Search
Search results
Bob Mann (459 KP) rated Flatliners (2017) in Movies
Sep 29, 2021
The undiscovered country… which they shouldn’t have returned to.
The movies have depicted the hereafter in varied ways over the years. From the bleached white warehouses of Powell and Pressburger’s “A Matter of Life and Death” in 1946 and Warren Beatty’s “Heaven Can Wait” in 1978 to – for me – the peak of the game: Vincent Ward’s mawkish but gorgeously rendered oil-paint version of heaven in 1998’s “What Dreams May Come”. Joel Schmacher’s 1990’s “Flatliners” saw a set of “brat pack” movie names of the day (including Kevin Bacon, Julia Roberts, William Baldwin and Kiefer Sutherland) as experimenting trainee doctors, cheating death to experience the afterlife and getting more than they bargained for. The depictions of the afterlife were unmemorable: in that I don’t remember them much! (I think there was some sort of spooky tree involved, but that’s about it!)
But the concept was sufficiently enticing – who isn’t a little bit intrigued by the question of “what’s beyond”? – that Cross Creek Pictures thought it worthy of dusting off and giving it another outing in pursuit of dirty lucre. But unfortunately this offering adds little to the property’s reputation.
In this version, the lead role is headed up by Ellen Page (“Inception”) who is a great actress… too good for this stuff. Also in that category is Diego Luna, who really made an impact in “Rogue One” but here has little to work with in terms of backstory. The remaining three doctors – Nina Dobrev as “the sexy one”; James Norton (“War and Peace”) as “the posh boy” and Kiersey Clemons as the “cute but repressed one”, all have even less backstory and struggle to make a great impact.
Still struggling to get the high score on Angry Birds: from left to right Ray (Diego Luna), Sophia (Kiersey Clemons), Marlo (Nina Dobrev), Courtney (Ellen Page) and Jamie (James Norton).
Also putting in an appearance, as the one link from the original film, is Kiefer Sutherland as a senior member of the teaching staff. But he’s not playing the same character (that WOULD have been a bloody miracle!) and although Sutherland adds gravitas he really is given criminally little to do. What was director Niels Arden Oplev (“The Girl with the Dragon Tattoo”) thinking?
In terms of the story, it’s pretty much a re-hash of Peter Filardi’s original, with Ben Ripley (“Source Code”) adding a few minor tweaks to the screenplay to update it for the current generation. But I will levy the same criticism of this film as I levied at the recent Stephen King adaptation of “It”: for horror to work well it need to obey some decent ‘rules of physics’ and although most of the scenes work (since a lot of the “action” is sensibly based inside the character’s heads) there are the occasional linkages to the ‘real world’ that generate a “WTF???” response. A seemingly indestructible Mini car (which is also clearly untraceable by the police!) and a knife incident at the dockside are two cases in point.
Is there anything good to say about this film? Well, there are certainly a few tense moments that make the hairs on your neck at least start to stand to attention. But these are few and far between, amongst a sea of movie ‘meh’. It’s certainly not going to be the worst film I see this year, since at least I wasn’t completely bored for the two hours. But I won’t remember this one in a few weeks. As a summary in the form of a “Black Adder” quote, it’s all a bit like a broken pencil….. pointless.
But the concept was sufficiently enticing – who isn’t a little bit intrigued by the question of “what’s beyond”? – that Cross Creek Pictures thought it worthy of dusting off and giving it another outing in pursuit of dirty lucre. But unfortunately this offering adds little to the property’s reputation.
In this version, the lead role is headed up by Ellen Page (“Inception”) who is a great actress… too good for this stuff. Also in that category is Diego Luna, who really made an impact in “Rogue One” but here has little to work with in terms of backstory. The remaining three doctors – Nina Dobrev as “the sexy one”; James Norton (“War and Peace”) as “the posh boy” and Kiersey Clemons as the “cute but repressed one”, all have even less backstory and struggle to make a great impact.
Still struggling to get the high score on Angry Birds: from left to right Ray (Diego Luna), Sophia (Kiersey Clemons), Marlo (Nina Dobrev), Courtney (Ellen Page) and Jamie (James Norton).
Also putting in an appearance, as the one link from the original film, is Kiefer Sutherland as a senior member of the teaching staff. But he’s not playing the same character (that WOULD have been a bloody miracle!) and although Sutherland adds gravitas he really is given criminally little to do. What was director Niels Arden Oplev (“The Girl with the Dragon Tattoo”) thinking?
