it is as unforgettable a tale with amazing visuals.
http://sknr.net/2015/09/18/everest/
Andy K (10823 KP) rated What We Left Behind: Looking Back at Deep Space Nine (2018) in Movies
Jul 23, 2019
Where would we be without DS9?
Maybe the best Trek of all time?
Sisko, Odo, Kira, O'Brien, Dax, Quark, Bashir and the rest of the massive cast brought Star Trek to life as never before in this vastly different "station"ary style of Trek.
At the time, syndication was where it was at for reruns and additional revenue for a TV program. DS9 bucked the trend of wrapping up everything within one episode and began a TV serial which pretty much ran almost the entire run, much to the dismay of studio executives. Nowadays, shows like The Walking Dead, Lost, or Game of Thrones do this every week, but in the mid 90s this was not common.
Sandwiched in between The Next Generation and Voyager, DS9 did not get a lot of respect during its initial run at all. Also at that time, Trek TNG movies were in full swing so the show had to compete with that as well. Television stations would often preempt the show, skip a week or run the show in the early morning hours which made it even harder for its audience to keep track of the action.
DS9 certainly got a 2nd life with the current popularity of "binge watching" on your favorite streaming service. Having the ability to watch multi-part episodes or entire seasons within a few weeks brought back to life the en genius writing, acting and production quality of the series.
For this documentary, former showrunner Ira Steven Behr took several years worth of cast, crew and fan interviews, clips, behind the scenes footage and compiled a wonderful interesting film for any Trek fan. Many cast members major and minor as well as producers, writers and tech workers told tales of working on the show and how they very much enjoyed their time.
Throughout the many iterations of Trek, original creator Gene Roddenberry felt the show should entertain as well as provide social commentary on the issues of the time and DS9 was no exception. Throughout the show's 7 year run they dealt with issues such as racism, homelessness, same sex relationships and even genetic engineering.
One of the most fun subplots of the film was gathering the show's original writers in a room to formulate the first episode for the fictitious "Season 8" which will never actually happen (although I wish it would). The ideas, plot points and arcs they went through and came up with were extremely interesting, keep with the high level of writing the show originally produced, but also through us a few curveballs with some fun surprises.
Through the cast interviews we got to hear how the crew got along, some of their favorite and least favorite episodes and even the friendships they have maintained with one another.
The DVD set I received also had included a vast assortment of additional footage featuring even more nuggets and stories of what made the show great.
Overall, this film was one of the best documentaries I have ever seen about one of my favorite television programs in my lifetime. I might have to start binge watching the show again very soon.
Did I mention my name appears in the end credits?!? 😊
Sisko, Odo, Kira, O'Brien, Dax, Quark, Bashir and the rest of the massive cast brought Star Trek to life as never before in this vastly different "station"ary style of Trek.
At the time, syndication was where it was at for reruns and additional revenue for a TV program. DS9 bucked the trend of wrapping up everything within one episode and began a TV serial which pretty much ran almost the entire run, much to the dismay of studio executives. Nowadays, shows like The Walking Dead, Lost, or Game of Thrones do this every week, but in the mid 90s this was not common.
Sandwiched in between The Next Generation and Voyager, DS9 did not get a lot of respect during its initial run at all. Also at that time, Trek TNG movies were in full swing so the show had to compete with that as well. Television stations would often preempt the show, skip a week or run the show in the early morning hours which made it even harder for its audience to keep track of the action.
DS9 certainly got a 2nd life with the current popularity of "binge watching" on your favorite streaming service. Having the ability to watch multi-part episodes or entire seasons within a few weeks brought back to life the en genius writing, acting and production quality of the series.
For this documentary, former showrunner Ira Steven Behr took several years worth of cast, crew and fan interviews, clips, behind the scenes footage and compiled a wonderful interesting film for any Trek fan. Many cast members major and minor as well as producers, writers and tech workers told tales of working on the show and how they very much enjoyed their time.
Throughout the many iterations of Trek, original creator Gene Roddenberry felt the show should entertain as well as provide social commentary on the issues of the time and DS9 was no exception. Throughout the show's 7 year run they dealt with issues such as racism, homelessness, same sex relationships and even genetic engineering.
One of the most fun subplots of the film was gathering the show's original writers in a room to formulate the first episode for the fictitious "Season 8" which will never actually happen (although I wish it would). The ideas, plot points and arcs they went through and came up with were extremely interesting, keep with the high level of writing the show originally produced, but also through us a few curveballs with some fun surprises.
