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Rachel King (13 KP) rated Awakened (House of Night, #8) in Books
Feb 11, 2019
The book opens with Zoey, Stark, Aphrodite, and Darius still on the Isle of Skye. Several factors are adamant about keeping Zoey and Stark there, from their romance to Sgiach's sudden change of perspective about keeping the Isle a secret. All through the book I get the feeling that Sgiach is not as trustworthy or pure of intention as the reader is led to believe, but I imagine that will be a subject for a future book.
Fairly early in the book, a death occurs - I won't say who - but it feels a bit like an author's attempt to cull an entirely-too-long cast list. I have felt for awhile that there were too many characters in this series to keep track of all of them in a single book, but even with the random death occurring every so often, many of the characters are almost non-existent in this book.
I really like the character Rephaim and what the authors are doing with his sub-plot. He has much potential for growth in personality and maturity, and he brings a more adult element to what often feels like a very immature series. I was thrilled with how Nyx helps him at the end, as it shows him that good has its own rewards. His presence has forced Stevie Rae to grow up and make decisions that have a great impact, too. Normally Stevie Rae can be quite annoying, but around Rephaim I like her.
Neferet is of course, beyond revolting. Everything she does makes me want to hurl the book across the room - from her posturing around Kalona and Rephaim, to her false guilt at the funeral, to her simpering over the white bull. Her character is actually my strongest clue that the authors are good at what they do. Only a well-written character can elicit the kind of strong emotion that Neferet brings out in me. They do a good job of showing how the soul-sucking darkness is driving her to madness, even to the point of always underestimating what Zoey and Nyx are capable of. I may be delusional, but I still think that Kalona can be saved from this darkness, even though it's obvious that Neferet can not. His actions seem to be driven by bitterness and a hunger for what is denied him, rather than evil for the sake of evil.
I do love that the authors found a way to continue using Heath in the plotline, as he was always so good for Zoey and probably the only "normal" person in the cast list of supernaturally-gifted beings. He likely will have a long way to go with the direction the authors are taking him, but I imagine I'll keep reading this series through to the end - whenever that is.
Many of the same problems that I had with the series early on still persist - such as sickly-sweet teenage lingo, the condensed time frame of each book, and too many characters with too little time. I find myself wondering which parts of the books are written by which author, as the writing style seems to change sporadically.
I was actually both relieved and saddened by the death at the end, first that it was not someone else dying, but also how it will affect Zoey. Beyond that, there are simply too many characters for me to be emotionally-attached to all of them. So on to the next book - Destined (House of Night Novels).
Fairly early in the book, a death occurs - I won't say who - but it feels a bit like an author's attempt to cull an entirely-too-long cast list. I have felt for awhile that there were too many characters in this series to keep track of all of them in a single book, but even with the random death occurring every so often, many of the characters are almost non-existent in this book.
I really like the character Rephaim and what the authors are doing with his sub-plot. He has much potential for growth in personality and maturity, and he brings a more adult element to what often feels like a very immature series. I was thrilled with how Nyx helps him at the end, as it shows him that good has its own rewards. His presence has forced Stevie Rae to grow up and make decisions that have a great impact, too. Normally Stevie Rae can be quite annoying, but around Rephaim I like her.
Neferet is of course, beyond revolting. Everything she does makes me want to hurl the book across the room - from her posturing around Kalona and Rephaim, to her false guilt at the funeral, to her simpering over the white bull. Her character is actually my strongest clue that the authors are good at what they do. Only a well-written character can elicit the kind of strong emotion that Neferet brings out in me. They do a good job of showing how the soul-sucking darkness is driving her to madness, even to the point of always underestimating what Zoey and Nyx are capable of. I may be delusional, but I still think that Kalona can be saved from this darkness, even though it's obvious that Neferet can not. His actions seem to be driven by bitterness and a hunger for what is denied him, rather than evil for the sake of evil.
I do love that the authors found a way to continue using Heath in the plotline, as he was always so good for Zoey and probably the only "normal" person in the cast list of supernaturally-gifted beings. He likely will have a long way to go with the direction the authors are taking him, but I imagine I'll keep reading this series through to the end - whenever that is.
Many of the same problems that I had with the series early on still persist - such as sickly-sweet teenage lingo, the condensed time frame of each book, and too many characters with too little time. I find myself wondering which parts of the books are written by which author, as the writing style seems to change sporadically.
I was actually both relieved and saddened by the death at the end, first that it was not someone else dying, but also how it will affect Zoey. Beyond that, there are simply too many characters for me to be emotionally-attached to all of them. So on to the next book - Destined (House of Night Novels).
Movie Metropolis (309 KP) rated Allegiant (2016) in Movies
Jun 11, 2019
A+ for effort
I think it’s probably fair to say that the Young Adult genre has become oversaturated due to the phenomenal success of The Hunger Games. Since coming to a slightly underwhelming conclusion last year, many new franchises have its crown firmly in their sights.