In terms of the story, it’s pretty much a re-hash of Peter Filardi’s original, with Ben Ripley (“Source Code”) adding a few minor tweaks to the screenplay to update it for the current generation. But I will levy the same criticism of this film as I levied at the recent Stephen King adaptation of “It”: for horror to work well it need to obey some decent ‘rules of physics’ and although most of the scenes work (since a lot of the “action” is sensibly based inside the character’s heads) there are the occasional linkages to the ‘real world’ that generate a “WTF???” response. A seemingly indestructible Mini car (which is also clearly untraceable by the police!) and a knife incident at the dockside are two cases in point.
Is there anything good to say about this film? Well, there are certainly a few tense moments that make the hairs on your neck at least start to stand to attention. But these are few and far between, amongst a sea of movie ‘meh’. It’s certainly not going to be the worst film I see this year, since at least I wasn’t completely bored for the two hours. But I won’t remember this one in a few weeks. As a summary in the form of a “Black Adder” quote, it’s all a bit like a broken pencil….. pointless.
Ivana A. | Diary of Difference (1171 KP) rated Thorn in Books
Aug 3, 2020
<a href="https://amzn.to/2Wi7amb">Wishlist</a>; | <a
<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>;
#1 <a href="https://www.goodreads.com/review/show/3214627135">Thorn</a>; - ★★★★★
<img src="https://diaryofdifference.com/wp-content/uploads/2020/05/Book-Review-Banner-56.png"/>;
Thorn by Intisar Khanani is such a powerful story about finding your true self, fighting against the injustice and loving with your whole heart.
<b>Synopsis</b>
Princess Alyrra grew up in a cruel family, fearing that her brother might hurt her every day. She despises the fact that she needs to behave in a certain way to appeal to the court. Her despise grows even more when she learns that she's been betrothed to the powerful Prince Kestrin, a stranger from another kingdom.
But when a sorceress robes Alyrra of her true identity, she sees this as an opportunity to start a new life as a goose girl, where she doesn't have to pretend in front of everyone and be her true self.
Soon enough, she realises what is actually going on with the regular people in the kingdom. The poverty, the crimes, the fact that the royal guards don't care at all. The fact that the street thieves have to make their own sets of rules in order to keep the peace on the streets.
When a big tragedy hits home, Alyrra knows she needs to make a choice. Stay here and give up the identity of the princess forever, or go back to being a princess, only for the sake of saving the people.
<b><i>"It is rare for someone who wants power to truly deserve it."</i></b>
<b>My Thoughts:</b>
Thorn is the first book of the Dauntless Path series, and I am so happy I had the chance to read it! Very powerful book, with a very strong female character, who is not afraid to say what she thinks and fight for what she believes in!
<b><i>"I've found that acting when you are afraid is the greatest sign of courage there is."</i></b>
What I loved about Alyrra's character is that it shows us how much of a hardship it can be to make a certain choice. It is not just black and white. At first, we all root for the - get your identity back. However, Alyrra has been abused all her life. Her brother abused her physically and her mother mentally. She then had to deal with the pressure of being a princess. Following rules. Not saying what she really thinks, but what others want to hear. She is then promised to marry someone she doesn't know and pretend to be someone she is not, again.
<b><i>And suddenly, she can be someone else.</i></b>
She has the chance to start a brand new life. A person that is not in the spotlight. She can think and speak freely. And that is why I understand her choice to want to stay as a goose girl forever.
<b><i>"We all have our unspoken sorrows, hopes we cannot mention, choices we may yet regret."</i></b>
But then she sees the true picture of how people are treated in the kingdom. How people live. The injustice that happens on the streets every single day. And then she also gets the attention of the prince and being who she is, she is not afraid to say her mind.
But to truly change things, she needs to become a princess again. And making such a choice comes not only with consequences, but with huge sacrifices too.
The ending of Thorn was very well written and very satisfying. I am looking forward to reading more about Alyrra's story and get more answers in the next book. I cannot recommend Thorn enough!
Thank you to ReadersFirst and Hot Key Books, for sending me a copy of this book in exchange for an honest review.
<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>;
#1 <a href="https://www.goodreads.com/review/show/3214627135">Thorn</a>; - ★★★★★
<img src="https://diaryofdifference.com/wp-content/uploads/2020/05/Book-Review-Banner-56.png"/>;
Thorn by Intisar Khanani is such a powerful story about finding your true self, fighting against the injustice and loving with your whole heart.
<b>Synopsis</b>
Princess Alyrra grew up in a cruel family, fearing that her brother might hurt her every day. She despises the fact that she needs to behave in a certain way to appeal to the court. Her despise grows even more when she learns that she's been betrothed to the powerful Prince Kestrin, a stranger from another kingdom.
