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Daniel Boyd (1066 KP) rated The Night Of - Season 1 in TV
Jul 19, 2017
Fantastic performances by the entire cast (4 more)
Phenomenal Script
Beautiful cinematography
Clever use of lighting
Brillaint direction
A Masterpice of Storytelling.
The Night Of stars Riz Ahmed as Naz, a young guy from Manhattan from an Asian family, who makes a series of bad decisions on what was supposed to be a simple night out; leading to his subsequent arrest and trial for the murder of a young girl. While there is no denying that Naz made some bad decisions and it is hard to deny he looks guilty, we are on this guy’s side at the start of the series. Then Jon Turturro comes into the show as Naz’s lawer John Stone. This is Turturro’s best role in years, possibly in his entire career and it serves as a stark reminder how wasted this guy is in the Transformers series and Adam Sandler Movies. Both leads give convincing performances as their respective characters, thrust into a situation that ends up being way out of their depth, they are both fish out of water, on either side of the justice system and we see the adapt or die method used by each of them.
Preacher, Westworld and Stranger Things are widely considered to be the best new TV shows of 2016, but I reckon that The Night Of is probably the most important new show broadcast this year. In the wake of a plethora of horrific, recent terror attacks across the world and following the vote to elect Donald Trump as the president of the most powerful country in the world, (a man who once expressed the desire to ban all Muslims from entering the USA,) this show seems unfortunately more relevant than ever. The show doesn’t shove any explicit propaganda down your throat, but there is no denying the racist undertones present and the social issues that the show presents to us. The writing is also fantastic throughout and this is by far the most painfully realistic show I have seen in the last few years. The show isn’t without its quirks though, but the consistently realistic nature of the writing and the performances are what make this show so immersive. The series also takes the viewer on a journey of discovery, constantly dropping unexpected character twists and new hints towards what really happened on the night referred to in the show’s title. This show throws so many interesting conversation starters into the viewership’s collective mind and constantly keeps you guessing as a spectator to these gruesome events.
This is a show that everyone should try, in a post brexit world where racial tensions are at an extreme high, this show is painfully relevant to people on either side of the argument. The crime itself becomes a background element as we see the biased treatment of a young Muslim man by the system and the assumptions made for and against him. There are so many backdoor deals being made between lawyers and other law officials and really the worst light is thrown on the criminal justice system itself and how broken the whole thing is. By halfway through the series’ 8 episodes, the issue of whether or not Naz actually committed the crime is irrelevant, the most important thing at this point being trying to keep everybody involved with this high profile case happy.
Although the moral points that this show chooses to pursue are unflinching and extremely well handled, the more technical aspects of the show are also expertly executed. I have already spoke about Riz Ahmed and John Turturro’s stand out performances, but the show’s supporting cast doesn’t contain any weak spots either and features a well rounded variety of races, ages and social classes. Naz’s family are all brilliant as are the other lawyers that make up the case. I have also already spoke about the high quality script present in the show, but I feel that the show’s writing team can’t be praised enough for the consistently high quality script they have produced. The cinematography of the show is also impressive throughout, with each shot perfectly complimenting the tone that the show sets and framing the actor’s performances masterfully. The use of light is also well implemented and adds to each shot composition and the overall aesthetic of the show. As highlighted above the actor’s performances are fantastic, but they are guided very well by the show’s directors. The score is also a nice addition to the tone of the show, as are all of the sound effects and audio used throughout.
Overall, this is the definition of great television and is the example that all other TV shows should aim for. Even if you don’t agree with the moral compasses of the show’s characters, it is objectively impossible to deny the show’s high caliber of technical filmaking. This is without a doubt one of the best shows aired in 2016 and could even be considered as one of the best seasons of a TV show of the last decade.
Preacher, Westworld and Stranger Things are widely considered to be the best new TV shows of 2016, but I reckon that The Night Of is probably the most important new show broadcast this year. In the wake of a plethora of horrific, recent terror attacks across the world and following the vote to elect Donald Trump as the president of the most powerful country in the world, (a man who once expressed the desire to ban all Muslims from entering the USA,) this show seems unfortunately more relevant than ever. The show doesn’t shove any explicit propaganda down your throat, but there is no denying the racist undertones present and the social issues that the show presents to us. The writing is also fantastic throughout and this is by far the most painfully realistic show I have seen in the last few years. The show isn’t without its quirks though, but the consistently realistic nature of the writing and the performances are what make this show so immersive. The series also takes the viewer on a journey of discovery, constantly dropping unexpected character twists and new hints towards what really happened on the night referred to in the show’s title. This show throws so many interesting conversation starters into the viewership’s collective mind and constantly keeps you guessing as a spectator to these gruesome events.
This is a show that everyone should try, in a post brexit world where racial tensions are at an extreme high, this show is painfully relevant to people on either side of the argument. The crime itself becomes a background element as we see the biased treatment of a young Muslim man by the system and the assumptions made for and against him. There are so many backdoor deals being made between lawyers and other law officials and really the worst light is thrown on the criminal justice system itself and how broken the whole thing is. By halfway through the series’ 8 episodes, the issue of whether or not Naz actually committed the crime is irrelevant, the most important thing at this point being trying to keep everybody involved with this high profile case happy.
Although the moral points that this show chooses to pursue are unflinching and extremely well handled, the more technical aspects of the show are also expertly executed. I have already spoke about Riz Ahmed and John Turturro’s stand out performances, but the show’s supporting cast doesn’t contain any weak spots either and features a well rounded variety of races, ages and social classes. Naz’s family are all brilliant as are the other lawyers that make up the case. I have also already spoke about the high quality script present in the show, but I feel that the show’s writing team can’t be praised enough for the consistently high quality script they have produced. The cinematography of the show is also impressive throughout, with each shot perfectly complimenting the tone that the show sets and framing the actor’s performances masterfully. The use of light is also well implemented and adds to each shot composition and the overall aesthetic of the show. As highlighted above the actor’s performances are fantastic, but they are guided very well by the show’s directors. The score is also a nice addition to the tone of the show, as are all of the sound effects and audio used throughout.
Overall, this is the definition of great television and is the example that all other TV shows should aim for. Even if you don’t agree with the moral compasses of the show’s characters, it is objectively impossible to deny the show’s high caliber of technical filmaking. This is without a doubt one of the best shows aired in 2016 and could even be considered as one of the best seasons of a TV show of the last decade.
Zuky the BookBum (15 KP) rated Baby Doll in Books
Mar 15, 2018
Firstly Id like to thank Netgalley and Random House UK, Cornerstone for the opportunity to read this book.
<b><i>BABY DOLL is the most tense thriller you will read this year.</b></i> no it isnt.
<b>1.5 stars</b>
I was looking forward to giving this a read, it sounded like an exciting thriller; woman escapes from her captor and now shes trying to rebuild her life and future. But it doesnt really start out that way everything kind of falls into place for Lily in the first few pages and so you think, is this going to be as exciting as I first hoped? Well the answer to that is no, its not.
Its all very over the top. <i>Every single thing</i> Abby & Lily do is grossly OTT. I mean I dont personally know how I, or my family would react if something like this happened but it all seems very overplayed, cliche and cheesy.
