Search
Lottie disney bookworm (1056 KP) rated As Old As Time in Books
Aug 16, 2019
Review by Disney Bookworm
I’m going to come right out and say (although you will probably be able to tell if you make it to the end of this blog) that this is, so far, my favourite book in the twisted tale series. Seriously, this is the second time I have read it and I loved it just as much as the first time. I got just as engrossed in the story and I seriously think Liz Braswell and I could be best friends!
As Old As Time is the retelling of Beauty and the Beast and opens with the familiar story of the enchantress and the young, vain prince that we all know. You can probably still picture the stained-glass scene from the original 1991 movie and the dramatic ballroom scene in the 2017 remake.
Refusing to be eclipsed by these though, Braswell follows the well-known tale with: “It was a very good story. It often entertained the woman who lay in her black hole of a room, manacled to a hard, cold bed.”
Wait! What?
There, with one fell swoop, on the second page, Braswell brings an almost gothic darkness to the fairy tale. Of course, some would say it is already dark: very few people who are cursed to become a beast are particularly jolly about the situation! However, Braswell goes one step further by both revealing the story behind the enchantress and taking us on a journey to discover the ugly truth in the present.
Liz Braswell creates a kingdom where magic and non-magic people have lived together peacefully for years but where politics and a lack of cultural understanding is threatening to tear that apart as les charmantes find themselves persecuted by les naturels. (I can’t imagine where she draws her inspiration from(!))
It is in this kingdom that we meet a young dreamer called Maurice and the enchantress Rosalind, Belle’s mother (nicknamed Rose- so clever!). Maurice is very much a younger version of the character we grew up with: loveable and devoted to his inventions. Rosalind however is much more headstrong and impulsive: even changing her appearance on a whim. Her pride is fierce and we first meet her holding her own against a large man insulting ‘her kind’, calling her unnatural and a child of the devil. The bully soon learns the error of his ways when his nose is replaced by a pig’s snout but a warning runs all the way through this tale: “magic always comes back on itself”.
Maurice and Rosalind’s life is happy and settled at first but they soon start to witness the persecution of les charmantes for themselves. Thus, when the King and Queen call on Rosalind to protect them against the advancing plague, she passionately fights for her people…only to be rejected and turned away. Maurice, always the voice of reason, convinces Rosalind to at least protect the children and servants and so it comes to pass that Rosalind later visits the young prince, on the eve of his coronation, carrying with her the simple gift of a rose.
Braswell’s character development is, as always, impressive. Belle is immediately relatable as the kooky bookworm we know and love: her story running parallel to the film until we, as readers, develop a relationship with her parents. It is then that we discover there is a slight edge to Belle. Although clearly tortured by the fact her mother cursed a 10-year-old boy, Braswell’s Belle is desperate to be adventurous and heroic like the characters in her books but soon realises an adventure is not all it is cracked up to be. Like her mother, Belle can be quite impulsive: grabbing the enchanted rose before the beast can stop her and destroying any chance of breaking the spell. However, she is also quick and cunning, tricking the wardrobe into revealing the curse’s timeline. Nevertheless, the bravery of our protagonist can never be doubted and Belle embarks on one hell of a journey to discover the truth about her family and herself.
Uniquely, within As Old As Time we slowly see side-line characters weave their way into the lives and stories of our characters. Levi and Alaric, for example, are old friends of Maurice and Rosalind and are seemingly insignificant to the story at first. However, Levi is also the godfather to Belle and the village bookseller (“If you like it that much, it’s yours!” – that guy). Alaric on the other hand has a significant link to the castle and both carry clues with them that assist Belle on her quest.
Any Beauty and the Beast tale would not be complete without LeFou and Gaston – that infamous double act- but even Gaston is ever so slightly darker than his animated counterpart. Frederic: another friend from the past and, quite frankly, odd from the start also plays a pivotal role in the story but I won’t spoil the surprise for you!
As Old As Time is true to its name: weaving two stories into its plot at different points in time: the story that we all know and the story of how that came to be. It is an ominous tale with curses, murder, creepy ivy statues and a frankly terrifying tour of the lunatic asylum.
It is not all doom and gloom however; Liz Braswell takes a very tongue-in-cheek attitude towards the infamous scenes within Beauty and the Beast: invoking a dry sense of humour into the story. From a chapter named “Be Our … Oh You Know the Rest” to a direct reference to Stockholm Syndrome: Braswell makes sure that we do not expect her novel to be a copycat, heartfelt tale with a happy ending. Belle even remarks to the Beast that hoping she would fall in love with him within a month or so was wildly unrealistic.
This is very much a novel for the cynical Disney lovers amongst us and highly deserving of its title of a twisted tale!
As Old As Time is the retelling of Beauty and the Beast and opens with the familiar story of the enchantress and the young, vain prince that we all know. You can probably still picture the stained-glass scene from the original 1991 movie and the dramatic ballroom scene in the 2017 remake.
Refusing to be eclipsed by these though, Braswell follows the well-known tale with: “It was a very good story. It often entertained the woman who lay in her black hole of a room, manacled to a hard, cold bed.”
Wait! What?
There, with one fell swoop, on the second page, Braswell brings an almost gothic darkness to the fairy tale. Of course, some would say it is already dark: very few people who are cursed to become a beast are particularly jolly about the situation! However, Braswell goes one step further by both revealing the story behind the enchantress and taking us on a journey to discover the ugly truth in the present.
Liz Braswell creates a kingdom where magic and non-magic people have lived together peacefully for years but where politics and a lack of cultural understanding is threatening to tear that apart as les charmantes find themselves persecuted by les naturels. (I can’t imagine where she draws her inspiration from(!))
It is in this kingdom that we meet a young dreamer called Maurice and the enchantress Rosalind, Belle’s mother (nicknamed Rose- so clever!). Maurice is very much a younger version of the character we grew up with: loveable and devoted to his inventions. Rosalind however is much more headstrong and impulsive: even changing her appearance on a whim. Her pride is fierce and we first meet her holding her own against a large man insulting ‘her kind’, calling her unnatural and a child of the devil. The bully soon learns the error of his ways when his nose is replaced by a pig’s snout but a warning runs all the way through this tale: “magic always comes back on itself”.