But when a sorceress robes Alyrra of her true identity, she sees this as an opportunity to start a new life as a goose girl, where she doesn't have to pretend in front of everyone and be her true self.
Soon enough, she realises what is actually going on with the regular people in the kingdom. The poverty, the crimes, the fact that the royal guards don't care at all. The fact that the street thieves have to make their own sets of rules in order to keep the peace on the streets.
When a big tragedy hits home, Alyrra knows she needs to make a choice. Stay here and give up the identity of the princess forever, or go back to being a princess, only for the sake of saving the people.
<b><i>"It is rare for someone who wants power to truly deserve it."</i></b>
<b>My Thoughts:</b>
Thorn is the first book of the Dauntless Path series, and I am so happy I had the chance to read it! Very powerful book, with a very strong female character, who is not afraid to say what she thinks and fight for what she believes in!
<b><i>"I've found that acting when you are afraid is the greatest sign of courage there is."</i></b>
What I loved about Alyrra's character is that it shows us how much of a hardship it can be to make a certain choice. It is not just black and white. At first, we all root for the - get your identity back. However, Alyrra has been abused all her life. Her brother abused her physically and her mother mentally. She then had to deal with the pressure of being a princess. Following rules. Not saying what she really thinks, but what others want to hear. She is then promised to marry someone she doesn't know and pretend to be someone she is not, again.
<b><i>And suddenly, she can be someone else.</i></b>
She has the chance to start a brand new life. A person that is not in the spotlight. She can think and speak freely. And that is why I understand her choice to want to stay as a goose girl forever.
<b><i>"We all have our unspoken sorrows, hopes we cannot mention, choices we may yet regret."</i></b>
But then she sees the true picture of how people are treated in the kingdom. How people live. The injustice that happens on the streets every single day. And then she also gets the attention of the prince and being who she is, she is not afraid to say her mind.
But to truly change things, she needs to become a princess again. And making such a choice comes not only with consequences, but with huge sacrifices too.
The ending of Thorn was very well written and very satisfying. I am looking forward to reading more about Alyrra's story and get more answers in the next book. I cannot recommend Thorn enough!
Thank you to ReadersFirst and Hot Key Books, for sending me a copy of this book in exchange for an honest review.
Kirk Bage (1775 KP) rated The Lighthouse (2019) in Movies
Jan 22, 2021
Robert Eggers made a striking introduction for himself in 2015 with the moody and disconcerting The Witch, bringing a future star to the world’s attention in Anya Taylor-Joy in the process. You could argue after seeing his sophomore effort, The Lighthouse, that in terms of creating deliberately nauseating landscapes his work is the third cog in the arthouse revival of intellectual “horror”, after Ari Aster (Hereditary / Midsommar) and Jordan Peele (Get Out / Us). The group actually sits quite well together, as there is an obvious social commentary by metaphor crossover going on here, as well as just a little bit of “crazy”.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
Purple Phoenix Games (2266 KP) rated Bandada in Tabletop Games
Jan 19, 2021
Though I may not look it, I am indeed half Mexican. That said, the word, “Bandada,” means, “Flock.” I don’t really get to flex my Spanish skills often, and it shows. I definitely looked up the word Bandada before reading the rules this time. In any case, as gamers we all belong to the same nerdy flock of people who just like to have a great time with friends, family, and some colorful cardboard and plastic. Birds and other flying creatures have been all the rage recently, but will I be adding this one to my flock of gems?
In Bandada players are attempting to catch and return birds that have escaped from the local zoo. These birds are attracted to different food morsels (namely black, blue, and yellow dice) and by manipulating the food source players may be able to catch all the right birdies and score tons of points.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
Disclaimer the second: I am previewing this using the Solo Adventure Variant, which uses many of the same rules as the main multiplayer rules with a few twists.
To setup the solo player will roll all 12 dice and sort them by color. Shuffle the bird cards and reveal three cards face-up in a market row. Grab a scoring cube for the score card, and choose which location card to play. Select (randomly or not) a bonus scoring card and the game may begin!
There are other optional variant rules that can be added to the adventure, but I will not be detailing those here.
Turns are divided into two phases: the Drafting phase and the Cleanup phase. During the Drafting phase the player will choose one of the face-up bird cards to be added to their personal bandada, perform the action described on the top of the card, and then add it to their bandada (personal tableau).