<img src="https://media.giphy.com/media/MGmnFOZRFRo4w/giphy.gif"; width="370" height="220" alt="yaaaawn"/>
Its also a bit ridiculous, not the kidnapping and abuse, of course <b>thats</b> not, but everything else is. The town seems raving mad, no wonder no one noticed a psychopath in their midst! I mean for one, this town needs to sort out its police force, theyre <b>so</b> unprofessional! <spoiler>Sleeping around and beating people to a pulp. Stupid. <b>PLUS</b> Why were they unable to get Abby off of Rick when she was stabbing him? It felt like they were all just standing around and watching her until they thought, OK thatll do now.</spoiler>
I dont think Overton did a particularly good job at portraying the characters. They all seemed very wooden and lifeless. I found them all to be extremely childish, shallow and very selfish and so couldnt connect with any of them. They also felt completely fake, like the things they did and said were not something you could imagine a real person doing or saying. We were supposed to empathise with Lily but it just wasnt possible for me, she was cold and boring and I think the multiple POVs was a bad call on Overtons part because it means we cant spend that time getting to know the character and instead have to put up with everyone else's junk <i>(cough cough the mother's affair cough cough)</i> that we dont care about, which disconnects us entirely from the story. I would go so far as to say I felt this story was more about idiotic Abby than it was about boring ol Lily. We also couldnt attach to Lily because this book moved so ridiculously fast! I couldnt keep up, whats the rush?
I dont think this was very well written either, it all seemed very rushed. Also, why was Eve called Eve one minute and Mom the next? And why couldnt Abby call Mr Hanson by his actual name? We get it, he was your teacher, but youre an adult now, with a kid and this man ruined your sister's life, would you really be calling him Mr Hanson all the time. It was like I was reading the POV of a 6 year old.
I admit the twist was quite a shock and I hadnt seen <i>that</i> particular ending coming about, but I still thought it was a bit silly, hence the extra half a star I gave the book. <spoiler>Can we please note that this (the murder) is like the 5th time in the book when Abby does something for Lily but really shes just being selfish and doing it for herself because she cant get a fucking grip.</spoiler>
Too "family drama" for me. I wanted a fast paced thriller not some sappy, emotional love story. This book was supposed to focus on the broken Lily rebuilding her life with her loving family surrounding her, but instead turned into a ridiculous love triangle story that I couldnt care less about. Give me more of Ricks POV if you must, <b>anything to get me away from twin sisters fighting over one stupid man.</b> Abby was so fucking annoying when it came to Wes, she was so desperately needy for him all the while putting on a stupid I-dont-need-you front. Deal with it Abby, you love him and he loves you, <b>just fucking deal with it.</b>
In the end I skipped the last 10 pages or so, I was done with this book when I was 20% the way through Maybe this would be a good book for people who are into chick-lit/women's fiction - whatever that means, but its not my cup of tea.
<b><i>BABY DOLL is the most tense thriller you will read this year.</b></i> no it isnt.
<b>1.5 stars</b>
I was looking forward to giving this a read, it sounded like an exciting thriller; woman escapes from her captor and now shes trying to rebuild her life and future. But it doesnt really start out that way everything kind of falls into place for Lily in the first few pages and so you think, is this going to be as exciting as I first hoped? Well the answer to that is no, its not.
Its all very over the top. <i>Every single thing</i> Abby & Lily do is grossly OTT. I mean I dont personally know how I, or my family would react if something like this happened but it all seems very overplayed, cliche and cheesy.
<img src="https://media.giphy.com/media/MGmnFOZRFRo4w/giphy.gif"; width="370" height="220" alt="yaaaawn"/>
Its also a bit ridiculous, not the kidnapping and abuse, of course <b>thats</b> not, but everything else is. The town seems raving mad, no wonder no one noticed a psychopath in their midst! I mean for one, this town needs to sort out its police force, theyre <b>so</b> unprofessional! <spoiler>Sleeping around and beating people to a pulp. Stupid. <b>PLUS</b> Why were they unable to get Abby off of Rick when she was stabbing him? It felt like they were all just standing around and watching her until they thought, OK thatll do now.</spoiler>
I dont think Overton did a particularly good job at portraying the characters. They all seemed very wooden and lifeless. I found them all to be extremely childish, shallow and very selfish and so couldnt connect with any of them. They also felt completely fake, like the things they did and said were not something you could imagine a real person doing or saying. We were supposed to empathise with Lily but it just wasnt possible for me, she was cold and boring and I think the multiple POVs was a bad call on Overtons part because it means we cant spend that time getting to know the character and instead have to put up with everyone else's junk <i>(cough cough the mother's affair cough cough)</i> that we dont care about, which disconnects us entirely from the story. I would go so far as to say I felt this story was more about idiotic Abby than it was about boring ol Lily. We also couldnt attach to Lily because this book moved so ridiculously fast! I couldnt keep up, whats the rush?
I dont think this was very well written either, it all seemed very rushed. Also, why was Eve called Eve one minute and Mom the next? And why couldnt Abby call Mr Hanson by his actual name? We get it, he was your teacher, but youre an adult now, with a kid and this man ruined your sister's life, would you really be calling him Mr Hanson all the time. It was like I was reading the POV of a 6 year old.
I admit the twist was quite a shock and I hadnt seen <i>that</i> particular ending coming about, but I still thought it was a bit silly, hence the extra half a star I gave the book. <spoiler>Can we please note that this (the murder) is like the 5th time in the book when Abby does something for Lily but really shes just being selfish and doing it for herself because she cant get a fucking grip.</spoiler>
Too "family drama" for me. I wanted a fast paced thriller not some sappy, emotional love story. This book was supposed to focus on the broken Lily rebuilding her life with her loving family surrounding her, but instead turned into a ridiculous love triangle story that I couldnt care less about. Give me more of Ricks POV if you must, <b>anything to get me away from twin sisters fighting over one stupid man.</b> Abby was so fucking annoying when it came to Wes, she was so desperately needy for him all the while putting on a stupid I-dont-need-you front. Deal with it Abby, you love him and he loves you, <b>just fucking deal with it.</b>
In the end I skipped the last 10 pages or so, I was done with this book when I was 20% the way through Maybe this would be a good book for people who are into chick-lit/women's fiction - whatever that means, but its not my cup of tea.
Emma @ The Movies (1786 KP) rated Underwater (2020) in Movies
Mar 5, 2020
Underwater was in my top picks for February, it looked like a cross between Deep Rising, Alien and a selection of Doctor Who episodes... I was definitely in.
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Down on a drilling station in the Mariana Trench the researchers and crew are thrown into chaos as an earthquake rips through the facility. Desperately trying to get to their escape pods the handful of remaining crew gather to assess their options. They're short on equipment and their best hope appears to be making it to another part of the complex, the only problem? It's 2 miles across the ocean floor... in the pitch black... without a craft. Oh, and unbeknownst to them, they're not alone.
