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Sarah (7800 KP) rated Samsung Galaxy Buds in Tech
Apr 13, 2019
Virtually flawless
I need to start off by saying that prior to owning these, I have never used any sort of wireless headphones and neither do I claim to be a headphone connoisseur. I usually just use the free ones you get with phones. All I will say is that I really hope that all other wireless bluetooth headphones are as brilliant as these are.
They look fantastic. From the small pill box shaped container to the headphone, they look sleek and stylish and are fairly small too. They're simple to set up - as soon as I opened them, my phone recognised them and linked them straight away, so quickly done. And the even recognise when you've put them in your ears! The Samsung Wearables app is a great tool to be able to check the battery on the headphones and change the equaliser and what actions the touch controls make. Sound quality is brilliant and they really do block out surrounding sound so well - I wore them at a busy gym (which had loud music on in the background), and couldn't hear anything other than myself. The ambient sound feature is a nice touch too for those occasions when you want to be able to hear things around you.
The fit of the headphones is surprisingly good. They come with 3 different sizes of rubber wings & tips so you can easily find a size to fit you, and I was pleasantly surprised to find that once these are in my ear, I didn't have to keep pushing them in to stop them from falling out. In fact I used these at the gym and whilst out and about, and I never once had them fall out like standard headphones do. And if they do fall out or you lose one, theres a 'find my bud' feature that will help locate them (assuming they havent got too far!).
They aren't perfect though. The touch pad controls are a little temperamental. This could be due to a novice user, or just how it is. Also the positioning of the headphones and touchpads means if you like to lie on your side and listen to music in bed, it could be difficult. And the other slight issue is the battery life. Combined charge between the headphones & pod is around 13 hours, which isn't a lot. Although I'm probably only moaning because it means it's another piece of tech that I have to remember to charge.
These are only very slight niggles though. These are by far the best headphones I've ever owned - great sound quality, intuitive, great size and very functional. I'll never go back to wearing wired headphones again.
They look fantastic. From the small pill box shaped container to the headphone, they look sleek and stylish and are fairly small too. They're simple to set up - as soon as I opened them, my phone recognised them and linked them straight away, so quickly done. And the even recognise when you've put them in your ears! The Samsung Wearables app is a great tool to be able to check the battery on the headphones and change the equaliser and what actions the touch controls make. Sound quality is brilliant and they really do block out surrounding sound so well - I wore them at a busy gym (which had loud music on in the background), and couldn't hear anything other than myself. The ambient sound feature is a nice touch too for those occasions when you want to be able to hear things around you.
The fit of the headphones is surprisingly good. They come with 3 different sizes of rubber wings & tips so you can easily find a size to fit you, and I was pleasantly surprised to find that once these are in my ear, I didn't have to keep pushing them in to stop them from falling out. In fact I used these at the gym and whilst out and about, and I never once had them fall out like standard headphones do. And if they do fall out or you lose one, theres a 'find my bud' feature that will help locate them (assuming they havent got too far!).
They aren't perfect though. The touch pad controls are a little temperamental. This could be due to a novice user, or just how it is. Also the positioning of the headphones and touchpads means if you like to lie on your side and listen to music in bed, it could be difficult. And the other slight issue is the battery life. Combined charge between the headphones & pod is around 13 hours, which isn't a lot. Although I'm probably only moaning because it means it's another piece of tech that I have to remember to charge.
These are only very slight niggles though. These are by far the best headphones I've ever owned - great sound quality, intuitive, great size and very functional. I'll never go back to wearing wired headphones again.
JT (287 KP) rated Let Me In (2010) in Movies
Mar 10, 2020
t’s a hard thing remaking or rebooting a classic, whatever you want to call it, you have to make sure of one thing…don’t balls it up! Thankfully director Matt Reeves doesn’t do that, in fact he takes a brilliant original and puts his own spin on it.
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!
The story of course is very much the same, Owen (Kodi Smit-McPhee) is a shy and slightly reclusive young boy who is struggling to come to terms with his parents impending divorce. On top of that he is viciously bullied at school and has no one to turn to but the imaginations of his own doing and personality.
When he befriends Abby (Chloë Grace Moretz) who is equally as shy as him a friendship blossoms between them against the backdrop of a cold and at times sinister winter. Abby is not quite what she seems deep down, that much is clear from the outset as her father (Richard Jenkins) goes out on nightly rampages to forage for the one thing that will keep her alive, blood.
Reeves does well to take the story in some new subtle directions such as the revelation that her so called father might well have started out as a mere boy himself and is purely by Abby’s side through need rather than wanting.
It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity
There are some scenes however that stay true to Let the Right One In which of course would be lost if not included, but also the addition of new ones that are very much welcomed.