After drafting and bandada-ing the player will perform the Cleanup phase by scoring points based on the bird card abilities printed on the bottom, discarding the remaining face-up cards, and then adding three new birds cards to that market row. This phase differs from the multiplayer rules in that birds are scored once added to the bandada in multiplayer and then again during the Cleanup phase. In the solo mode they are scored only once at the end of the Cleanup phase.
The bird cards all have actions printed at the top that will manipulate the food dice in some way. Actions could simply give the birds a specific number of colored dice and adjust the value up or down. Some abilities will have the player flipping the dice to the opposite side, or adjusting multiple dice by splitting a positive or negative value. Of note in this game is that dice values wrap around the die. For example to increase the value of a 6 die it then wraps around to become a value 1. Manipulation of these food dice will make or break the game success, as I found in all my plays.
The game continues in this fashion until after the fourth full round. The player then totals their score on the score card, adds the points from the bonus card chosen at the beginning, and checks for the victory condition on the location card (the rules suggest starting in Africa). If the player has met the victory condition, the trip was a success! If, like me, the player fails to make 35 points in Africa every time, they must play again!
Components. Again, this is a prototype copy of the game, but I have to say that this is a beautiful minimalistic game. It consists of primarily dice and cards. The dice are translucent and good quality, though translucent yellow with white pips can be hard to read at times. The cards are good quality as well and feature breathtaking avian art. It really does look great on the table and doesn’t take up a ton of room, so I have very few negatives here.
Gameplay is super speedy and agonizing for a solo player. Maximizing points on every turn and having to consider specific win conditions makes for a crunchy little card game that takes about 10 minutes to play. It is definitely something I will be reaching for whenever I have a spare 15 minutes. With setup and teardown I am looking at a fulfilling, if not frustrating, card game experience that can be both anxiety-triggering and also quite calming. I was not sure what to expect when I opened the box, but boy am I glad I have this little gem.
If you are in the market for a great little solo game that can also play multiplayer, looks amazing, and is quick to complete, then look no further. If you are an avian aficionado and need your board and card game collection to reflect this, check out Bandada. I need you all to also promise to write me back once you figure out how to succeed in Africa, as I just plum can’t do it. But I am going to keep trying. As I always say, a game that makes you want to play it more is a mark of a great game, and I think a great game comes in this little box.
In Bandada players are attempting to catch and return birds that have escaped from the local zoo. These birds are attracted to different food morsels (namely black, blue, and yellow dice) and by manipulating the food source players may be able to catch all the right birdies and score tons of points.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Kickstarter campaign, or through any retailers stocking it after fulfillment. -T
Disclaimer the second: I am previewing this using the Solo Adventure Variant, which uses many of the same rules as the main multiplayer rules with a few twists.
To setup the solo player will roll all 12 dice and sort them by color. Shuffle the bird cards and reveal three cards face-up in a market row. Grab a scoring cube for the score card, and choose which location card to play. Select (randomly or not) a bonus scoring card and the game may begin!
There are other optional variant rules that can be added to the adventure, but I will not be detailing those here.
Turns are divided into two phases: the Drafting phase and the Cleanup phase. During the Drafting phase the player will choose one of the face-up bird cards to be added to their personal bandada, perform the action described on the top of the card, and then add it to their bandada (personal tableau).
After drafting and bandada-ing the player will perform the Cleanup phase by scoring points based on the bird card abilities printed on the bottom, discarding the remaining face-up cards, and then adding three new birds cards to that market row. This phase differs from the multiplayer rules in that birds are scored once added to the bandada in multiplayer and then again during the Cleanup phase. In the solo mode they are scored only once at the end of the Cleanup phase.
The bird cards all have actions printed at the top that will manipulate the food dice in some way. Actions could simply give the birds a specific number of colored dice and adjust the value up or down. Some abilities will have the player flipping the dice to the opposite side, or adjusting multiple dice by splitting a positive or negative value. Of note in this game is that dice values wrap around the die. For example to increase the value of a 6 die it then wraps around to become a value 1. Manipulation of these food dice will make or break the game success, as I found in all my plays.
The game continues in this fashion until after the fourth full round. The player then totals their score on the score card, adds the points from the bonus card chosen at the beginning, and checks for the victory condition on the location card (the rules suggest starting in Africa). If the player has met the victory condition, the trip was a success! If, like me, the player fails to make 35 points in Africa every time, they must play again!
Components. Again, this is a prototype copy of the game, but I have to say that this is a beautiful minimalistic game. It consists of primarily dice and cards. The dice are translucent and good quality, though translucent yellow with white pips can be hard to read at times. The cards are good quality as well and feature breathtaking avian art. It really does look great on the table and doesn’t take up a ton of room, so I have very few negatives here.