The film does a great job of its opening, diagrams, reports and images of the station and their mission give us instant background which allows us to drop right into (what feels like) the middle of a scene. It reminds me of various monster movies with some of the recent Godzilla ones having similar montages, I like it because there's always something new to pick up when you watch the film again. The other thing the opening does is use sound in a very interesting way, the music builds and when we land in the station it instantly cuts and gives you a feeling of isolation. Sandwich that with the chaos of the earthquake soon after and it gives you a very odd and almost uncomfortable feeling.
While I was impressed by the opening I was also confused. There's a moment where you see a massive horror trope that doesn't actually go anywhere, it was like some strange red herring. It felt like a deliberate misdirect, but I have no idea what the purpose would have been for it.
My mixed feelings didn't end there, in the ensuing chaos we get a slow-motion shot of Stewart flying backwards in an explosion... it didn't fit with any of the style around it and was the last effect I expected to see.
Shortly after this I was dealt another blow when they access the last transmission from another part of the station. These are peak creature feature moments, cast get to gasp and scream in distress and it gives us a sneak peek of what's to come... what we got wasn't clear and wasn't intriguing. Underwater is a film filled with classic tropes of multiple genres and yet it doesn't seem to carry through with any of them.
As the cast get out into the water the film does start to pick up. Cutting from helmet cam footage to inside the suits with the characters starts to build some of that intrigue that's been missing. It gets a little more claustrophobic and finally feels like the films I'd been hoping for.
This whole section is filled with great moments because we're finally becoming aware of a presence with them. In some ways it reminds me of Blair Witch, it does well to hide from us what they're actually up against, it's just a shadow or a movement on the edge of the light. That really got me back on board.
But these feelings were fleeting. All the tension was broken again. I do wonder if someone went "the tension should come in waves... because... water". The constant up and down didn't work for me.
From this point on I didn't feel much for the film. It's clear from the building of the story how the film is going to end, and even the big reveal moments weren't exciting.
Kristen Stewart has been appearing in a lot of things recently and I've never been a big fan but I was looking forward to her in this off the back of the last couple of films I saw her in. The most I can say is it was fine, there weren't any moments I hated, there weren't any that wowed me. The same is true for most of the cast in fact. I enjoyed T.J. Miller's comedic role but the light-heartedness it brought also became a little frustrating as the scripting seemed unnecessarily crass at time.
I can't fault the effects, it felt right and the magnitude of what they created underwater, and how they filmed it felt solid. With a little less underwater and a little more creature though, I think they would have been on to something.
The rollercoaster ride this story went on left me exhausted. The momentum was repeatedly lost and the intrigue wasn't there to hook me in. I can tell you that I will watch it again though. I know, after I just moaned about it and everything! There's definitely something in this film and I'm still struggling as to the reasons why it didn't click more with me, it feels like this is one that might benefit from a second viewing.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/underwater-movie-review.html
Debbiereadsbook (1359 KP) rated Val (The Hawks #2) in Books
May 12, 2021
I can't wait for what comes next, because I'm not seeing the whole picture yet!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book. I also won a signed copy!
OK SO! This is book 2 in The Hawks series, and you really REALLY MUST read Tristan, book 1, before this one. This book picks up immediately after that one, and you need, you really NEED that book to get the full picture of what's happened before. You get the most of it recapped, but personally, I don't think it ALL comes across.
Lanval was rescued, along with his sister Nim and Keeley, the Queen's maid. The Queen, however, was not and Val needs to rescue Alanna before her despot of a husband hangs her for treason she did not commit. But Val is broken, inside and out, and his Hawk friends hate him for what they thought he did. Lanni is glad Val is free, she can die knowing he is safe. Then, he's there, rescuing her and whisking her away! Ballinor won't stop though, and with a new chancellor at his side, things get mighty difficult for everyone.
In case you missed it, when you read my review for Tristan, I LOVED that book. And I wanted to love this one as much as that one, but I can't, as much as it pains me, I really can't.
Why?? Cos I LOVED THIS ONE MORE!!
OH my freaking gosh, this book! Full of so much! So much pain, for both Lanni and Val. So much love between them, even if it takes them such a long time to finally, FINALLY come together fully. So much discovered, by The hawks, about what happened before, and so much guilt from everyone!
I cried, a lot in this book. Val and Lanni are perfect for each other, but they know they can never be free to be together, while the King listens to his newest Chancellor. Oh I did NOT like him. The last one was just trying to get his hands on Lanni, but this one?? He's after so much more than that. What exactly, I'm not entirely sure yet, but I'm sure all will be revealed, eventually! I love being kept in the dark!
I shouted a lot too! Lanni has a lot of ideas about honour, as does Val, but some of it is misplaced. I swore, a few choice words a sailor would be proud of, or rather, words a soldier in the barracks would be proud of! These men, this group, right? They love hard, they fight hard, and they *think* they mess up hard, but actually, THEY don't! Reece, oh he needs such a hug. He thinks he caused most of the group to be captured, but he didn't. Even the Chancellor says so, but Reece feels he did. His book is gonna be painful reading, I reckon!
Both Lanni and Val get a say, along with Mathos, who has his book next. I did see him with someone else, to be honest, but given what was discovered here, then reading what it says at the end of this one, I was made to see my error. Mathos is not Mabin, like Val and Nim, but something else. Something with a beast inside him. With scales. Dragon-type beast? Not 100% certain, I may have missed all the clues, but Mathos the man is a bit of a player. He thinks he won't fall like Tristan and Val, so when he meets his lady in the next book, there is sure to be fireworks.
Said lady also gets the epilogue. When she was revealed in this book, I wasn't expecting her, and she has quite a tale to tell, I'm sure. How she will react to Mathos should be amusing, given these men have protective streaks a canyon wide, and she has been where she has all her life.
I said in my review for Tristan that I thought this would be a much darker read than that one, and it is, it really is. The level of violence Ballinor steps up to is given in great detail, and you can feel every lash given, every punch taken and every injury to Lanni at the hands of her husband. Val too, but it's mostly Lanni who suffers here.
I can't wait for what comes next, because I'm not seeing the whole picture yet. I can't see where this is all going and I love that! Mostly, though, because I'm loving these guys, watching them fall one by one, and meeting the strong women who take their hearts.
Write quicker, Ms Roberts.
Write.
Quicker!
5 stars, but more if I could!
**same worded review will appear elsewhere**
OK SO! This is book 2 in The Hawks series, and you really REALLY MUST read Tristan, book 1, before this one. This book picks up immediately after that one, and you need, you really NEED that book to get the full picture of what's happened before. You get the most of it recapped, but personally, I don't think it ALL comes across.
Lanval was rescued, along with his sister Nim and Keeley, the Queen's maid. The Queen, however, was not and Val needs to rescue Alanna before her despot of a husband hangs her for treason she did not commit. But Val is broken, inside and out, and his Hawk friends hate him for what they thought he did. Lanni is glad Val is free, she can die knowing he is safe. Then, he's there, rescuing her and whisking her away! Ballinor won't stop though, and with a new chancellor at his side, things get mighty difficult for everyone.
In case you missed it, when you read my review for Tristan, I LOVED that book. And I wanted to love this one as much as that one, but I can't, as much as it pains me, I really can't.
Why?? Cos I LOVED THIS ONE MORE!!