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/
The Maze Runner was a muddled first outing with the second, Scorch Trials faring much better and the same can be said for the Divergent series. The first film was at times, an incomprehensible mess, while its follow-up, Insurgent was a thrilling if CGI-heavy and overlong affair.
Allegiant marks the first of two films ending the moderately successful series, with Ascendant being released in June next year. But does this split conclusion harm it as much as it did for Mockingjay?
Allegiant picks up immediately after the end of its predecessor with Tris Prior (Shailene Woodley), her lover Four (Theo James) and a group of friends leaving their once safe-haven of a post-apocalyptic Chicago in order to find a world beyond the wall, populated by others once thought forgotten. What ensues will change their lives forever.
The cast is on form in this instalment with Woodley growing into the role perfectly. It’s true that she’s no Jennifer Lawrence, and many would see her as a budget Katniss Everdeen, but she plays the character with a confidence only matched by her rival in the genre. Theo James gets a much larger role here too, and this is welcome, given his pivotal part in the novels.
Elsewhere, Naomi Watts does her best Julianne Moore impression and clearly watched the latter’s performance in Mockingjay to prepare for an incredibly similar role. Jeff Daniels is a nice addition as the Bureau of Genetic Welfare’s leader, David, though again, his acting prowess feels a little wasted.
Robert Schwentke directs the film with a unique colour palate and visual flair. Scenes “beyond the wall” are stunning and glisten with a red lick of paint, a welcome change from the staid, grey and blue many directors continue to use in blockbusters. It’s very Total Recall-esque in these sequences and better for it.
Unfortunately, once the plucky group of teens leave the Martian-like “Fringe” behind, the CGI kicks up a gear. This is where things start to unravel somewhat and Schwentke throws effect upon effect at the screen until there is hardly any realism left. On the whole, they’re pretty decent, but there are a few lapses that stop the film dead in its tracks, especially towards the cliff-hanger conclusion.
It’s also far too long. Much like Mockingjay, splitting the final book was an exercise in cash-grabbing rather than giving fans of the novels what they want. At over two hours in length, Allegiant drags in places and means the final film, as a whole, will be around four hours.
Nevertheless, there is much to enjoy here. The story for newcomers is incomprehensible and some of the dialogue is downright laughable, but for those of us continuing the saga, it’s an epic adventure with some cracking visuals, good acting and an intriguing plot – despite a few convoluted moments.
Overall, Allegiant is a film hampered by its timing. The similarities to The Hunger Games are obvious throughout, from exactly the same dialogue in certain scenes, to similar sets and similar casting decisions. But, if you can forget all that, it’s a fun, if overlong ride
https://moviemetropolis.net/2016/03/13/a-for-effort-divergent-allegiant-review/
JT (287 KP) rated Mama (2013) in Movies
Mar 10, 2020
When a film is presented by a well-known director it initially has a certain weight to it that will place it above the shoulders of others. In the case of horror/thriller Mama it has the backing of Spanish director Guillermo del Toro which is a certain plus point for any one who is a fan.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.
Phillip McSween (751 KP) rated Toy Story 4 (2019) in Movies
Jul 29, 2019
About Life and Letting Go...
In yet another crazy adventure, Toy Story 4 sees Woody and the gang protecting Forky, Bonnie’s new toy she created from a spork in Kindergarten class.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Silent Landscape at Gallipoli: The Battlefields of the Dardanelles, One Hundred Years on
Book
In our first book, we explored the impact of the fighting on the landscape of the Western Front -...
Sean Freese (4 KP) rated The Witch (2015) in Movies
Jun 25, 2020
THE VVITCH
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
Kristy H (1252 KP) rated I Kissed a Girl in Books
Aug 12, 2021
A fun movie set romance
Noa Birnbaum's dream is to work in the movies: in horror special effects and makeup. She finally gets a chance to work on a real movie (one step closer to joining the union), but it means dropping out of school, where she's earning her theater degree. Her parents won't be pleased. On the set, she's face to face with actress Lilah Silver, whom Noa has had a crush on for ages. Lilah has her own dreams, to move beyond B-list horror films and into true stardom. This starring role as the "final girl" could be her opportunity. When she meets openly out Noa, Lilah may finally have a chance to admit to her own bisexuality. But a relationship could have its own problems for both Lilah and Noa.
"Noa'd thrown away everything else in her life for this job. And now she was seriously considering throwing the job away for a chance at a girl? Stupid beyond words."