Through the cast interviews we got to hear how the crew got along, some of their favorite and least favorite episodes and even the friendships they have maintained with one another.
The DVD set I received also had included a vast assortment of additional footage featuring even more nuggets and stories of what made the show great.
Overall, this film was one of the best documentaries I have ever seen about one of my favorite television programs in my lifetime. I might have to start binge watching the show again very soon.
Did I mention my name appears in the end credits?!? 😊
Goddess in the Stacks (553 KP) rated Son of a Witch in Books
Apr 16, 2018
I saw the musical version of Wicked two or three years ago, and ADORED it. I'd been wanting to pick up this book for sometime, and finally found both it and the sequel at my local library. (I just learned there are two more books, A Lion Among Men and Out of Oz, so I'll be requesting those from the library soon!) I started the book knowing, from other reviewers, that it was very different from the musical. Unlike most of the reviews I read, that didn't make me not like it. Quite the contrary. I loved seeing the politics and social unrest hidden behind the scenes. The musical hints at the pogroms against Animals (the sentient ones) but doesn't go into the Whys and Hows like the book does. Wicked and its sequel are much grittier, much darker. At times they feel like political commentary. I loved them.
Wicked is the story of Elphaba, Oz's Wicked Witch of the West. Her story tells us about her birth, her childhood, her school years, and how she eventually came to be the Wicked Witch of the West. Throughout the course of the book we meet Glinda, the Good Witch (and Elphaba's college roommate), the Wicked Witch's flying monkeys, and the Wizard of Oz. The Wicked Witch, unsurprisingly, is not as evil as she's painted to be. Her sister, though...I might not call her wicked, but dictatorial? Yes. Wicked also introduces Liir, Elphaba's son. His story is the sequel, Son of a Witch.
In Son of a Witch, we watch Liir try to decide who he is and what he wants to do with his life. Is he really Elphaba's son? What does that mean for his future? Should he take up her mantle and her responsibilities? So many people seem to think it's his duty to do so, but he's not Elphaba. She never confided her dreams and goals to him, so he doesn't even really know what those duties are, much less if he wants to take them up. Son of a Witch is really the story of an identity crisis, but it's an identity crisis with the added pressure of entire tribes and races of peoples looking to Liir for help, or guidance, or simply answers that he does not have.
I very much enjoyed both books, and I'm excited to find out there are two more in the series. I definitely had some unanswered questions at the end of Son of a Witch, and was disappointed when I thought that was the end. I also plan to look up the author's other, similar books - Confessions of an Ugly Stepsister (Cinderella), Mirror Mirror (Snow White), and many others not based on fairy tales. Or recognizable fairy tales, anyway.
Reading these two books has also made me want to re-read the Oz series - I read most of them years ago in middle school, but I think I may try to grab them from the library again. Oz is such an interesting world, and re-reading them after reading The Wicked Years might shine a whole new light on them.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Wicked is the story of Elphaba, Oz's Wicked Witch of the West. Her story tells us about her birth, her childhood, her school years, and how she eventually came to be the Wicked Witch of the West. Throughout the course of the book we meet Glinda, the Good Witch (and Elphaba's college roommate), the Wicked Witch's flying monkeys, and the Wizard of Oz. The Wicked Witch, unsurprisingly, is not as evil as she's painted to be. Her sister, though...I might not call her wicked, but dictatorial? Yes. Wicked also introduces Liir, Elphaba's son. His story is the sequel, Son of a Witch.
In Son of a Witch, we watch Liir try to decide who he is and what he wants to do with his life. Is he really Elphaba's son? What does that mean for his future? Should he take up her mantle and her responsibilities? So many people seem to think it's his duty to do so, but he's not Elphaba. She never confided her dreams and goals to him, so he doesn't even really know what those duties are, much less if he wants to take them up. Son of a Witch is really the story of an identity crisis, but it's an identity crisis with the added pressure of entire tribes and races of peoples looking to Liir for help, or guidance, or simply answers that he does not have.
I very much enjoyed both books, and I'm excited to find out there are two more in the series. I definitely had some unanswered questions at the end of Son of a Witch, and was disappointed when I thought that was the end. I also plan to look up the author's other, similar books - Confessions of an Ugly Stepsister (Cinderella), Mirror Mirror (Snow White), and many others not based on fairy tales. Or recognizable fairy tales, anyway.