Maurice and Rosalind’s life is happy and settled at first but they soon start to witness the persecution of les charmantes for themselves. Thus, when the King and Queen call on Rosalind to protect them against the advancing plague, she passionately fights for her people…only to be rejected and turned away. Maurice, always the voice of reason, convinces Rosalind to at least protect the children and servants and so it comes to pass that Rosalind later visits the young prince, on the eve of his coronation, carrying with her the simple gift of a rose.
Braswell’s character development is, as always, impressive. Belle is immediately relatable as the kooky bookworm we know and love: her story running parallel to the film until we, as readers, develop a relationship with her parents. It is then that we discover there is a slight edge to Belle. Although clearly tortured by the fact her mother cursed a 10-year-old boy, Braswell’s Belle is desperate to be adventurous and heroic like the characters in her books but soon realises an adventure is not all it is cracked up to be. Like her mother, Belle can be quite impulsive: grabbing the enchanted rose before the beast can stop her and destroying any chance of breaking the spell. However, she is also quick and cunning, tricking the wardrobe into revealing the curse’s timeline. Nevertheless, the bravery of our protagonist can never be doubted and Belle embarks on one hell of a journey to discover the truth about her family and herself.
Uniquely, within As Old As Time we slowly see side-line characters weave their way into the lives and stories of our characters. Levi and Alaric, for example, are old friends of Maurice and Rosalind and are seemingly insignificant to the story at first. However, Levi is also the godfather to Belle and the village bookseller (“If you like it that much, it’s yours!” – that guy). Alaric on the other hand has a significant link to the castle and both carry clues with them that assist Belle on her quest.
Any Beauty and the Beast tale would not be complete without LeFou and Gaston – that infamous double act- but even Gaston is ever so slightly darker than his animated counterpart. Frederic: another friend from the past and, quite frankly, odd from the start also plays a pivotal role in the story but I won’t spoil the surprise for you!
As Old As Time is true to its name: weaving two stories into its plot at different points in time: the story that we all know and the story of how that came to be. It is an ominous tale with curses, murder, creepy ivy statues and a frankly terrifying tour of the lunatic asylum.
It is not all doom and gloom however; Liz Braswell takes a very tongue-in-cheek attitude towards the infamous scenes within Beauty and the Beast: invoking a dry sense of humour into the story. From a chapter named “Be Our … Oh You Know the Rest” to a direct reference to Stockholm Syndrome: Braswell makes sure that we do not expect her novel to be a copycat, heartfelt tale with a happy ending. Belle even remarks to the Beast that hoping she would fall in love with him within a month or so was wildly unrealistic.
This is very much a novel for the cynical Disney lovers amongst us and highly deserving of its title of a twisted tale!
Ivana A. | Diary of Difference (1171 KP) rated The Language Of Thorns in Books
Feb 3, 2020
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
<img src="https://gipostcards.files.wordpress.com/2019/01/new-blog-banner-17.png"/>;
<b>3.8 ★, to be exact. </b>
Sometimes, we enter a library, not really knowing what we are looking for. One day, I entered the library, only to return a few books. Instead, I returned with two more. The first one didn’t impress me, but the second one was this book – The Language of Thorns by Leigh Bardugo. I only picked it up, because I liked the cover. And I know, we shouldn’t judge a book by its cover, but I guess the magic worked on me this time around.
This book featured six stories, all six magical and beautiful in their own way. Some attracted me more, some a bit less, but I, overall, feel delighted to have read this book. I haven’t read Leigh’s previous books, so I didn’t know about this world before, but these are apparently the same woods featured in those books as well.
I will give a brief opinion on all stories, and the main rating will be the average from them all. Let’s go.
<b><i>1. Ayama and the Thorn Wood – ★★★★★</i></b>
<b>‘’Interesting things only happen to pretty girls.’’</b>
A beautiful tale that will show you how beauty comes from within. The King and Queen have two sons – one is a beautiful man, the future king, and the other one is a monster. They are scared and ashamed of the monster-boy, and let him live his life in the labyrinth they made for him. In the village, in a poor family, there are two daughters, one as beautiful as the sun, and the other one ugly. When the monster escapes the labyrinth and starts ruining fields and make disasters, everyone is scared to go and talk to him and beg for forgiveness, so the ugly lady is sent to her woods – quite certain she will never return…
<b>‘’This little prince was shaped a bit like a boy but more like a wolf, his body covered in slick black fur from crown to clawed foot. His eyes were red as blood, and the nubs of two budding horns protruded from his head.’’</b>
<b><i>2. The Too-Clever Fox – ★★★★★</i></b>
<b>‘’Freedom is a burden, but you will learn to bear it.’’</b>
I loved this story the most, out of all six of them. It reminded me of home, and of how we tell stories back there. The whole ‘’Once Upon a Time’’ is real, and I enjoyed every moment of it. The winter theme, the hunting, the girl and the fox. This is a story that will teach you to not be assured you can outsmart everyone. Foxes in stories have always been presented as the smart ones, outsmarting every animal in the woods. This reminds me of Aesop’s Tales, which I really loved as a little girl. But sometimes, you will get outsmarted, and it might cost you your life. The twist was definitely unexpected, but indeed satisfying.
<b><i>3. The Witch of Duva – ★★★</i></b>
A story where girls disappear, and one girl decides to go into the woods and try to figure out why. This story upset me, and I didn’t like it. But deep inside, it’s a good one. Very creepy though, and very horror-y, but worth reading. Turn the lights off, get under a blanket, turn your torch on, and only then you will be ready to know the deep secrets this story tells you.
<b><i>4. Little Knife – ★★★★</i></b>
The shortest story in the book, but by all means not the least intriguing. A story that features a woman that is too beautiful, that men lose their mind as soon as they see her. To get the chance to marry her, men will have to go through a various of tasks. The twist at the end is incredible, and I really liked it. It starts off as a usual story, but it goes wild.