Gameplay is super speedy and agonizing for a solo player. Maximizing points on every turn and having to consider specific win conditions makes for a crunchy little card game that takes about 10 minutes to play. It is definitely something I will be reaching for whenever I have a spare 15 minutes. With setup and teardown I am looking at a fulfilling, if not frustrating, card game experience that can be both anxiety-triggering and also quite calming. I was not sure what to expect when I opened the box, but boy am I glad I have this little gem.
If you are in the market for a great little solo game that can also play multiplayer, looks amazing, and is quick to complete, then look no further. If you are an avian aficionado and need your board and card game collection to reflect this, check out Bandada. I need you all to also promise to write me back once you figure out how to succeed in Africa, as I just plum can’t do it. But I am going to keep trying. As I always say, a game that makes you want to play it more is a mark of a great game, and I think a great game comes in this little box.
Bob Mann (459 KP) rated Pitch Perfect 3 (2017) in Movies
Sep 29, 2021
Aca-bysmal.
Mr Plot and Miss Tale were teenage sweethearts. They met at Storyville High School and inseparable, but were viciously cursed by a jealous school nurse, bitter from a recent split. Notwithstanding this setback, they realised that they were soul-mates, got engaged and were married in the following summer. Everyone wished them well, and spoke of the time when the sound of little Plots would ring out around their new house. Unfortunately, however hard they tried, no little Plot arrived. The ancient curse of the school nurse rang in their ears. They paid to see the most expensive doctors on Harley Street, but noone could help them. It turned out that not only was Mrs Plot infertile, but so was Mr Plot. It was hopeless, and because of an unfortunate conviction for marujiana possession in Mr Plot’s teenage years they couldn’t even adapt, sorry, adopt a little Plot from someone else. So they lived together with sadness and bitterness building up inside them. Would the curse ever be lifted? Would they work through their differences to find new purpose in life? Or would they part acromoniously with Mrs Plot joining a convent to sing mournful songs of grief and missed opportunities in the Swiss Alps? TO… BE…CONTINUED.
There. You were there, weren’t you? Living it. You want to know what happens next? Sure you do. You see, even I can come up with a story…. and I’m not a “professional Hollywood scriptwriter”.
Why then, I ask you. Why oh why oh why oh why oh why do the scriptwriters of Pitch Perfect 3 – Kay Cannon (the original PP screenwriter) and Mike White (“The Emoji Movie”) – think that this dreadfully lazy set of loosely connected scenes represent a viable basis for a movie? Is the view from the guys who green-lit this thing that the crowd that loved “Pitch Perfect” and the pretty dreadful sequel “Pitch Perfect 2” will pay their box office money regardless? Let’s advertise the hell out of it and cash in our chips before word of mouth gets out!?
In this ‘adventure’ the Bellas go on a US Forces overseas tour (though this is not really explained until they suddenly appear in Spain – what? how?). The really REALLY annoying commentators John (John Michael Higgins) and Gail (Elizabeth Banks, “Love and Mercy“) tag along, filming some lame half-arsed documentary about them until even the scriptwriters get fed up of that tedious plot-line and it quietly withers on the vine.
Fat Amy (is this still an acceptable nickname in 2017?) also runs into her nefarious father again after many years (John Lithgow, “Interstellar“, “Daddy’s Home 2“). Lithgow – sporting a wonderful Australian accent – is about the best thing in the film. The “plot” (sorry, I can barely bring myself to use that word) revolves around Daddy trying to get something of Amy’s that he needs, for reasons – given the yacht he sails – that makes no sense whatsoever. Will he succeed? Will the Bellas get selected to headline with DJ Khaled (who is apparently a thing, but I’ve never heard him on BBC Radio 2)? Does anyone really care?
As my wife pointed out, it’s a bit unfortunate that the only Bellas who are not stick-thin size zeroes are the obese and annoyingly loud one, the black lesbian one and two that nobody knows why they are there. The message to the target female teen audience is clear: if you want to be “in” you’d better diet… hard. Nice.
Looking for all the world like sticks of candy-cane. The size 0 Bellas.
What can I say that’s vaguely nice about this monstrosity?
Some of the acapella song and dance numbers are fun enough, particularly “Toxic” that opens the film;
The closing number by Anna Kendrick (“Table 19“) is quite appealing;
There are also about 5 funny lines that made me smile: not laugh… smile;
It’s also a relief that John and Gail, unlike in “Pitch Perfect 2“, only come out with one xenophobic/racist comment in the film (and that’s about the French, so that hardly counts 🙂 ).