Reading these two books has also made me want to re-read the Oz series - I read most of them years ago in middle school, but I think I may try to grab them from the library again. Oz is such an interesting world, and re-reading them after reading The Wicked Years might shine a whole new light on them.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Goddess in the Stacks (553 KP) rated Wicked in Books
Apr 16, 2018
I saw the musical version of Wicked two or three years ago, and ADORED it. I'd been wanting to pick up this book for sometime, and finally found both it and the sequel at my local library. (I just learned there are two more books, A Lion Among Men and Out of Oz, so I'll be requesting those from the library soon!) I started the book knowing, from other reviewers, that it was very different from the musical. Unlike most of the reviews I read, that didn't make me not like it. Quite the contrary. I loved seeing the politics and social unrest hidden behind the scenes. The musical hints at the pogroms against Animals (the sentient ones) but doesn't go into the Whys and Hows like the book does. Wicked and its sequel are much grittier, much darker. At times they feel like political commentary. I loved them.
Wicked is the story of Elphaba, Oz's Wicked Witch of the West. Her story tells us about her birth, her childhood, her school years, and how she eventually came to be the Wicked Witch of the West. Throughout the course of the book we meet Glinda, the Good Witch (and Elphaba's college roommate), the Wicked Witch's flying monkeys, and the Wizard of Oz. The Wicked Witch, unsurprisingly, is not as evil as she's painted to be. Her sister, though...I might not call her wicked, but dictatorial? Yes. Wicked also introduces Liir, Elphaba's son. His story is the sequel, Son of a Witch.
In Son of a Witch, we watch Liir try to decide who he is and what he wants to do with his life. Is he really Elphaba's son? What does that mean for his future? Should he take up her mantle and her responsibilities? So many people seem to think it's his duty to do so, but he's not Elphaba. She never confided her dreams and goals to him, so he doesn't even really know what those duties are, much less if he wants to take them up. Son of a Witch is really the story of an identity crisis, but it's an identity crisis with the added pressure of entire tribes and races of peoples looking to Liir for help, or guidance, or simply answers that he does not have.
I very much enjoyed both books, and I'm excited to find out there are two more in the series. I definitely had some unanswered questions at the end of Son of a Witch, and was disappointed when I thought that was the end. I also plan to look up the author's other, similar books - Confessions of an Ugly Stepsister (Cinderella), Mirror Mirror (Snow White), and many others not based on fairy tales. Or recognizable fairy tales, anyway.
Reading these two books has also made me want to re-read the Oz series - I read most of them years ago in middle school, but I think I may try to grab them from the library again. Oz is such an interesting world, and re-reading them after reading The Wicked Years might shine a whole new light on them.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Wicked is the story of Elphaba, Oz's Wicked Witch of the West. Her story tells us about her birth, her childhood, her school years, and how she eventually came to be the Wicked Witch of the West. Throughout the course of the book we meet Glinda, the Good Witch (and Elphaba's college roommate), the Wicked Witch's flying monkeys, and the Wizard of Oz. The Wicked Witch, unsurprisingly, is not as evil as she's painted to be. Her sister, though...I might not call her wicked, but dictatorial? Yes. Wicked also introduces Liir, Elphaba's son. His story is the sequel, Son of a Witch.
In Son of a Witch, we watch Liir try to decide who he is and what he wants to do with his life. Is he really Elphaba's son? What does that mean for his future? Should he take up her mantle and her responsibilities? So many people seem to think it's his duty to do so, but he's not Elphaba. She never confided her dreams and goals to him, so he doesn't even really know what those duties are, much less if he wants to take them up. Son of a Witch is really the story of an identity crisis, but it's an identity crisis with the added pressure of entire tribes and races of peoples looking to Liir for help, or guidance, or simply answers that he does not have.
I very much enjoyed both books, and I'm excited to find out there are two more in the series. I definitely had some unanswered questions at the end of Son of a Witch, and was disappointed when I thought that was the end. I also plan to look up the author's other, similar books - Confessions of an Ugly Stepsister (Cinderella), Mirror Mirror (Snow White), and many others not based on fairy tales. Or recognizable fairy tales, anyway.