<b><i>5. The Soldier Prince – ★★</i></b>
This was a story I enjoyed the least. It all screamed ‘’The Nutcracker’’ to me, and I couldn’t see it as original. It was a re-make, and it was very different that the story we know, but it just didn’t work for me. This is a story about a man who makes toys and gives them life. And when one toy sort of ‘’wakes up’’, interesting things start to happen. Quite a creepy story. I usually like those, but this one was not my cup of tea.
<b><i>6. When Water Sand Fire – ★★★★</i></b>
<b>‘’ We were not made to please princes.’’</b>
This one is the longest story in the book. It features a world of creatures living underwater, and Ulla, who can sing and create magic, but who, as the people believe, is not a true born, but a mix between the underwater world and the humans. She is asked to help the prince become a king, but when the magic price is too high to paid, it doesn’t seem like she has a choice. I truly enjoyed this story, as it’s a beautiful mix of emotions while you read it. It was a bit disappointing that it seems as a remake of the creation of the character of Ursula from The Little Mermaid, at least to me.
Have you read this book, or any of Leigh Bardugo’s books? Let me know in the comments, I love to chat with you!
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
<img src="https://gipostcards.files.wordpress.com/2019/01/new-blog-banner-17.png"/>;
<b>3.8 ★, to be exact. </b>
Sometimes, we enter a library, not really knowing what we are looking for. One day, I entered the library, only to return a few books. Instead, I returned with two more. The first one didn’t impress me, but the second one was this book – The Language of Thorns by Leigh Bardugo. I only picked it up, because I liked the cover. And I know, we shouldn’t judge a book by its cover, but I guess the magic worked on me this time around.
This book featured six stories, all six magical and beautiful in their own way. Some attracted me more, some a bit less, but I, overall, feel delighted to have read this book. I haven’t read Leigh’s previous books, so I didn’t know about this world before, but these are apparently the same woods featured in those books as well.
I will give a brief opinion on all stories, and the main rating will be the average from them all. Let’s go.
<b><i>1. Ayama and the Thorn Wood – ★★★★★</i></b>
<b>‘’Interesting things only happen to pretty girls.’’</b>
A beautiful tale that will show you how beauty comes from within. The King and Queen have two sons – one is a beautiful man, the future king, and the other one is a monster. They are scared and ashamed of the monster-boy, and let him live his life in the labyrinth they made for him. In the village, in a poor family, there are two daughters, one as beautiful as the sun, and the other one ugly. When the monster escapes the labyrinth and starts ruining fields and make disasters, everyone is scared to go and talk to him and beg for forgiveness, so the ugly lady is sent to her woods – quite certain she will never return…
<b>‘’This little prince was shaped a bit like a boy but more like a wolf, his body covered in slick black fur from crown to clawed foot. His eyes were red as blood, and the nubs of two budding horns protruded from his head.’’</b>
<b><i>2. The Too-Clever Fox – ★★★★★</i></b>
<b>‘’Freedom is a burden, but you will learn to bear it.’’</b>
I loved this story the most, out of all six of them. It reminded me of home, and of how we tell stories back there. The whole ‘’Once Upon a Time’’ is real, and I enjoyed every moment of it. The winter theme, the hunting, the girl and the fox. This is a story that will teach you to not be assured you can outsmart everyone. Foxes in stories have always been presented as the smart ones, outsmarting every animal in the woods. This reminds me of Aesop’s Tales, which I really loved as a little girl. But sometimes, you will get outsmarted, and it might cost you your life. The twist was definitely unexpected, but indeed satisfying.
<b><i>3. The Witch of Duva – ★★★</i></b>
A story where girls disappear, and one girl decides to go into the woods and try to figure out why. This story upset me, and I didn’t like it. But deep inside, it’s a good one. Very creepy though, and very horror-y, but worth reading. Turn the lights off, get under a blanket, turn your torch on, and only then you will be ready to know the deep secrets this story tells you.
<b><i>4. Little Knife – ★★★★</i></b>
The shortest story in the book, but by all means not the least intriguing. A story that features a woman that is too beautiful, that men lose their mind as soon as they see her. To get the chance to marry her, men will have to go through a various of tasks. The twist at the end is incredible, and I really liked it. It starts off as a usual story, but it goes wild.
<b><i>5. The Soldier Prince – ★★</i></b>
This was a story I enjoyed the least. It all screamed ‘’The Nutcracker’’ to me, and I couldn’t see it as original. It was a re-make, and it was very different that the story we know, but it just didn’t work for me. This is a story about a man who makes toys and gives them life. And when one toy sort of ‘’wakes up’’, interesting things start to happen. Quite a creepy story. I usually like those, but this one was not my cup of tea.
<b><i>6. When Water Sand Fire – ★★★★</i></b>
<b>‘’ We were not made to please princes.’’</b>
This one is the longest story in the book. It features a world of creatures living underwater, and Ulla, who can sing and create magic, but who, as the people believe, is not a true born, but a mix between the underwater world and the humans. She is asked to help the prince become a king, but when the magic price is too high to paid, it doesn’t seem like she has a choice. I truly enjoyed this story, as it’s a beautiful mix of emotions while you read it. It was a bit disappointing that it seems as a remake of the creation of the character of Ursula from The Little Mermaid, at least to me.
Have you read this book, or any of Leigh Bardugo’s books? Let me know in the comments, I love to chat with you!
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
Movie Metropolis (309 KP) rated Avengers: Infinity War (2018) in Movies
Jun 10, 2019
An Exhausting Thrill Ride
The Marvel Cinematic Universe has been delighting fans of the comics and thrilling moviegoers since 2008 when Iron Man steamrolled itself onto the big screen in an epic fashion. From the special effects to the casting of Robert Downey Jr. as Tony Stark, it was the complete package.