OH my freaking gosh, this book! Full of so much! So much pain, for both Lanni and Val. So much love between them, even if it takes them such a long time to finally, FINALLY come together fully. So much discovered, by The hawks, about what happened before, and so much guilt from everyone!
I cried, a lot in this book. Val and Lanni are perfect for each other, but they know they can never be free to be together, while the King listens to his newest Chancellor. Oh I did NOT like him. The last one was just trying to get his hands on Lanni, but this one?? He's after so much more than that. What exactly, I'm not entirely sure yet, but I'm sure all will be revealed, eventually! I love being kept in the dark!
I shouted a lot too! Lanni has a lot of ideas about honour, as does Val, but some of it is misplaced. I swore, a few choice words a sailor would be proud of, or rather, words a soldier in the barracks would be proud of! These men, this group, right? They love hard, they fight hard, and they *think* they mess up hard, but actually, THEY don't! Reece, oh he needs such a hug. He thinks he caused most of the group to be captured, but he didn't. Even the Chancellor says so, but Reece feels he did. His book is gonna be painful reading, I reckon!
Both Lanni and Val get a say, along with Mathos, who has his book next. I did see him with someone else, to be honest, but given what was discovered here, then reading what it says at the end of this one, I was made to see my error. Mathos is not Mabin, like Val and Nim, but something else. Something with a beast inside him. With scales. Dragon-type beast? Not 100% certain, I may have missed all the clues, but Mathos the man is a bit of a player. He thinks he won't fall like Tristan and Val, so when he meets his lady in the next book, there is sure to be fireworks.
Said lady also gets the epilogue. When she was revealed in this book, I wasn't expecting her, and she has quite a tale to tell, I'm sure. How she will react to Mathos should be amusing, given these men have protective streaks a canyon wide, and she has been where she has all her life.
I said in my review for Tristan that I thought this would be a much darker read than that one, and it is, it really is. The level of violence Ballinor steps up to is given in great detail, and you can feel every lash given, every punch taken and every injury to Lanni at the hands of her husband. Val too, but it's mostly Lanni who suffers here.
I can't wait for what comes next, because I'm not seeing the whole picture yet. I can't see where this is all going and I love that! Mostly, though, because I'm loving these guys, watching them fall one by one, and meeting the strong women who take their hearts.
Write quicker, Ms Roberts.
Write.
Quicker!
5 stars, but more if I could!
**same worded review will appear elsewhere**
Chris Sawin (602 KP) rated Death on the Nile (2022) in Movies
Feb 10, 2022
Most of the female cast. (2 more)
Poirot's backstory.
Kenneth Branagh's mustache.
Slow-moving with little payoff. (2 more)
Nothing substantial happens for the first hour.
Not entertaining. Perfect example of first world problems.
A Drowzy Whodunit Loaded with Mediocrity
Death on the Nile is the sequel to 2017’s Murder on the Orient Express with director and lead actor Kenneth Branagh returning. The mystery thriller is based on the 1937 novel of the same name by Agatha Christie. Death on the Nile has been adapted before as a 1978 film and as a 2004 episode of the Poirot television series starring David Suchet.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
The 2022 film has been completed since December of 2019. The film was moved around several times due to COVID and was pushed back even further after Armie Hammer’s abuse allegations.
Mostly occurring shortly after the events of Murder on the Orient Express, Death on the Nile offers a bit of a look into the past of Hercule Poirot (Branagh). Taking place on the Yser Bridge in Belgium In 1914, a young Poirot advises his Belgian captain to attack the Germans spontaneously without warning. The attack is a success, but Poirot’s captain triggers an explosive after their victory. The explosion leaves Poirot’s face heavily scarred and offers an explanation as to why he always has a mustache.
Poirot reunites with his friend Bouc (Tom Bateman, who also returns from Murder on the Orient Express) in Egypt. Bouc is traveling with his mother Euphemia (Annette Bening) and their friends as they celebrate the marriage of Linnet Ridgeway (Gal Gadot) and Simon Doyle (Armie Hammer). To make matters more complicated, Simon was originally romantically involved with Jaqueline (Emma Mackey) who was also a former friend of Linnet. She now scornfully follows Simon and Linnet around Egypt.
The party travels on the S. S. Karnak, a steamship, along the river Nile. A murder eventually takes place on the steamship, which ignites a desire within Poirot to discover who the killer is before more suffer the same fate.
CGI and visual effects are used to make Kenneth Branagh look younger in the opening sequence of the film. The issue is he looks almost as bad as Henry Cavill did as Superman during the reshoots for Justice League. Branagh’s upper lip is almost nonexistent during this sequence and his philtrum seems to barely move when he speaks. It’s a visual nightmare and a terrible way to jump start a murder mystery.
Poirot travels to a Jazz nightclub where he’s first introduced to Simon, Jacqueline, and Linnet. Poirot spends much of the film embracing his OCD habits and people watching. This first nightclub sequence is about ten minutes long and you’re basically forced to watch people do nothing but dance for that entire time. Armie Hammer’s overly sexual dancing combined with his heavy breathing and constant sweating with both Gal Gadot and Emma Mackey is nauseating even without taking his sexual allegations into consideration.
Nothing really happens in the film for the first hour. Death on the Nile takes its time getting to the murder as little things begin to disappear (like a tube of paint) and Simon and Linnet are nearly crushed to death by a falling rock as they’re practically mid-coitus while sightseeing some pyramids. Emma Mackey gives a particularly strong performance. She is blinded by one-sided love in the film and her performance is a combination of passion, borderline insanity, and a broken heart.
Annette Bening is so cynical that it’s humorous and Jennifer Saunders adds just enough sarcastic bite to remind us ever so slightly of Absolutely Fabulous. Letitia Wright portrays business manager Rosalie Otterbourne. Her performance is intriguing because she’s always fighting for what she feels like she’s rightfully owed; whether it’s the right amount of money for her services or her happiness away from the limelight.
Like Murder on the Orient Express and other Agatha Christie adaptations, the enticing aspect of Death on the Nile is not only its massive and recognizable cast but also the fact that the story is written in a way that everyone is a suspect. The film’s nonchalant way of meandering towards that first murder is frustrating. A deliberate pace is one thing, but Death on the Nile is boring for the most part. Poirot is asked to take a case involving Jacqueline and the safety of Simon and Linnet, but is then mocked for being heartless and not being able to solve the case sooner. The people on board are likely meant to be scared, but come off as rich people not getting what they want the instant they want it.
Death on the Nile crawls towards a resolution you don’t feel invested in. Poirot’s backstory is interesting and there are some solid performances especially from the female cast, but the film otherwise feels like an unwanted game of Guess Who after you unwillingly chug two bottles of NyQuil and are asked to predict who the killer is after two long hours of tediousness.