Reading these two books has also made me want to re-read the Oz series - I read most of them years ago in middle school, but I think I may try to grab them from the library again. Oz is such an interesting world, and re-reading them after reading The Wicked Years might shine a whole new light on them.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Mothergamer (1568 KP) rated Tales of Vesperia in Video Games
Apr 3, 2019
I finally got done playing Tales Of Vesperia, but I'm not completely done. There's an extra dungeon you can play through at the end of the game if you do a specific side quest during the regular game play through. I've never played a Tales Of game that I didn't like yet and this one was no exception.
I genuinely liked the main character Yuri because he's not a perfect hero. He isn't purely good, but he's not necessarily evil either. It's a matter of he's had to make the hard decisions that others around him are not willing to make, but in the end he's always stayed true to himself and his ideals. I think a lot of the reason why that scenario worked is because of the story line with Yuri's best friend Flynn. Flynn is the other side of the coin, walking a different path, but ultimately the goal to try and make the world a better place is similar.
The idea of blastia technology is interesting and they do explain how it came to be and what it is used for as the game and story progress. It also explains the reasons behind how the empire that controls it came to exist which I thought that the developers did a pretty good job of intertwining with the main story line.
You meet more characters along the way on this adventure and they all have pretty decent back stories. I myself liked Raven's and Judith's in particular. There are of course, the usual skits during game play, but they never get tedious. In fact, some of them are amusing with jokes that are actually funny and add a little more depth to the story and the characters themselves. The anime cut scenes are very well done and great to watch. The musical soundtrack not only is beautiful, but fits well with the various battles and pivotal plot points throughout the story.
There are one or two boss battles that can be a little frustrating because of certain mystic artes attacks, but once you get through them you feel a sense of accomplishment for having won. Of course, if you get too frustrated you do have the option of changing the difficulty level to easy without being penalized for it which is a nice perk. With a myriad of fun extra side quests like getting cafe costumes for all the characters or the cute disguise costumes for the female characters in your party, you get a pleasant break from level grinding and the main story. Overall, the game is a good time and fun to play. Even level grinding in this particular RPG is enjoyable because of a decent battle system, and beautifully designed scenery and enemies. Now, I'm going to get back to playing this extra dungeon I've won. As for all of you, I suggest you pick up Tales Of Vesperia for the Xbox 360 and give it a try. I am sure you will have as much fun as I did playing it.
I genuinely liked the main character Yuri because he's not a perfect hero. He isn't purely good, but he's not necessarily evil either. It's a matter of he's had to make the hard decisions that others around him are not willing to make, but in the end he's always stayed true to himself and his ideals. I think a lot of the reason why that scenario worked is because of the story line with Yuri's best friend Flynn. Flynn is the other side of the coin, walking a different path, but ultimately the goal to try and make the world a better place is similar.
The idea of blastia technology is interesting and they do explain how it came to be and what it is used for as the game and story progress. It also explains the reasons behind how the empire that controls it came to exist which I thought that the developers did a pretty good job of intertwining with the main story line.
You meet more characters along the way on this adventure and they all have pretty decent back stories. I myself liked Raven's and Judith's in particular. There are of course, the usual skits during game play, but they never get tedious. In fact, some of them are amusing with jokes that are actually funny and add a little more depth to the story and the characters themselves. The anime cut scenes are very well done and great to watch. The musical soundtrack not only is beautiful, but fits well with the various battles and pivotal plot points throughout the story.
There are one or two boss battles that can be a little frustrating because of certain mystic artes attacks, but once you get through them you feel a sense of accomplishment for having won. Of course, if you get too frustrated you do have the option of changing the difficulty level to easy without being penalized for it which is a nice perk. With a myriad of fun extra side quests like getting cafe costumes for all the characters or the cute disguise costumes for the female characters in your party, you get a pleasant break from level grinding and the main story. Overall, the game is a good time and fun to play. Even level grinding in this particular RPG is enjoyable because of a decent battle system, and beautifully designed scenery and enemies. Now, I'm going to get back to playing this extra dungeon I've won. As for all of you, I suggest you pick up Tales Of Vesperia for the Xbox 360 and give it a try. I am sure you will have as much fun as I did playing it.
Phillip McSween (751 KP) rated Big Hero 6 (2014) in Movies
Nov 5, 2018
Phenomenal
Big Hero 6 sits on top for me as probably the best under-the-radar film of all-time. No one talks about it or really brings it up. Anytime I mention its greatness, I get the typical response: “Well, yeah, I guess it was kind of awesome.” Not only is it one of the best under-the-radar films, but it’s the best film I have reviewed so far. Disagree all you want, but hear me out on my argument.