The culmination of all those films through Phase One, Phase Two and Three has come to a head in this, Avengers: Infinity War. It promises to be the biggest, baddest and most epic Marvel movie to date, but is it actually any good? Read on to find out.
Directed by Antony and Joe Russo, the masterminds behind the fantastic Captain America sequels, Infinity War picks up just after the end of Thor: Ragnarok. This starting place seems fitting and not jumping too far ahead of the finale of that film is perfect to reintroduce our beloved heroes.
The cast form one of the best ensembles ever put to screen, though from each of their solo outings, this is really no surprise. Seeing Black Panther, Black Widow, Captain America et al come back together is frankly, a joy and the film works best when there are as many heroes on screen together as possible.
A highlight in this instance is Benedict Cumberbatch’s Dr. Strange – prepare to jump on the Steven Strange bandwagon. After a relatively lacklustre solo outing, his character pops on the screen and really benefits from the Russo brothers zingy direction.
As is the case with many films involving such a large cast, much of the 149 minute runtime is spent following a few of them at once, each going about their own mission in relation to stopping Thanos and his possession of the Infinity stones. If I count correctly, there are 3 quests going on at once, but only two are really successful.
Special effects wise, this is a $400million movie, so you know what to expect. For the most part, the CGI from Industrial Light & Magic is seamless and really rather beautiful. The motion capture work done on Josh Brolin to turn him into Thanos is exquisite and the end result is a truly menacing villain. Elsewhere however, there are a few corners cut if you look closely enough, but I’ll leave it down to you to try and spot them.
Focussing on Thanos himself, he proves to be a fitting villain for a film this gargantuan in scale. His towering presence and almost demonic sense of entitlement completely does away with the stereotypical Marvel bad-guy problem that the MCU has been suffering with. Obviously helped massively by Brolin’s incredible performance, Thanos is up there with Loki in terms of sheer entertainment value.
Nevertheless, Avengers: Infinity War is not a perfect film and it would be wrong of me to pretend it was. Despite its massive length, elements do feel rushed from time-to-time and cramming 20+ characters into a film was never going to be a slam dunk. Some moments that should have deep resonance really don’t reach the emotion they were clearly intended to do, and that’s because of the film’s need to tie up as much of the plot as possible. Thankfully, from a tonal perspective, the Russo brothers manage to keep the balance almost perfect and it’s a vast improvement over Joss Whedon’s disjointed Age of Ultron.
My biggest issue with the film however, is the ending. Avengers: Infinity War is not a film you come to the end of and applaud. In fact, the main response from the entire screening of the film I was watching was a collective groan as the end credits begin to roll. Despite the promise that Infinity War would work as a standalone movie; it just doesn’t. It’s very much a starting chapter for what comes next in Avengers 4. But we need to wait just over a year for the concluding chapter to arrive in UK cinemas, and that is incredibly infuriating.
Overall, Avengers: Infinity War is a culmination of everything Marvel has been working towards for a decade. In its favour are an incredible cast, that trademark MCU humour and some stunning action sequences but these are offset by an infuriating ending and a lack of emotional heft to the film’s inevitable darker moments.
This may definitely be the biggest movie in the MCU and it’s definitely the 2nd best Avengers movie, but it’s not quite up there with the very best.
https://moviemetropolis.net/2018/04/26/avengers-infinity-war-review-an-exhausting-thrill-ride/
The culmination of all those films through Phase One, Phase Two and Three has come to a head in this, Avengers: Infinity War. It promises to be the biggest, baddest and most epic Marvel movie to date, but is it actually any good? Read on to find out.
Directed by Antony and Joe Russo, the masterminds behind the fantastic Captain America sequels, Infinity War picks up just after the end of Thor: Ragnarok. This starting place seems fitting and not jumping too far ahead of the finale of that film is perfect to reintroduce our beloved heroes.
The cast form one of the best ensembles ever put to screen, though from each of their solo outings, this is really no surprise. Seeing Black Panther, Black Widow, Captain America et al come back together is frankly, a joy and the film works best when there are as many heroes on screen together as possible.
A highlight in this instance is Benedict Cumberbatch’s Dr. Strange – prepare to jump on the Steven Strange bandwagon. After a relatively lacklustre solo outing, his character pops on the screen and really benefits from the Russo brothers zingy direction.
As is the case with many films involving such a large cast, much of the 149 minute runtime is spent following a few of them at once, each going about their own mission in relation to stopping Thanos and his possession of the Infinity stones. If I count correctly, there are 3 quests going on at once, but only two are really successful.
Special effects wise, this is a $400million movie, so you know what to expect. For the most part, the CGI from Industrial Light & Magic is seamless and really rather beautiful. The motion capture work done on Josh Brolin to turn him into Thanos is exquisite and the end result is a truly menacing villain. Elsewhere however, there are a few corners cut if you look closely enough, but I’ll leave it down to you to try and spot them.
Focussing on Thanos himself, he proves to be a fitting villain for a film this gargantuan in scale. His towering presence and almost demonic sense of entitlement completely does away with the stereotypical Marvel bad-guy problem that the MCU has been suffering with. Obviously helped massively by Brolin’s incredible performance, Thanos is up there with Loki in terms of sheer entertainment value.
Nevertheless, Avengers: Infinity War is not a perfect film and it would be wrong of me to pretend it was. Despite its massive length, elements do feel rushed from time-to-time and cramming 20+ characters into a film was never going to be a slam dunk. Some moments that should have deep resonance really don’t reach the emotion they were clearly intended to do, and that’s because of the film’s need to tie up as much of the plot as possible. Thankfully, from a tonal perspective, the Russo brothers manage to keep the balance almost perfect and it’s a vast improvement over Joss Whedon’s disjointed Age of Ultron.
My biggest issue with the film however, is the ending. Avengers: Infinity War is not a film you come to the end of and applaud. In fact, the main response from the entire screening of the film I was watching was a collective groan as the end credits begin to roll. Despite the promise that Infinity War would work as a standalone movie; it just doesn’t. It’s very much a starting chapter for what comes next in Avengers 4. But we need to wait just over a year for the concluding chapter to arrive in UK cinemas, and that is incredibly infuriating.