And I’m out…
There will be no doubt die-hard teenage fans who will love this one too. But my wife was a great fan of the first film (as indeed was I); she tolerated the second one; but even she declared this to be “Aca-Awful”. It’s not as toxically dreadful as “Dirty Grandpa“… what could be? But, seriously, life is too short for this.
There. You were there, weren’t you? Living it. You want to know what happens next? Sure you do. You see, even I can come up with a story…. and I’m not a “professional Hollywood scriptwriter”.
Why then, I ask you. Why oh why oh why oh why oh why do the scriptwriters of Pitch Perfect 3 – Kay Cannon (the original PP screenwriter) and Mike White (“The Emoji Movie”) – think that this dreadfully lazy set of loosely connected scenes represent a viable basis for a movie? Is the view from the guys who green-lit this thing that the crowd that loved “Pitch Perfect” and the pretty dreadful sequel “Pitch Perfect 2” will pay their box office money regardless? Let’s advertise the hell out of it and cash in our chips before word of mouth gets out!?
In this ‘adventure’ the Bellas go on a US Forces overseas tour (though this is not really explained until they suddenly appear in Spain – what? how?). The really REALLY annoying commentators John (John Michael Higgins) and Gail (Elizabeth Banks, “Love and Mercy“) tag along, filming some lame half-arsed documentary about them until even the scriptwriters get fed up of that tedious plot-line and it quietly withers on the vine.
Fat Amy (is this still an acceptable nickname in 2017?) also runs into her nefarious father again after many years (John Lithgow, “Interstellar“, “Daddy’s Home 2“). Lithgow – sporting a wonderful Australian accent – is about the best thing in the film. The “plot” (sorry, I can barely bring myself to use that word) revolves around Daddy trying to get something of Amy’s that he needs, for reasons – given the yacht he sails – that makes no sense whatsoever. Will he succeed? Will the Bellas get selected to headline with DJ Khaled (who is apparently a thing, but I’ve never heard him on BBC Radio 2)? Does anyone really care?
As my wife pointed out, it’s a bit unfortunate that the only Bellas who are not stick-thin size zeroes are the obese and annoyingly loud one, the black lesbian one and two that nobody knows why they are there. The message to the target female teen audience is clear: if you want to be “in” you’d better diet… hard. Nice.
Looking for all the world like sticks of candy-cane. The size 0 Bellas.
What can I say that’s vaguely nice about this monstrosity?
Some of the acapella song and dance numbers are fun enough, particularly “Toxic” that opens the film;
The closing number by Anna Kendrick (“Table 19“) is quite appealing;
There are also about 5 funny lines that made me smile: not laugh… smile;
It’s also a relief that John and Gail, unlike in “Pitch Perfect 2“, only come out with one xenophobic/racist comment in the film (and that’s about the French, so that hardly counts 🙂 ).
And I’m out…
There will be no doubt die-hard teenage fans who will love this one too. But my wife was a great fan of the first film (as indeed was I); she tolerated the second one; but even she declared this to be “Aca-Awful”. It’s not as toxically dreadful as “Dirty Grandpa“… what could be? But, seriously, life is too short for this.
Electric Guitar Lessons - Ultimate Guide
Music and Education
App
This app has over 300 easy to follow video lessons on how to play the Electric Guitar including...
Chris Sawin (602 KP) rated Lightyear (2022) in Movies
Jun 17, 2022
Visually gorgeous animation (2 more)
Sox
Designs of the insects, robots, and especially Zurg
Too much Star Wars influence (1 more)
Writing is a bit underwhelming
A Visually Gorgeous Nod to Science Fiction
Lightyear has a simple premise that fits it into the Toy Story timeline while also giving the film the freedom to creatively do just about whatever it wants. This on-screen version of Buzz Lightyear is what inspired the toy and this film was Andy’s favorite film.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Mothergamer (1511 KP) rated The Last of Us in Video Games
Apr 3, 2019
I have been slowly but surely going through my backlog of games, so I chose The Last Of Us Remastered to play next because I have been curious about it and many of my friends have been telling me I needed to play this game. To them I say you were right. I did need to play this game because it wasn't just fun to play; it was phenomenal story telling. When a game's story has me getting choked up about something within the first few minutes, I know it's going to be a heck of a ride and be great.
I couldn't help, but like Joel. This is a character that has been through something that is so devastating to him and yet somehow he's kept going on and had to do things that are not necessarily good, but that he felt had to be done in order to keep surviving especially since the world as everyone knows it has ended and a post-apocalyptic world is the new normal.