This is a cute story whose strength comes across in its representation--queer characters covering bi, trans, lesbian and more. There's also some excellent Jewish representation, as both Noa and Lilah bond over their religious beliefs. As a member of the LGBTQIA community, I love seeing stories that reflect myself and my friends. Watching Lilah grapple with her bisexuality and coming out and seeing Noa hang out with her friends, being openly out and accepted. These are still stories and characters we do not get to see and read about regularly. Even better, it seems like I read a lot of queer YA books, not a lot where the characters are adults (although they might not always act like it in this story, ha). It was fun and refreshing.
"Special effects artist had never been on the list of things Good Jewish Girls Did."
For me, this book was a little long. It could have been a bit shorter and would have felt more snappy. A lot of the focus in this story is on miscommunication, which is a pet peeve of mine. I just can't handle when so much of the plot could be avoided if the characters just spoke openly to one another. It's also not entirely clear why Noa crushes so much on Lilah, to the point that it seems that she can't rationalize clearly. A lot of this inability to communicate or think clearly leads to some back and forth storylines, so it seems like as if the plot zigs and zags. Up and down. Will Noa go for a relationship with Lilah or keep her job? Is Lilah willing to risk her career for her sexuality? Again, if things had been just a bit shorter, we probably could have skipped a bit of this.
Still, this is a fun story. While Lilah and Noa can be frustrating sometimes, they are engaging characters. The horror film set adds an interesting level to the book (there's another plot line involving Lilah and threats to her safety). It's a little long, but I appreciated all the queer and Jewish rep. 3+ stars.
I received a copy of this book from Sourcebooks Casablanca and Netgalley in return for an unbiased review. It releases 8/3/2021.
"Noa'd thrown away everything else in her life for this job. And now she was seriously considering throwing the job away for a chance at a girl? Stupid beyond words."
This is a cute story whose strength comes across in its representation--queer characters covering bi, trans, lesbian and more. There's also some excellent Jewish representation, as both Noa and Lilah bond over their religious beliefs. As a member of the LGBTQIA community, I love seeing stories that reflect myself and my friends. Watching Lilah grapple with her bisexuality and coming out and seeing Noa hang out with her friends, being openly out and accepted. These are still stories and characters we do not get to see and read about regularly. Even better, it seems like I read a lot of queer YA books, not a lot where the characters are adults (although they might not always act like it in this story, ha). It was fun and refreshing.
"Special effects artist had never been on the list of things Good Jewish Girls Did."
For me, this book was a little long. It could have been a bit shorter and would have felt more snappy. A lot of the focus in this story is on miscommunication, which is a pet peeve of mine. I just can't handle when so much of the plot could be avoided if the characters just spoke openly to one another. It's also not entirely clear why Noa crushes so much on Lilah, to the point that it seems that she can't rationalize clearly. A lot of this inability to communicate or think clearly leads to some back and forth storylines, so it seems like as if the plot zigs and zags. Up and down. Will Noa go for a relationship with Lilah or keep her job? Is Lilah willing to risk her career for her sexuality? Again, if things had been just a bit shorter, we probably could have skipped a bit of this.
Still, this is a fun story. While Lilah and Noa can be frustrating sometimes, they are engaging characters. The horror film set adds an interesting level to the book (there's another plot line involving Lilah and threats to her safety). It's a little long, but I appreciated all the queer and Jewish rep. 3+ stars.
I received a copy of this book from Sourcebooks Casablanca and Netgalley in return for an unbiased review. It releases 8/3/2021.
Nick Friesen (96 KP) rated Baby Driver (2017) in Movies
Jul 18, 2017
Ansel Elgort's Baby is Compelling and Well Acted (3 more)
The Criminals Each Have Interesting & Distinct Personalities
The Movie Drives to the Infectious Soundtrack
Punchy & Skillfuly Edited Cinematography
So-so Love Interest (1 more)
Ends With a Stereotypical Action Movie Climax
Edgar Wright Goes Fast & Furious (In a Good Way)
Edgar Wright has yet to direct a bad movie. Baby Driver doesn't ruin his streak, but it doesn't quite raise the bar. It does do something new, for Wright at least, in transposing his humor and musicality on top of more mature and serious subject matter. The issue is that the story isn't as original or creative as his previous works. Instead, the creativity and originality exists in the way the movie is executed. Bank heists, a getaway driver, and the shadowy mastermind are all well-worn tropes; but Wright sets it all to an eclectic and rhythmic soundtrack that drives the movie forward. Baby Driver is masterfully edited to sync up with the rhythm of the music, for the first two-thirds at least, until it devolved into a bit of a frantic mess. I almost wonder if that was intentional, however, as it perfectly mirrors Baby's situation. In the first two acts he is calm, in control, and driving to the music on his many iPods. In the third act, his predicament devolves into a disaster beyond his control, and he is knocked out of the rhythm he normally operates in. In the end, none of Baby Driver is bad or poorly done, it just isn't quite as memorable as the Cornetto Trilogy or Scott Pilgrim.