Overall, Avengers: Infinity War is a culmination of everything Marvel has been working towards for a decade. In its favour are an incredible cast, that trademark MCU humour and some stunning action sequences but these are offset by an infuriating ending and a lack of emotional heft to the film’s inevitable darker moments.
This may definitely be the biggest movie in the MCU and it’s definitely the 2nd best Avengers movie, but it’s not quite up there with the very best.
https://moviemetropolis.net/2018/04/26/avengers-infinity-war-review-an-exhausting-thrill-ride/
Movie Metropolis (309 KP) rated The Giver (2014) in Movies
Jun 10, 2019
A Striking visual translation
Over the last decade, cinema-going audiences have had the treat of numerous adaptations of popular young adult novels. Some of them have been particularly great – the Harry Potter series the highlight – whilst others have been less than stellar – Twilight, I’m looking at you.
However, with The Hunger Games on the edge of its tantalising conclusion, director Phillip Noyce introduces teens and adults alike to a whole new world in The Giver, but can it seduce audiences which have already had numerous fantasy worlds to enjoy?
For the most part, yes. Noyce directs this adaptation with extreme visual flair and commands some great performances from the veteran actors, even if the young thespians pale a little in comparison.The-Giver-Brenton-Thwaites-character-poster-691x1024
The Giver follows a community dealing with the aftermath of a brutal conflict. The Elders (people in charge) have been forced to eradicate all feelings, emotion, colour and memories from the past to ensure that this doesn’t happen again. Unfortunately, the plan isn’t fool-proof and one person each generation must be tasked with storing information from the past to ensure the progression of the future.
The book’s intriguing premise brings a striking visual translation. The majority of the picture is shot in black and white which adds to the emotionless atmosphere – just how The Elders want it.
Meryl Streep plays the Chief Elder and despite her limited screen time manages to command each scene she is a part of – though we have come to expect nothing less from the woman who played Margaret Thatcher so beautifully. Jeff Bridges is the title character – The Giver, who manages to impart wisdom to the one teenager each generation.
The teenage characters, despite their constant presence on screen, lack the magic and sparkle of their older counterparts. Brenton Thwaites stars as The Receiver Jonas and is probably the best of the younger stars, though a decent turn by True Blood’s Alexander Skarsgard helps alleviate the offerings somewhat, and there’s even a small role for Taylor Swift.
Despite it’s reasonably small budget of $25million compared to The Hunger Games $78million, the special effects are all of a decent standard. Of course there’s a few lapses here and there in areas were most people would probably never notice, and a few larger issues involving unrealistic space ships – but there isn’t too much to criticise as the striking cinematography is were the eyes are drawn.
Overall, it’s easy to feel sorry for The Giver, it’s come at an awkward time when audiences aren’t ready to get invested in another young adult movie and therefore I predict its box office success will fall short of the quality of the film itself.
The acting is on the whole very good and it’s nice to see Meryl Streep getting her teeth into the role of a villain in a style similar to her role in The Devil Wears Prada, but it all feels a little unsure of itself. Is it a sentimental rom-com or a utopian thriller? Who knows, but it’s definitely worth a watch for the striking visuals alone.
https://moviemetropolis.net/2014/09/24/a-striking-visual-translation-the-giver-review/
However, with The Hunger Games on the edge of its tantalising conclusion, director Phillip Noyce introduces teens and adults alike to a whole new world in The Giver, but can it seduce audiences which have already had numerous fantasy worlds to enjoy?
For the most part, yes. Noyce directs this adaptation with extreme visual flair and commands some great performances from the veteran actors, even if the young thespians pale a little in comparison.The-Giver-Brenton-Thwaites-character-poster-691x1024
The Giver follows a community dealing with the aftermath of a brutal conflict. The Elders (people in charge) have been forced to eradicate all feelings, emotion, colour and memories from the past to ensure that this doesn’t happen again. Unfortunately, the plan isn’t fool-proof and one person each generation must be tasked with storing information from the past to ensure the progression of the future.
The book’s intriguing premise brings a striking visual translation. The majority of the picture is shot in black and white which adds to the emotionless atmosphere – just how The Elders want it.
Meryl Streep plays the Chief Elder and despite her limited screen time manages to command each scene she is a part of – though we have come to expect nothing less from the woman who played Margaret Thatcher so beautifully. Jeff Bridges is the title character – The Giver, who manages to impart wisdom to the one teenager each generation.
The teenage characters, despite their constant presence on screen, lack the magic and sparkle of their older counterparts. Brenton Thwaites stars as The Receiver Jonas and is probably the best of the younger stars, though a decent turn by True Blood’s Alexander Skarsgard helps alleviate the offerings somewhat, and there’s even a small role for Taylor Swift.
Despite it’s reasonably small budget of $25million compared to The Hunger Games $78million, the special effects are all of a decent standard. Of course there’s a few lapses here and there in areas were most people would probably never notice, and a few larger issues involving unrealistic space ships – but there isn’t too much to criticise as the striking cinematography is were the eyes are drawn.
Overall, it’s easy to feel sorry for The Giver, it’s come at an awkward time when audiences aren’t ready to get invested in another young adult movie and therefore I predict its box office success will fall short of the quality of the film itself.
The acting is on the whole very good and it’s nice to see Meryl Streep getting her teeth into the role of a villain in a style similar to her role in The Devil Wears Prada, but it all feels a little unsure of itself. Is it a sentimental rom-com or a utopian thriller? Who knows, but it’s definitely worth a watch for the striking visuals alone.
https://moviemetropolis.net/2014/09/24/a-striking-visual-translation-the-giver-review/
Amy (7 KP) rated Goddess of Troy in Books
Jan 17, 2018 (Updated Jan 17, 2018)
Terrible. Total destruction.
Contains spoilers, click to show
The premise is one that P.C. Cast recycles throughout her work which is of taking modern women and dropping them into the worlds of myth and magic.