Chris Sawin (602 KP) rated The Collector (2009) in Movies
Jun 22, 2019
Arkin wants to smooth over the rough patch his family is currently going through. He seems like a hard working man that's trying to make a living by doing some housework for a family who lives out in the country. It turns out that Arkin has more problems than he lets on though. His wife, Lisa, has quite a pile of debt resting on her shoulders and the loan sharks want their share that very night. Knowing his paycheck isn't enough to pay for their debt, Arkin assures Lisa that he'll have the money by midnight. Arkin is actually a thief who has been scoping out his employer's property the entire time he's been working for him. With the family away on vacation, the safe behind the mirror in the couple's bedroom is ripe for the taking. Unbeknownst to Arkin, however, is that the family never left and somebody else beat him to the punch. A man who's known as The Collector has already broken into the house Arkin had his eye on. After a quick investigation, Arkin notices the traps The Collector has set up in nearly every room and by every exit. As Arkin weighs his options, he realizes he must try to help the family he originally intended to steal from in a race against time.
The Collector is a film that is somewhat hurt by its own hype. It's written by Patrick Melton and Marcus Dunstan (who also directs), the writing team who penned the last three Saw films (including part VI). News broke right before its release that the film was almost a prequel to Saw. In the horror community, being a part of the Saw franchise is a rather large achievement. Even if you're not a fan of the franchise, it's hard to deny how well the Saw films do at the box office as their gross revenue is sometimes up to ten times what the film's budget was. The down side is that The Collector seems to make this point blatantly obvious. The film gives off a sense of deja vu throughout its entire duration. The Collector's traps are very reminiscent of Jigsaw's traps, at least in the way they're set up (reverse bear trap in Saw compared to the bear trap scene in The Collector). The Collector also looks and feels like a Saw film. The quick edits that a lot of people expressed their dislike for in Saw are used more often than not in The Collector. Grainy and high contrast filters along with those quick edits make it a bit hard to distinguish what events are actually occurring on screen at times. The first ten minutes or so of the film feel like an extended music video. These qualities don't necessarily make the film bad, but a film that's advertised as being original shouldn't have so much in common with a well distinguished franchise in the same genre; let alone when some of the same people are involved. Something that may have been easily averted if the marketing campaign didn't throw that fact in the public's face.
With all that being said, the film still has enough originality going for it to bring in horror fans. While the film does have its flaws (the main one being, how'd The Collector have time to set up all these traps?), they actually don't take away from the overall enjoyment for the film. What The Collector collects is rather interesting and even with its similarities to Saw, it's an original horror film that isn't a remake. Something we don't see a lot of anymore. What also might make or break the deal for horror fans seeing this film is that it doesn't shy away from blood and guts. The bear trap sequence alone is rather gruesome, but you do get to see some intestines make a cameo. So this definitely isn't for the squeamish. The film did leave a few open-ended questions, but they don't seem to be negative. The most memorable one is more of a sense of wondering why a certain character did a certain act rather than it being a glaring mistake. If this gets turned into a franchise (which depending on its reception, it just might), we'll probably get answers in the sequel(s). The Collector also seemed to establish a bit of tension at times, while the closing moments of the film were similar to a seesaw. The events that unfold seem to be going in one direction, but then quickly shift and go in another direction.
TV spots are saying things like, "Horror has a new icon," and that The Collector is the best horror film to come out in years. While the latter could be debated, the first part of that statement could very well be true. I, personally, wouldn't mind seeing more of The Collector as I like the idea and the character. The film as a whole, however, may have let its influences shine brighter than its original aspects. In retrospect, The Collector is an entertaining horror film composed of a decent antagonist, standard acting, an original storyline, and a few buckets of gore.
The Collector is a film that is somewhat hurt by its own hype. It's written by Patrick Melton and Marcus Dunstan (who also directs), the writing team who penned the last three Saw films (including part VI). News broke right before its release that the film was almost a prequel to Saw. In the horror community, being a part of the Saw franchise is a rather large achievement. Even if you're not a fan of the franchise, it's hard to deny how well the Saw films do at the box office as their gross revenue is sometimes up to ten times what the film's budget was. The down side is that The Collector seems to make this point blatantly obvious. The film gives off a sense of deja vu throughout its entire duration. The Collector's traps are very reminiscent of Jigsaw's traps, at least in the way they're set up (reverse bear trap in Saw compared to the bear trap scene in The Collector). The Collector also looks and feels like a Saw film. The quick edits that a lot of people expressed their dislike for in Saw are used more often than not in The Collector. Grainy and high contrast filters along with those quick edits make it a bit hard to distinguish what events are actually occurring on screen at times. The first ten minutes or so of the film feel like an extended music video. These qualities don't necessarily make the film bad, but a film that's advertised as being original shouldn't have so much in common with a well distinguished franchise in the same genre; let alone when some of the same people are involved. Something that may have been easily averted if the marketing campaign didn't throw that fact in the public's face.
With all that being said, the film still has enough originality going for it to bring in horror fans. While the film does have its flaws (the main one being, how'd The Collector have time to set up all these traps?), they actually don't take away from the overall enjoyment for the film. What The Collector collects is rather interesting and even with its similarities to Saw, it's an original horror film that isn't a remake. Something we don't see a lot of anymore. What also might make or break the deal for horror fans seeing this film is that it doesn't shy away from blood and guts. The bear trap sequence alone is rather gruesome, but you do get to see some intestines make a cameo. So this definitely isn't for the squeamish. The film did leave a few open-ended questions, but they don't seem to be negative. The most memorable one is more of a sense of wondering why a certain character did a certain act rather than it being a glaring mistake. If this gets turned into a franchise (which depending on its reception, it just might), we'll probably get answers in the sequel(s). The Collector also seemed to establish a bit of tension at times, while the closing moments of the film were similar to a seesaw. The events that unfold seem to be going in one direction, but then quickly shift and go in another direction.
TV spots are saying things like, "Horror has a new icon," and that The Collector is the best horror film to come out in years. While the latter could be debated, the first part of that statement could very well be true. I, personally, wouldn't mind seeing more of The Collector as I like the idea and the character. The film as a whole, however, may have let its influences shine brighter than its original aspects. In retrospect, The Collector is an entertaining horror film composed of a decent antagonist, standard acting, an original storyline, and a few buckets of gore.
Lee (2222 KP) rated Jumanji: The Next Level (2019) in Movies
Dec 23, 2019
Like pretty much everyone else, when I first heard that the Robin Williams 1985 classic Jumanji was getting some kind of reboot/remake starring Dwayne Johnson, I was hugely sceptical. I probably even rolled my eyes and raised an eyebrow or something in disappointed disbelief! But then, also like pretty much everyone else judging by the fact it went on to make almost a billion dollars, I was more than pleasantly surprised when Jumanji: Welcome to the Jungle turned out to be a big hit - an enjoyable, fresh take on the Jumanji idea, while still remaining true to the original. But, big box office numbers usually mean that a sequel won't be too far off and, sure enough, Jumanji: The Next Level was announced, with the original cast all returning. Hopefully they weren't going to end up stretching the formula too thin and had managed to come up with another new and exciting adventure to entice us back into the world of Jumanji.