Is Joel a good person? No, not really. He's not really a terrible person either. His partner Tess was interesting also and she's another character that's not really good or evil. The Last Of Us really showcases that this world isn't really that black and white; there are varying shades of grey and not everyone is completely good or bad and that many of the people are just trying to survive any way they can.
It wasn't long before the story progressed to meeting Ellie. I loved Ellie. She was this mouthy 14 year old kid, but you come to realize that a lot of why she's like that is because she's scared of losing those she cares about and having to parent herself. In spite of that, Ellie always managed to dig down deep and find the courage to do what needed to be done and I admired and respected that level of strength in her. The interaction between Ellie and Joel at first was rather terse, but I understood that was normal especially for Joel because he just wanted to finish the mission and not get attached.
I really got into it because the game was that good for me. The combat controls are great; not clunky at all. Sometimes I would get nailed by an infected and have to start over from that point (I really HATE the Clickers and Bloaters, they're terrifying), but I didn't really mind because I was enjoying the story and wanted to know what happened next. There are human factions as well such as military, the Fireflies, and Hunters. This is definitely a game for adults because of how dark the story can be at certain points and because of the harsh violence.
Infected are scary!
The environments in the game are beautifully done. I found myself stopping and just looking at everything often. From riding a horse in the woods to an abandoned college campus with a herd of giraffes, all of it looks great and really stands out. The music in the game is perfectly done as well with some hauntingly beautiful melodies that add to the emotions of moments in the story.
Horse riding in the woods
Even an abandoned campus can be pretty
There were points in the story where I got pretty emotional because I came to care about the characters. I had to remind myself it was just a game, but it was difficult especially when it came to the characters of Henry and Sam. I actually had to walk away for a few minutes because I was so saddened by what happened to them especially with Sam because he and Ellie were close to the same age and they had bonded and became friends.
The big thing that stood out for me is the relationship between Joel and Ellie. I loved how it slowly progressed from Joel being reluctant about getting to know Ellie to during some slower moments like navigating an area to look for supplies there would be a bit of talking between them back and forth about different things such as what a type of video game was like or that an ice cream truck was a real thing. I also found myself chuckling at some of the awful puns that Ellie would read from her book of puns.
As I got further in the game I recognized that Joel is a very angry and desperate man, but when it came to Ellie he could have these moments of kindness and really seemed to look out for her. The story isn't in your face about it and it becomes this gradual evolution of Joel treating her like a daughter and her coming to trust him while they both support each other in a situation that is pretty dangerous and exhausting on many levels. It's poignant and the emotions from both characters is so incredible that it draws you into the story fully which shows how fantastic the voice acting was in this.
Joel and Ellie watching some giraffes.
When I got to the ending of the game, it made me think about a lot. It made me ask questions like could I do what Joel had done? Was the leader of the Fireflies right about sacrificing a few for the many? It brought up a lot of ideas about the choices that people have to make in this world and not all of them are easy; much of it involves hard choices. I liked the ending, but it definitely wasn't a sunshine happy ending because that's not the kind of game The Last of Us is.
I played the Left Behind DLC also and I thought it was interesting to get a chance to see what Ellie was like before she met Joel. It also shows you some moments that are pivotal in the main story line that focus on Ellie which are also great. I liked the interaction between her and Riley because it brings some lightheartedness to the game with them just being kids and having fun, forgetting about the dark things going on in their world for a moment. It also shows some great emotional moments between Ellie and Riley that don't feel forced and seem to happen quite naturally. Of course the cheerful stuff only lasts for so long and then it's back to some very sad things happening. The final conversation between Ellie and Riley just before Left Behind ends had me choking back some tears because it was this heartfelt moment between two characters that truly cared for and loved each other.
Ellie and Riley having fun in a photo booth.
This is exactly why I loved The Last Of Us. It is hands down one of the best games I've ever played because of how intelligent the writing for this was creating a game that is perfectly story driven with some very memorable characters; characters that you find yourself caring about a great deal. The exploration of the various relationships are wonderfully executed making for a fantastic gaming and story experience. The game play is excellent and it shows that a lot of thought was put into getting things just right. The Last Of Us is a game title that I am thrilled to have in my gaming collection and it's absolutely worth playing.
I couldn't help, but like Joel. This is a character that has been through something that is so devastating to him and yet somehow he's kept going on and had to do things that are not necessarily good, but that he felt had to be done in order to keep surviving especially since the world as everyone knows it has ended and a post-apocalyptic world is the new normal.