A brilliant idea, occasionally well done in her other novels...not unfortunately for this one.
The problem begins with the plot the goddesses send the women back to end the war...okay, but why not do it themselves? The flimsy excuses just don't hold up. The plot is weakly manipulated and transparently executed to make the neccessity of the modern women going back possible.
Problem 2-is the blatant racism of making the indipendant modern black woman into a white slave girl.
Problem 3- problematic sex scenes which read as thinly disguised rape scenes. A male character is hypnotises and the main female character has sex with him....this is made okay by him giving her consent afterwards. Which is not how consent works. This book being intended for young women just becoming sexual is at best concerning and at most incredibly damaging whilst promoting male rape under the guise of female empowerment.
The dialogue when more old fashioned from the warriors is charming and engaging...from the modern women we are forced to deal with censored cringy curse words, way too much teenage level gossip, and not a smidge of maturity in sight...from grown ass women.
For thirty plus successful women the character profiles should have engaged and fascinated, unfortunately those profiles were ignored during in-story application and replaced with twittering, childish teens who giggle over the word penis and lose their minds over the most vacuous and senseless things.
The plot centres around a boring, romance, and changes the original relationship of Achilles and Patroclus from its canonical implied romance to one of cousins...this at best is a misguided deviation from the canonical Iliad relationship they had.
It could easily be read as a blatant attack and hideous misuse of the original content, that could given the sheer overwhelming heteronormaty we are forced to endure be at its worst an erasure of rare LGBT representation from historical content.
The relationships are forced, and their happy endings so saccharine it hurts to read.
The siege of Troy is horrifically rewritten to make the main female lead the deciding factor that ensured victory and removed nearly all canonical battle events.
Throughout the novel not much happens, and by time something does you just want the novel over with.
It doesn't read as mythology inspired, the myths and characters are used as cheap prop and staging whilst removing the deep themes, and messages that ensured their endurance throughout time.
The vocabulary is below pre-teen level, the grammar is sub-par, and the pacing and plotting absolutely abysmal.
How this book ever made it to print in this state is a large and curious mystery for me.
I cannot urge you to skip this book enough, Margaret George's 'Helen of Troy' is a far more valuable use of your time if you are in want of mythology inspired fantasy...and does so without annihilating the entire original stories.
A brilliant idea, occasionally well done in her other novels...not unfortunately for this one.
The problem begins with the plot the goddesses send the women back to end the war...okay, but why not do it themselves? The flimsy excuses just don't hold up. The plot is weakly manipulated and transparently executed to make the neccessity of the modern women going back possible.
Problem 2-is the blatant racism of making the indipendant modern black woman into a white slave girl.
Problem 3- problematic sex scenes which read as thinly disguised rape scenes. A male character is hypnotises and the main female character has sex with him....this is made okay by him giving her consent afterwards. Which is not how consent works. This book being intended for young women just becoming sexual is at best concerning and at most incredibly damaging whilst promoting male rape under the guise of female empowerment.
The dialogue when more old fashioned from the warriors is charming and engaging...from the modern women we are forced to deal with censored cringy curse words, way too much teenage level gossip, and not a smidge of maturity in sight...from grown ass women.
For thirty plus successful women the character profiles should have engaged and fascinated, unfortunately those profiles were ignored during in-story application and replaced with twittering, childish teens who giggle over the word penis and lose their minds over the most vacuous and senseless things.
The plot centres around a boring, romance, and changes the original relationship of Achilles and Patroclus from its canonical implied romance to one of cousins...this at best is a misguided deviation from the canonical Iliad relationship they had.
It could easily be read as a blatant attack and hideous misuse of the original content, that could given the sheer overwhelming heteronormaty we are forced to endure be at its worst an erasure of rare LGBT representation from historical content.
The relationships are forced, and their happy endings so saccharine it hurts to read.
The siege of Troy is horrifically rewritten to make the main female lead the deciding factor that ensured victory and removed nearly all canonical battle events.
Throughout the novel not much happens, and by time something does you just want the novel over with.
It doesn't read as mythology inspired, the myths and characters are used as cheap prop and staging whilst removing the deep themes, and messages that ensured their endurance throughout time.
The vocabulary is below pre-teen level, the grammar is sub-par, and the pacing and plotting absolutely abysmal.
How this book ever made it to print in this state is a large and curious mystery for me.
I cannot urge you to skip this book enough, Margaret George's 'Helen of Troy' is a far more valuable use of your time if you are in want of mythology inspired fantasy...and does so without annihilating the entire original stories.
Phil Leader (619 KP) rated The Magicians' Guild (Black Magician Trilogy, #1) in Books
Nov 20, 2019
Trudi Canavan has been on my 'to read' list for a long time (far too long really). I finally found the time to read The Magicians' Guild - book one of the Black Magician trilogy.
The story revolves around Sonea, a girl living amongst the poor and near-poor of Imardin. The city is home to the titular guild, where the greatest magicians in the world learn and teach.
Those showing magical talent only come from the ruling classes. But Sonea has magical talent so the guild need to either break tradition and train her or block her powers as unless she is trained they will unleash themselves and kill her. The problem is that Sonea (along with the rest of the less privileged city dwellers) distrusts and fears the guild.
The book is in two parts - the first involves Sonea hiding from the guild and their attempts to find her. This is quite a clever strategy from a story telling point of view since the world and characters can be gradually introduced. We meet Sonea and her friends, and also the Thieves that control the slums. On the magicians' side we find some are sympathetic towards Sonea while others are outraged at the thought of training a slum girl - some for more personal reasons than others.
The second half involves Sonea's initial training at the guild. I do try not to give away major plot direction in these reviews, but I don't think it's much of a spoiler that she does end up in the guild, given the name of the book. In this part we find out more about magic and the guild, plus the plot that forms the core of this book moves forward and is resolved in a satisfactory - and dramatic - style.