Our four teens from Welcome to the Jungle are all still great friends following their ordeal/adventure together, although Spencer has become more distant from the group over the last year, seeming rather unhappy and depressed with life. As the rest of the group excitedly exchange messages on Whatsapp in preparation to return home for a Christmas reunion, Spencer is getting yelled at by his boss before struggling with a broken suitcase in the pouring rain as he heads to catch the bus home. When he does make it home, his Grandpa Eddie (Danny DeVito) is staying with them while he recovers from a hip operation, and Spencer now has the pleasure of sharing his bedroom with him. Complaining about old age, Eddie is the kind of grumpy character that Danny DeVito plays so perfectly and we are also introduced soon after to an old friend of his, Milo (Danny Glover). Eddie and Milo are former partners in the restaurant business, but haven't been on the best of terms over the last 15 years since they sold the restaurant and parted on not the best of terms.
When Spencer suddenly goes missing and his three friends go looking for him, they discover the battered Jumanji video game down in his basement, with Spencer's mobile phone and coat laying nearby. They realise that Spencer has ventured back into Jumanji and decide that they must join him in order to increase his chances of getting out of there alive. But this time round, it's not just the teens who get pulled into the game, as Eddie and Milo also find themselves inside Jumanji. And, just to mix things up a bit from the last movie, not everyone winds up in the same avatar as they did before either. So, similar to what we got last time, we're treated to plenty of comedy moments while everyone becomes accustomed to their new body and is either disgusted or overjoyed with what they've got. Grandpa Eddie finds himself as Dr. Bravestone while Milo is Franklin 'Mouse' Finbar, so obviously now having a fully functional, new and improved body is a pretty big deal for the old timers. Seeing Dwayne Johnson and Kevin Hart act out their very best impersonations of DeVito and Glover is a lot of fun and straight away serves up a completely different dynamic to that of the first movie. On top of that, there are some differences in the skills and weaknesses that each avatar now possesses and the introduction throughout the movie of a few more avatars in order to cater for the additional players who are now in the game.
When it comes to the quest that the team must embark upon in order to beat the game, this doesn't seem quite as well fleshed out or developed as in Welcome to the Jungle, and it's where this movie is lacking. The villain isn't at all interesting, and neither is the journey they take in order to get there. There are a couple of big fun action scenes, but also a lot of filler scenes that are somewhat lacking. It's still that winning formula from the previous movie, but with something missing.
As before though, it's the characters that shine through and make this all the more enjoyable. Probably the biggest addition this time round is Awkwafina as Ming Fleetfoot, who proves to be just as entertaining as the rest of the avatars. And, just to keep us on our toes, there are a couple of times where a dip in some magical water causes the players to switch avatars, meaning the cast get a chance to act in a different way as they get to grips with a new body and skills again.
Overall, Jumanji: The Next Level felt like more of the same, only not quite as good as Welcome to the Jungle. Obviously, there's a teaser or two of a sequel at the end of the movie and I'm sure the characters telling each other that they'll “never go back again” won't be enough to stop that from happening should this movie do as well as the last one!
Our four teens from Welcome to the Jungle are all still great friends following their ordeal/adventure together, although Spencer has become more distant from the group over the last year, seeming rather unhappy and depressed with life. As the rest of the group excitedly exchange messages on Whatsapp in preparation to return home for a Christmas reunion, Spencer is getting yelled at by his boss before struggling with a broken suitcase in the pouring rain as he heads to catch the bus home. When he does make it home, his Grandpa Eddie (Danny DeVito) is staying with them while he recovers from a hip operation, and Spencer now has the pleasure of sharing his bedroom with him. Complaining about old age, Eddie is the kind of grumpy character that Danny DeVito plays so perfectly and we are also introduced soon after to an old friend of his, Milo (Danny Glover). Eddie and Milo are former partners in the restaurant business, but haven't been on the best of terms over the last 15 years since they sold the restaurant and parted on not the best of terms.
When Spencer suddenly goes missing and his three friends go looking for him, they discover the battered Jumanji video game down in his basement, with Spencer's mobile phone and coat laying nearby. They realise that Spencer has ventured back into Jumanji and decide that they must join him in order to increase his chances of getting out of there alive. But this time round, it's not just the teens who get pulled into the game, as Eddie and Milo also find themselves inside Jumanji. And, just to mix things up a bit from the last movie, not everyone winds up in the same avatar as they did before either. So, similar to what we got last time, we're treated to plenty of comedy moments while everyone becomes accustomed to their new body and is either disgusted or overjoyed with what they've got. Grandpa Eddie finds himself as Dr. Bravestone while Milo is Franklin 'Mouse' Finbar, so obviously now having a fully functional, new and improved body is a pretty big deal for the old timers. Seeing Dwayne Johnson and Kevin Hart act out their very best impersonations of DeVito and Glover is a lot of fun and straight away serves up a completely different dynamic to that of the first movie. On top of that, there are some differences in the skills and weaknesses that each avatar now possesses and the introduction throughout the movie of a few more avatars in order to cater for the additional players who are now in the game.
When it comes to the quest that the team must embark upon in order to beat the game, this doesn't seem quite as well fleshed out or developed as in Welcome to the Jungle, and it's where this movie is lacking. The villain isn't at all interesting, and neither is the journey they take in order to get there. There are a couple of big fun action scenes, but also a lot of filler scenes that are somewhat lacking. It's still that winning formula from the previous movie, but with something missing.
As before though, it's the characters that shine through and make this all the more enjoyable. Probably the biggest addition this time round is Awkwafina as Ming Fleetfoot, who proves to be just as entertaining as the rest of the avatars. And, just to keep us on our toes, there are a couple of times where a dip in some magical water causes the players to switch avatars, meaning the cast get a chance to act in a different way as they get to grips with a new body and skills again.
Overall, Jumanji: The Next Level felt like more of the same, only not quite as good as Welcome to the Jungle. Obviously, there's a teaser or two of a sequel at the end of the movie and I'm sure the characters telling each other that they'll “never go back again” won't be enough to stop that from happening should this movie do as well as the last one!
KalJ95 (25 KP) rated the PlayStation 4 version of STAR WARS Battlefront II in Video Games
Jun 10, 2020
Star Wars Immersion At Its Finest. (2 more)
Multiplayer Is Feels Fluid, Bouncy And Satisfying.
Frequent Updates Have Saved The Game.
Sometimes Buggy. (1 more)
Campaign Is Short, Bare and Repetitive.
Can EA Redeem Themselves? (2020 Update Review)
I will begin this by telling you a story. Back in 2016, I bought EA and DICE's STAR WARS Battlefront for £25, feeling like a got a pretty good bargain. Little did I know at the time that this was an EA project, I had very high hopes after spending hundreds of hours of my childhood playing the original, Battlefront and Battlefront II, on my original XBOX. To me, along with KOTOR and Rogue Squadron II: Rogue Leader, were the pinnacle of how good a STAR WARS game could be. I played four hours of this remake, and realised how much of a mistake I had made. I subsequently put the game on eBay, with the description, “Please take this abomination from me before I throw it at the wall!”. It sold for £9. Worth it.
Once I discovered EA and DICE were doing a sequel, I knew this was to be avoided at all costs. Upon launch, Battlefront II was slammed by critics and fans for various reasons, including a loot based system that gave a player a clear advantage over another, and a story which was so short and bare boned it barely even passed four hours. A complete disaster all round. Yet, a new hope arose. Frequent updates have come since then, and all updates have been free for players as a sorry for all the mistakes both companies have made with the property. So, with all this information in the past, I received Battlefront II as a free game with PlayStation Plus for June. A what a treat it is.