The acting is exceptional from the young leading man and woman. Smit-McPhee whose run out in the apocalyptic journey The Road only showcased his acting stature, and Moretz proves that she has a great future, if not already, having made her mark.
Reeves keeps this film focused on the young pairing with Owen’s mother being reduced to a mere blur even when she stands only a few feet away, his Dad just a voice on the end of the phone. Unlike the original Let Me In is very much a horror flick for the blood thirsty millennial generation, and the gore is well used and timed to perfection. It doesn’t overshadow what is a true story of friendship and standing up in the face of adversity.
There is no reason to compare this film with the original, despite the story and protagonists all being the same Reeves conducts his approach with originality that makes this equally brilliant.
We should all applaud Reeves for doing something that is incredibly hard in a fast changing industry that craves money from remaking or rebooting films to satisfy a new generation of film goers. He’s made a remake that was actually good!
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Kristy H (1252 KP) rated Mother Daughter Widow Wife in Books
Jul 2, 2020
Wendy Doe is found in Philadelphia without an ID and no memory of who she is. She becomes a patient at Dr. Benjamin Strauss' Meadowlark Institute--basically her only alternative for being cast out on the streets. Dr. Strauss and his young student, Lizzie, study Wendy, fascinated by her fugue diagnosis. Meanwhile, years later, Wendy's daughter Alice is looking for her mother, who has disappeared again. Wondering if her mother's past disappearance--which she never knew about--could be tied to the current one--Alice searches out Benjamin Strauss and Lizzie. She discovers Lizzie is now a young widow and begins a journey into both her mother's past, and Lizzie's.
"Every daughter became a mother, every mistress a wife--every wife a widow."
This is a hard book for me to rate, even several weeks after finishing it. Is it a brilliant work examining womanhood and love or a frustrating tale that leaves you feeling unresolved? This is certainly a complex book that features complex science, emotions, and feelings. Wasserman has done her research, and there are pages and pages devoted to the science of dissociative fugue, amnesia, and more. I won't lie: it's a lot. There were times I found myself just skimming those sections, because it was a bit much for me.
I didn't care much for the character of Alice, and I'm not entirely sure why, because her mother is missing (presumed dead by suicide by everyone except Alice), and she's worried. But there's something about Alice that just didn't make her particularly sympathetic to me. As for Lizzie, even though she didn't make the best of choices, I liked her more. Maybe I identified better with her. We get to see Lizzie in the past and present, and Wasserman does a good job of capturing the yearning of loving someone who doesn't deserve you and the idea of becoming someone else for love. Even Wendy is hard to care about sometimes, because she just doesn't seem care herself. To her, her memory is a thing she's lost, but because she can't remember, she doesn't seem too concerned.
"'You don't get it: I don't not want it back, and I don't want it back. There is no it. You can't miss what never happened.'"
What was so hard with this book is that there were just so many words. Oh the words. Words about science, words about feelings, words, words, words. It just felt long. I wasn't entirely invested in the story, but I did want to find Alice's mother, but then everything just felt sort of eh and unresolved, and yeah. I don't know. So much thinking, not much happening. I think this novel probably presents some brilliant ideas and representations, but they went over my head. 2.75 stars, rounded to 3 here.
"Every daughter became a mother, every mistress a wife--every wife a widow."
This is a hard book for me to rate, even several weeks after finishing it. Is it a brilliant work examining womanhood and love or a frustrating tale that leaves you feeling unresolved? This is certainly a complex book that features complex science, emotions, and feelings. Wasserman has done her research, and there are pages and pages devoted to the science of dissociative fugue, amnesia, and more. I won't lie: it's a lot. There were times I found myself just skimming those sections, because it was a bit much for me.
I didn't care much for the character of Alice, and I'm not entirely sure why, because her mother is missing (presumed dead by suicide by everyone except Alice), and she's worried. But there's something about Alice that just didn't make her particularly sympathetic to me. As for Lizzie, even though she didn't make the best of choices, I liked her more. Maybe I identified better with her. We get to see Lizzie in the past and present, and Wasserman does a good job of capturing the yearning of loving someone who doesn't deserve you and the idea of becoming someone else for love. Even Wendy is hard to care about sometimes, because she just doesn't seem care herself. To her, her memory is a thing she's lost, but because she can't remember, she doesn't seem too concerned.
"'You don't get it: I don't not want it back, and I don't want it back. There is no it. You can't miss what never happened.'"
What was so hard with this book is that there were just so many words. Oh the words. Words about science, words about feelings, words, words, words. It just felt long. I wasn't entirely invested in the story, but I did want to find Alice's mother, but then everything just felt sort of eh and unresolved, and yeah. I don't know. So much thinking, not much happening. I think this novel probably presents some brilliant ideas and representations, but they went over my head. 2.75 stars, rounded to 3 here.
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