Canavan's writing is focused firmly on character, although the world around them is fully realised, with the slums suitably dingy and grubby and the guild grand and opulent. The characters are allowed to develop through the pages. I found the start a little slow going, but I think that was mostly because the previous book I read was for more action based. There is also very little dramatic tension about Sonea ending up in the guild, but I don't think that is the purpose of the first half of the book anyway.
This story is clearly there to set up the characters for the trilogy as a whole - and as the plot progresses Sonea discovers some things that are clearly going to be important in her future. The way the ending is left is therefore very finely balanced between the resolution of the main plot and leaving the threads for the next book, and Canavan is spot on in delivering this.
Overall I really liked this book and will read the other installments as time allows without hesitation. If you are looking for some brutal anti-hero cutting a swathe of destruction through his enemies this is not the book for you. If you want some careful characterisation and a personality driven and human-scale plot, pick up this book. It is also refreshing to have a female main protagonist in the traditionally macho world of fantasy. Recommended.
The story revolves around Sonea, a girl living amongst the poor and near-poor of Imardin. The city is home to the titular guild, where the greatest magicians in the world learn and teach.
Those showing magical talent only come from the ruling classes. But Sonea has magical talent so the guild need to either break tradition and train her or block her powers as unless she is trained they will unleash themselves and kill her. The problem is that Sonea (along with the rest of the less privileged city dwellers) distrusts and fears the guild.
The book is in two parts - the first involves Sonea hiding from the guild and their attempts to find her. This is quite a clever strategy from a story telling point of view since the world and characters can be gradually introduced. We meet Sonea and her friends, and also the Thieves that control the slums. On the magicians' side we find some are sympathetic towards Sonea while others are outraged at the thought of training a slum girl - some for more personal reasons than others.
The second half involves Sonea's initial training at the guild. I do try not to give away major plot direction in these reviews, but I don't think it's much of a spoiler that she does end up in the guild, given the name of the book. In this part we find out more about magic and the guild, plus the plot that forms the core of this book moves forward and is resolved in a satisfactory - and dramatic - style.
Canavan's writing is focused firmly on character, although the world around them is fully realised, with the slums suitably dingy and grubby and the guild grand and opulent. The characters are allowed to develop through the pages. I found the start a little slow going, but I think that was mostly because the previous book I read was for more action based. There is also very little dramatic tension about Sonea ending up in the guild, but I don't think that is the purpose of the first half of the book anyway.
This story is clearly there to set up the characters for the trilogy as a whole - and as the plot progresses Sonea discovers some things that are clearly going to be important in her future. The way the ending is left is therefore very finely balanced between the resolution of the main plot and leaving the threads for the next book, and Canavan is spot on in delivering this.
Overall I really liked this book and will read the other installments as time allows without hesitation. If you are looking for some brutal anti-hero cutting a swathe of destruction through his enemies this is not the book for you. If you want some careful characterisation and a personality driven and human-scale plot, pick up this book. It is also refreshing to have a female main protagonist in the traditionally macho world of fantasy. Recommended.
Phillip McSween (751 KP) rated Harry Potter and the Half-Blood Prince (2009) in Movies
Sep 10, 2020
Beautiful Visuals
A part of being a critic means being able to separate the art from the creator. In my recent review of Swing Time, I came to the conclusion that the movie as a whole was still enjoyable despite their use of blackface in one scene. While I don’t agree with everything JK Rowling is saying at this point in time, I can’t deny the magical world that she has created and the stories that lie within. Harry Potter and the Half-Blood Prince, the sixth installment in the franchise, is no exception. In this darker film, Harry is finding himself in preparation of facing off against the evil Lord Voldemort.
Acting: 10
This is my first review of a Harry Potter film. I must say, it has been a pleasure to watch these young actors grow into stars. Daniel Radcliffe was made for the role of Harry Potter and it appears he has matured at the same time his character has. Gone is the young innocence of the first film, replaced by teenage angst and anger. It is hard to imagine anyone else playing the role just as it is hard to imagine anyone but Alan Rickman playing the role of the hard-faced, dark Professor Snape.
Beginning: 10
The mayhem starts almost instantly and wastes no time in getting you sucked into the movie. You know right away what the heroes are up against and it ain’t looking good for the heroes. I appreciated that immediate intensity.
Characters: 10
The gang is all here from the previous five films, the characters we have grown to know and love. I respect the fact that every character continues to grow and mature in their own way, particularly Harry. Thrust into this world of magic and wizardry, becoming an adult becomes ten times more challenging with all the Hogwarts-related biz thrown into the mix.
Cinematography/Visuals: 10
At some point in the movie, there is a scene shot in black and white involving Albus Dumbledore that’s super cool to watch unfold. Visually this film is just as strong as the previous ones, if not stronger as it is working with darker tones throughout. With beautiful camerawork, director David Yates makes you feel the tension of each scene as you are taken on this journey.
Conflict: 8
Entertainment Value: 9
Even if you aren’t a die-hard Harry Potter fan, the film takes you on an extremely intense journey. You experience a rollercoaster of emotions, many unexpected if you haven’t read the books. It is a wonderful setup for the film’s final act.
Memorability: 8
Pace: 7
Plot: 10
Resolution: 5
While the ending was necessary, it definitely left a bad taste in my mouth. it also didn’t quite feel complete as it was an obvious setup for things to come. The last ten minutes were mediocre at best for me.
Overall: 87
I could think of worse ways to spend your time than watching Harry Potter and the Half-Blood Prince. The series continues to improve upon itself and this was a worthy installment. It has just the right level of creepiness factor to pique one’s interest.
Acting: 10
This is my first review of a Harry Potter film. I must say, it has been a pleasure to watch these young actors grow into stars. Daniel Radcliffe was made for the role of Harry Potter and it appears he has matured at the same time his character has. Gone is the young innocence of the first film, replaced by teenage angst and anger. It is hard to imagine anyone else playing the role just as it is hard to imagine anyone but Alan Rickman playing the role of the hard-faced, dark Professor Snape.