STAR WARS Battlefront II is a well improved shooter over its 2015 release, and an all round excellent game, and this is down to its updates being made free to all its players. Battlefront II must be broken up into parts in order to properly get a fair review, so let’s start with the campaign.
Narrative:
The story follows Iden Versio, an Empire Commander who’s morals are tested and sides are divided once she discovers the truth behind her allegiances as the story goes on. The campaign is the weakest part of the package, roughly taking around four to five hours to complete, and the missions feel the same; go to objective, kill enemies, find other objectives etc. The formula gets mixed a few times to introduce iconic heroes and villains through this timeline of STAR WARS history. Average would be the perfect word to describe this aspect, it doesn’t try anything new or experiment, and thats a shame because they introduce some new ideas that could of shaken up the story a little. They did add an expansion called Resurrection, following on some years after the campaign. Again, its too short for any real substance or replay value. Arcade mode is fun enough too, pitting you against different tasks for the Light and Dark side. Each one puts you with different Heroes, Villains or Soldiers, as you fight against a numbered amount of enemies. It all is enough to satisfy for a couple of hours, but if you're buying Battlefront for single-player purposes, don't bother.
Multiplayer:
The Multiplayer is fantastic, immersion filled experience fans of STAR WARS will love. I’ve recently lost a lot of love for the franchise, but this game has made me remember why I loved it as a child. The combination of John William’s score, the fluid gunplay that bounces with every successful hit, mixed with the amazing environments of each world and excellent sound effects. This makes it absolutely flawless. It features various different game modes to choose from, my personal favourite being Co-op missions, all your standard multiplayer shooter modes. Unlike before, where you had to buy the STAR WARS characters you want to play as, you now have to earn points during battle to play as them. The system works as you feel you’ve earned the way to play as, for example, Luke or Han. Sometimes it feels a little buggy in places, especially in modes with forty players, but it never ruins the overall game.
The issues, which they’re are many, occur in multiplayer frequently. The Galactic Assault is messy, and frustrating most of the time due to wonky controls. It feels like the controller doesn’t work for the ships, but works perfectly for the on-ground assaults. I did try this mode a number of times, and the same things happened again and again.
The package is finely finished with some great customisation options for your troopers and also the main characters of the franchise. The sheer number of characters in the roster is staggering. Some choices, like BB-8, feel a little shoehorned, but weirdly they all feel different, with their own unique perks. As a whole, it feels like for once EA has decided to put the consumer first with their product, rather than thinking of the money. They’ve taken the time to issue an apology for the awful services they’ve been providing, by putting a product they know the fans will love. I never thought I would say it, but props to DICE and EA. You’ve redeemed yourselves, for now.
Once I discovered EA and DICE were doing a sequel, I knew this was to be avoided at all costs. Upon launch, Battlefront II was slammed by critics and fans for various reasons, including a loot based system that gave a player a clear advantage over another, and a story which was so short and bare boned it barely even passed four hours. A complete disaster all round. Yet, a new hope arose. Frequent updates have come since then, and all updates have been free for players as a sorry for all the mistakes both companies have made with the property. So, with all this information in the past, I received Battlefront II as a free game with PlayStation Plus for June. A what a treat it is.
STAR WARS Battlefront II is a well improved shooter over its 2015 release, and an all round excellent game, and this is down to its updates being made free to all its players. Battlefront II must be broken up into parts in order to properly get a fair review, so let’s start with the campaign.
Narrative:
The story follows Iden Versio, an Empire Commander who’s morals are tested and sides are divided once she discovers the truth behind her allegiances as the story goes on. The campaign is the weakest part of the package, roughly taking around four to five hours to complete, and the missions feel the same; go to objective, kill enemies, find other objectives etc. The formula gets mixed a few times to introduce iconic heroes and villains through this timeline of STAR WARS history. Average would be the perfect word to describe this aspect, it doesn’t try anything new or experiment, and thats a shame because they introduce some new ideas that could of shaken up the story a little. They did add an expansion called Resurrection, following on some years after the campaign. Again, its too short for any real substance or replay value. Arcade mode is fun enough too, pitting you against different tasks for the Light and Dark side. Each one puts you with different Heroes, Villains or Soldiers, as you fight against a numbered amount of enemies. It all is enough to satisfy for a couple of hours, but if you're buying Battlefront for single-player purposes, don't bother.
Multiplayer:
The Multiplayer is fantastic, immersion filled experience fans of STAR WARS will love. I’ve recently lost a lot of love for the franchise, but this game has made me remember why I loved it as a child. The combination of John William’s score, the fluid gunplay that bounces with every successful hit, mixed with the amazing environments of each world and excellent sound effects. This makes it absolutely flawless. It features various different game modes to choose from, my personal favourite being Co-op missions, all your standard multiplayer shooter modes. Unlike before, where you had to buy the STAR WARS characters you want to play as, you now have to earn points during battle to play as them. The system works as you feel you’ve earned the way to play as, for example, Luke or Han. Sometimes it feels a little buggy in places, especially in modes with forty players, but it never ruins the overall game.
The issues, which they’re are many, occur in multiplayer frequently. The Galactic Assault is messy, and frustrating most of the time due to wonky controls. It feels like the controller doesn’t work for the ships, but works perfectly for the on-ground assaults. I did try this mode a number of times, and the same things happened again and again.
The package is finely finished with some great customisation options for your troopers and also the main characters of the franchise. The sheer number of characters in the roster is staggering. Some choices, like BB-8, feel a little shoehorned, but weirdly they all feel different, with their own unique perks. As a whole, it feels like for once EA has decided to put the consumer first with their product, rather than thinking of the money. They’ve taken the time to issue an apology for the awful services they’ve been providing, by putting a product they know the fans will love. I never thought I would say it, but props to DICE and EA. You’ve redeemed yourselves, for now.
Bob Mann (459 KP) rated Rear Window (1954) in Movies
Sep 29, 2021
“Hmm… must have splattered a lot”.
Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
Naomi Forrest (42 KP) rated The Toy Makers in Books
Jan 2, 2019
The first thing on the very first page that I loved was the narrator setting the scene and talking directly to you:
‘See the woman with the cage of pipe-cleaner birds, the vagrant soldier marvelling at the stuffed dogs lounging in their baskets? Keep a careful eye on them; you will see them again’.
I knew just from this descriptive ‘setting the scene’ chapter this book was going to be amazing, there was so much magic encapsulated in those first five pages. Papa Jack’s Emporium is the most wonderful shop you could imagine, a labyrinth of joy, surprises around every aisle and so much more. If you have ever seen the toy shop on Home Alone 2 that looked so amazing as a child, it has nothing on this! I was pretty sure for at least half of the book that Papa Jack was indeed Father Christmas.
After the initial chapter, the reader is introduced to Cathy, a fifteen year old who, shamefully (the year is 1906), is unmarried and pregnant. Plans are made for her to go to a special home where she will give birth and her child will be adopted. However, Cathy spots an advert looking for staff for the Emporium and runs away and so, the magic begins! The reader is catapulted into the world of the emporium and soon meets Papa Jack’s sons, Emil and Kaspar, who assist their father in the running of the store and the making of the toys, which are so much more than toys as we know them. People flock from far and wide to the emporium for it’s sublime creations and the memories and pleasures that they evoke.