Is Joel a good person? No, not really. He's not really a terrible person either. His partner Tess was interesting also and she's another character that's not really good or evil. The Last Of Us really showcases that this world isn't really that black and white; there are varying shades of grey and not everyone is completely good or bad and that many of the people are just trying to survive any way they can.
It wasn't long before the story progressed to meeting Ellie. I loved Ellie. She was this mouthy 14 year old kid, but you come to realize that a lot of why she's like that is because she's scared of losing those she cares about and having to parent herself. In spite of that, Ellie always managed to dig down deep and find the courage to do what needed to be done and I admired and respected that level of strength in her. The interaction between Ellie and Joel at first was rather terse, but I understood that was normal especially for Joel because he just wanted to finish the mission and not get attached.
I really got into it because the game was that good for me. The combat controls are great; not clunky at all. Sometimes I would get nailed by an infected and have to start over from that point (I really HATE the Clickers and Bloaters, they're terrifying), but I didn't really mind because I was enjoying the story and wanted to know what happened next. There are human factions as well such as military, the Fireflies, and Hunters. This is definitely a game for adults because of how dark the story can be at certain points and because of the harsh violence.
Infected are scary!
The environments in the game are beautifully done. I found myself stopping and just looking at everything often. From riding a horse in the woods to an abandoned college campus with a herd of giraffes, all of it looks great and really stands out. The music in the game is perfectly done as well with some hauntingly beautiful melodies that add to the emotions of moments in the story.
Horse riding in the woods
Even an abandoned campus can be pretty
There were points in the story where I got pretty emotional because I came to care about the characters. I had to remind myself it was just a game, but it was difficult especially when it came to the characters of Henry and Sam. I actually had to walk away for a few minutes because I was so saddened by what happened to them especially with Sam because he and Ellie were close to the same age and they had bonded and became friends.
The big thing that stood out for me is the relationship between Joel and Ellie. I loved how it slowly progressed from Joel being reluctant about getting to know Ellie to during some slower moments like navigating an area to look for supplies there would be a bit of talking between them back and forth about different things such as what a type of video game was like or that an ice cream truck was a real thing. I also found myself chuckling at some of the awful puns that Ellie would read from her book of puns.
As I got further in the game I recognized that Joel is a very angry and desperate man, but when it came to Ellie he could have these moments of kindness and really seemed to look out for her. The story isn't in your face about it and it becomes this gradual evolution of Joel treating her like a daughter and her coming to trust him while they both support each other in a situation that is pretty dangerous and exhausting on many levels. It's poignant and the emotions from both characters is so incredible that it draws you into the story fully which shows how fantastic the voice acting was in this.
Joel and Ellie watching some giraffes.
When I got to the ending of the game, it made me think about a lot. It made me ask questions like could I do what Joel had done? Was the leader of the Fireflies right about sacrificing a few for the many? It brought up a lot of ideas about the choices that people have to make in this world and not all of them are easy; much of it involves hard choices. I liked the ending, but it definitely wasn't a sunshine happy ending because that's not the kind of game The Last of Us is.
I played the Left Behind DLC also and I thought it was interesting to get a chance to see what Ellie was like before she met Joel. It also shows you some moments that are pivotal in the main story line that focus on Ellie which are also great. I liked the interaction between her and Riley because it brings some lightheartedness to the game with them just being kids and having fun, forgetting about the dark things going on in their world for a moment. It also shows some great emotional moments between Ellie and Riley that don't feel forced and seem to happen quite naturally. Of course the cheerful stuff only lasts for so long and then it's back to some very sad things happening. The final conversation between Ellie and Riley just before Left Behind ends had me choking back some tears because it was this heartfelt moment between two characters that truly cared for and loved each other.
Ellie and Riley having fun in a photo booth.
This is exactly why I loved The Last Of Us. It is hands down one of the best games I've ever played because of how intelligent the writing for this was creating a game that is perfectly story driven with some very memorable characters; characters that you find yourself caring about a great deal. The exploration of the various relationships are wonderfully executed making for a fantastic gaming and story experience. The game play is excellent and it shows that a lot of thought was put into getting things just right. The Last Of Us is a game title that I am thrilled to have in my gaming collection and it's absolutely worth playing.
Bong Mines Entertainment (15 KP) rated Rather You Than Me by Rick Ross in Music
Jun 7, 2019
Rick Ross is a rapper and CEO of Maybach Music Group. Not too long ago, he released “Rather You Than Me“, a star-studded album filled with expensive thoughts and gun-toting lyrics.
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
Skin Creator 3D for Minecraft
Utilities and Games
App
Unleash your imagination and easily build your skins in full 3D. With your imagination and the help...