Beginning: 10
The mayhem starts almost instantly and wastes no time in getting you sucked into the movie. You know right away what the heroes are up against and it ain’t looking good for the heroes. I appreciated that immediate intensity.
Characters: 10
The gang is all here from the previous five films, the characters we have grown to know and love. I respect the fact that every character continues to grow and mature in their own way, particularly Harry. Thrust into this world of magic and wizardry, becoming an adult becomes ten times more challenging with all the Hogwarts-related biz thrown into the mix.
Cinematography/Visuals: 10
At some point in the movie, there is a scene shot in black and white involving Albus Dumbledore that’s super cool to watch unfold. Visually this film is just as strong as the previous ones, if not stronger as it is working with darker tones throughout. With beautiful camerawork, director David Yates makes you feel the tension of each scene as you are taken on this journey.
Conflict: 8
Entertainment Value: 9
Even if you aren’t a die-hard Harry Potter fan, the film takes you on an extremely intense journey. You experience a rollercoaster of emotions, many unexpected if you haven’t read the books. It is a wonderful setup for the film’s final act.
Memorability: 8
Pace: 7
Plot: 10
Resolution: 5
While the ending was necessary, it definitely left a bad taste in my mouth. it also didn’t quite feel complete as it was an obvious setup for things to come. The last ten minutes were mediocre at best for me.
Overall: 87
I could think of worse ways to spend your time than watching Harry Potter and the Half-Blood Prince. The series continues to improve upon itself and this was a worthy installment. It has just the right level of creepiness factor to pique one’s interest.
Andy K (10826 KP) rated Rope (1948) in Movies
Sep 18, 2019
80 minutes of magic!
Two men, the charismatic and charming Phillip, and the cowardly and sheepish Brandon have just strangled their mutual friend, David, and are holding him in their arms. To dispose of the body, they decide on the bold move a placing it in a large trunk in the middle of the living room of their high rise apartment building. They don't have much time to discuss their situation before guests start arriving for their dinner party which had been planned beforehand.
After the guests arrive, the usual small talk and chit chat commences with those attending including David fiance and a former college professor of the men. After the idle conversation starts to bore, it is mentioned how interesting it would be to murder someone and the consequences of doing so. It's no dig deal to dispose of people you don't like is it? Some party-goers are not keen on this conversation and lead it in a new direction eventually focusing on the missing David who has not yet arrived.
Eventually, the unresolved issue of David's absence is brushed aside for the moment and the guests leave to go about their lives. The college professor returns after having been given verbal clues in the former conversations about the nefarious activity of Phillip and David as well as some physical ones. He confronts the duo and David is unable to hold back.
The mystery has been revealed and the men have to deal with the fallout and consequences.
The physical limitation of the amount of film cameras of the day were able to hold was the only drawback for the way Hitchcock managed to shoot this film. There are only 10 total shots within the film ranging from 4 to 10 minutes. The cuts were achieved through normal editing, but also the actors and camera intersecting for brief moments where a momentary black frame would occur continuing the action right after this moment.
I can't even imagine the amount of rehearsal and takes would have been necessary for both the actors and production crew to orchestrate visual and vocal cues and not making mistakes for such a long time for each shot to be completed successfully. The film feels much like a stage production having all the scenes occur mainly in the living room and foyer areas, but that had to be by design.
With no elaborate staging, the audience is left to enjoy the masterful screenplay nonstop and trying to figure out if the two murderers will actually be able to dissuade blame or be confronted with the guilt.
One of many Jimmy Stewart's many Hitchcock collaborations, his performance mostly gets overlooked here in comparison to Vertigo and Rear Window; however, once he arrives at the party it is kind to see him and he delivers another captivating and motivated performance.
In the current days of digital filmmaking and continuous camera shots which can now be processed with computers, it is monumental Hitchcock was able to achieve this feat back in the day with only relentless dedication, but also precise and genius execution.
After the guests arrive, the usual small talk and chit chat commences with those attending including David fiance and a former college professor of the men. After the idle conversation starts to bore, it is mentioned how interesting it would be to murder someone and the consequences of doing so. It's no dig deal to dispose of people you don't like is it? Some party-goers are not keen on this conversation and lead it in a new direction eventually focusing on the missing David who has not yet arrived.
Eventually, the unresolved issue of David's absence is brushed aside for the moment and the guests leave to go about their lives. The college professor returns after having been given verbal clues in the former conversations about the nefarious activity of Phillip and David as well as some physical ones. He confronts the duo and David is unable to hold back.
The mystery has been revealed and the men have to deal with the fallout and consequences.
The physical limitation of the amount of film cameras of the day were able to hold was the only drawback for the way Hitchcock managed to shoot this film. There are only 10 total shots within the film ranging from 4 to 10 minutes. The cuts were achieved through normal editing, but also the actors and camera intersecting for brief moments where a momentary black frame would occur continuing the action right after this moment.
I can't even imagine the amount of rehearsal and takes would have been necessary for both the actors and production crew to orchestrate visual and vocal cues and not making mistakes for such a long time for each shot to be completed successfully. The film feels much like a stage production having all the scenes occur mainly in the living room and foyer areas, but that had to be by design.
With no elaborate staging, the audience is left to enjoy the masterful screenplay nonstop and trying to figure out if the two murderers will actually be able to dissuade blame or be confronted with the guilt.
One of many Jimmy Stewart's many Hitchcock collaborations, his performance mostly gets overlooked here in comparison to Vertigo and Rear Window; however, once he arrives at the party it is kind to see him and he delivers another captivating and motivated performance.
In the current days of digital filmmaking and continuous camera shots which can now be processed with computers, it is monumental Hitchcock was able to achieve this feat back in the day with only relentless dedication, but also precise and genius execution.
The Halloween Oracle
Lifestyle and Reference
App
Harness the eerie power of Halloween every night of year with this stunning, accurate Oracle deck. ...
Morpholio Trace - Sketch CAD
Utilities and Productivity
App
SKETCH, DESIGN, CREATE Trace is THE architecture and design app for EVERYONE. It’s a truly...