Set in the swanky, futuristic city of San Fransokyo, Big Hero 6 is the story of how young Hiro Hamada develops an unlikely friendship with his brother’s marshmallow-esque robot Baymax and they form an unlikely superhero team.
Acting: 10
Each voice actor does an excellent job capturing the essence of their character. Strong, emotional moments suck you into the film and keep you invested. As in most Disney films, there are no weaknesses from an acting standpoint. Damon Wayans Jr. was my personal favorite playing the role of Wasabi one of Hiro’s friends. He doesn’t dominate the scenes that he stars in, but definitely manages to make the most of his lines.
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The animations are beautiful and crisp. The opening scene provides a breathtaking view of the city of San Fransokyo. Building lights pop against the night sky. Bay waters glimmer. Attention to detail is exquisite. There is one scene where Hiro and Baymax are falling through an open window in slow-motion. Bushes below rustle while glass flies past them. It only lasts for a couple of seconds, but it’s a testament to the solid work that went into the animation of this film.
The powers the team displayed added to the film’s visual prowess. I loved watching Fred breathe fire in his awful (and also hilarious) superhero costume. Their powers and team-ups made for some stunning battles against a unique villain.
Conflict: 10
I am amazed at the balance of story and action as a film typically has to sacrifice one over the other. Even during their earlier training phases, the action is both consistent and non-stop. It fills the entire landscape of the screen. From battles to car chases to harrowing escapes, Big Hero 6 establishes and maintains a high level of intensity.
Genre: 10
Not only does this film establish itself as one of the best animated films ever done, but it’s also one of the best superhero films ever made. The fact that it excels in both genres just speaks of the film’s overall greatness. I expected to like it, but I never expected to love it. Big Hero 6 is easily in the same class as The Incredibles.
Memorability: 10
Pace: 10
Plot: 10
Resolution: 10
The ending is perfect. Sappy, yet believable. Great wrap-up of a great movie.
Overall: 100
A great family film with solid superhero action and a fun, meaningful story you can get behind. What more do you need? Loved this movie.
Set in the swanky, futuristic city of San Fransokyo, Big Hero 6 is the story of how young Hiro Hamada develops an unlikely friendship with his brother’s marshmallow-esque robot Baymax and they form an unlikely superhero team.
Acting: 10
Each voice actor does an excellent job capturing the essence of their character. Strong, emotional moments suck you into the film and keep you invested. As in most Disney films, there are no weaknesses from an acting standpoint. Damon Wayans Jr. was my personal favorite playing the role of Wasabi one of Hiro’s friends. He doesn’t dominate the scenes that he stars in, but definitely manages to make the most of his lines.
Beginning: 10
Characters: 10
Cinematography/Visuals: 10
The animations are beautiful and crisp. The opening scene provides a breathtaking view of the city of San Fransokyo. Building lights pop against the night sky. Bay waters glimmer. Attention to detail is exquisite. There is one scene where Hiro and Baymax are falling through an open window in slow-motion. Bushes below rustle while glass flies past them. It only lasts for a couple of seconds, but it’s a testament to the solid work that went into the animation of this film.
The powers the team displayed added to the film’s visual prowess. I loved watching Fred breathe fire in his awful (and also hilarious) superhero costume. Their powers and team-ups made for some stunning battles against a unique villain.
Conflict: 10
I am amazed at the balance of story and action as a film typically has to sacrifice one over the other. Even during their earlier training phases, the action is both consistent and non-stop. It fills the entire landscape of the screen. From battles to car chases to harrowing escapes, Big Hero 6 establishes and maintains a high level of intensity.
Genre: 10
Not only does this film establish itself as one of the best animated films ever done, but it’s also one of the best superhero films ever made. The fact that it excels in both genres just speaks of the film’s overall greatness. I expected to like it, but I never expected to love it. Big Hero 6 is easily in the same class as The Incredibles.
Memorability: 10
Pace: 10
Plot: 10
Resolution: 10
The ending is perfect. Sappy, yet believable. Great wrap-up of a great movie.
Overall: 100
A great family film with solid superhero action and a fun, meaningful story you can get behind. What more do you need? Loved this movie.