The first half of the novel was like a fairytale, building beautifully to a gorgeous climax, full of wonder, friendship and subtle romance (perfectly done, so as not to detract from more pressing themes). In my head, toy soldiers and paper trees were everywhere and the wendy house is the stuff that dreams are made of. I loved observing (as I stood in the corner of the emporium, I’m sure, so convincing is Dinsdale) the relationships the built between Cathy and Emil and Cathy and Kaspar, though at times I felt sorry for Emil, never quite catching up to Kaspar as he wishes. If only the story had ended at page 187. And yet, that would not have been satisfying, not enough, so really, I’m glad it didn’t.
The second part of the novel, that is where Dinsdale really takes us on a journey. A couple of darker themes are touched upon in part one, where we learn of Jekab’s history (Papa Jack) but it ramps up in the second part, which ties in with World War I and beyond. You would think going from such wonderment and happiness to a bleak world of misery and reality would make you want to stop reading but I could not put this book down. I read 3/4 of it in one go! It is in the second part that Dinsdale brings in themes of shell shock, betrayal, sibling jealousy, bitterness and true, deep, familial love. Without spoilers, some characters truly lose everything and I cried during and after the book as it moved me so greatly (I mean, I am a crier anyway but not usually with books!). The entire novel is shaped around the ‘war’ between the brothers with some shocking twists along the way. Though part two draws in more realities, more brutalities and some heartbreaking moments, magic still punctuates and carries the reader through to the end. The ending is bitter sweet and my emotions were cloudy here, anger, joy, sadness and warmth all merging into a big teary mess.
I won’t say too much about specifics because some kinds of magic need to be discovered for yourself. The most beautiful sentiment in this novel though is that toys can’t save a life but they can save a soul, because toys transport many of us back to times of happiness, of wonder and of innocence, when things were simpler and problems remedied more easily. Times change but the joy of toys doesn’t. I can recall going through toy exhibits at both the castle museum in York and a toy museum in Edinburgh and it was so thrilling not only to see toys from my childhood but toys from before. Toys have the power to make magic we never knew existed, even if it is only in our head. The Toy Makers has yielded many comparisons with Erin Morgensten’s The Night Circus but for me, this novel surpassed anything I have read before in a similar vein. I have truly been blown away into a world that I honestly believe I will carry with me forever more. If, like me, you are a Harry Potter fan, you will know what I mean when I say that this book matches up to that first trip to Diagon Alley, to Hogwarts and to Honeydukes or that journey up Enid Blyton’s faraway tree as a child but it is even more exciting as an adult. It isn’t only the description that is first rate though; Dinsdale’s narrative style and use of language pulls you in and flows so smoothly, you are carried away from the first page whether you are prepared for it or not. Some reviews have said it is too fantastical but I cannot rate this book highly enough. It isn’t always easy reading – prepare to have your heart broken in several places- but go in looking for magic. You won’t be disappointed!
‘See the woman with the cage of pipe-cleaner birds, the vagrant soldier marvelling at the stuffed dogs lounging in their baskets? Keep a careful eye on them; you will see them again’.
I knew just from this descriptive ‘setting the scene’ chapter this book was going to be amazing, there was so much magic encapsulated in those first five pages. Papa Jack’s Emporium is the most wonderful shop you could imagine, a labyrinth of joy, surprises around every aisle and so much more. If you have ever seen the toy shop on Home Alone 2 that looked so amazing as a child, it has nothing on this! I was pretty sure for at least half of the book that Papa Jack was indeed Father Christmas.
After the initial chapter, the reader is introduced to Cathy, a fifteen year old who, shamefully (the year is 1906), is unmarried and pregnant. Plans are made for her to go to a special home where she will give birth and her child will be adopted. However, Cathy spots an advert looking for staff for the Emporium and runs away and so, the magic begins! The reader is catapulted into the world of the emporium and soon meets Papa Jack’s sons, Emil and Kaspar, who assist their father in the running of the store and the making of the toys, which are so much more than toys as we know them. People flock from far and wide to the emporium for it’s sublime creations and the memories and pleasures that they evoke.
The first half of the novel was like a fairytale, building beautifully to a gorgeous climax, full of wonder, friendship and subtle romance (perfectly done, so as not to detract from more pressing themes). In my head, toy soldiers and paper trees were everywhere and the wendy house is the stuff that dreams are made of. I loved observing (as I stood in the corner of the emporium, I’m sure, so convincing is Dinsdale) the relationships the built between Cathy and Emil and Cathy and Kaspar, though at times I felt sorry for Emil, never quite catching up to Kaspar as he wishes. If only the story had ended at page 187. And yet, that would not have been satisfying, not enough, so really, I’m glad it didn’t.
The second part of the novel, that is where Dinsdale really takes us on a journey. A couple of darker themes are touched upon in part one, where we learn of Jekab’s history (Papa Jack) but it ramps up in the second part, which ties in with World War I and beyond. You would think going from such wonderment and happiness to a bleak world of misery and reality would make you want to stop reading but I could not put this book down. I read 3/4 of it in one go! It is in the second part that Dinsdale brings in themes of shell shock, betrayal, sibling jealousy, bitterness and true, deep, familial love. Without spoilers, some characters truly lose everything and I cried during and after the book as it moved me so greatly (I mean, I am a crier anyway but not usually with books!). The entire novel is shaped around the ‘war’ between the brothers with some shocking twists along the way. Though part two draws in more realities, more brutalities and some heartbreaking moments, magic still punctuates and carries the reader through to the end. The ending is bitter sweet and my emotions were cloudy here, anger, joy, sadness and warmth all merging into a big teary mess.
I won’t say too much about specifics because some kinds of magic need to be discovered for yourself. The most beautiful sentiment in this novel though is that toys can’t save a life but they can save a soul, because toys transport many of us back to times of happiness, of wonder and of innocence, when things were simpler and problems remedied more easily. Times change but the joy of toys doesn’t. I can recall going through toy exhibits at both the castle museum in York and a toy museum in Edinburgh and it was so thrilling not only to see toys from my childhood but toys from before. Toys have the power to make magic we never knew existed, even if it is only in our head. The Toy Makers has yielded many comparisons with Erin Morgensten’s The Night Circus but for me, this novel surpassed anything I have read before in a similar vein. I have truly been blown away into a world that I honestly believe I will carry with me forever more. If, like me, you are a Harry Potter fan, you will know what I mean when I say that this book matches up to that first trip to Diagon Alley, to Hogwarts and to Honeydukes or that journey up Enid Blyton’s faraway tree as a child but it is even more exciting as an adult. It isn’t only the description that is first rate though; Dinsdale’s narrative style and use of language pulls you in and flows so smoothly, you are carried away from the first page whether you are prepared for it or not. Some reviews have said it is too fantastical but I cannot rate this book highly enough. It isn’t always easy reading – prepare to have your heart broken in several places- but go in looking for magic. You won’t be disappointed!