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Amazing historical retelling!
You can also find this review on my blog: bookingwayreads.wordpress.com
4.5 stars
TRIGGER WARNINGS: murder, hostage situation, violence, alcoholism, loss of a loved one, starvation, terminal illness, executions, gunshots, trauma
“The bond of our hearts spans miles, memory, and time.”
Main Characters:
Anastasia "Nastya" Romanov - the mischievous and cunning main character. Narration is told from her POV and the development she receives throughout the novel is a breath of fresh air. The emotions she feels leaps out to the reader on every page and is honestly the most relatable character in the entire novel.
Zash - at first he was a hardhearted Bolshevik but eventually warms to Nastya's mischievousness. He does a full 180 after a certain scene and it was really nice to see him and Nastya become close.
Alexei - Nastya's brother who has a terminal illness that weakens his body. He's sassy, stubborn (but not as much as Nastya), and calms the wildness within Nastya. Alexei is the yin to Nastya's yang.
The Romanov family - the first half of the book revolves around the family as a whole, but they all had equal parts throughout the storyline compared to the two that outshown everyone: Alexei and Nastya.
The Bolsheviks - the soldiers in charge of keeping the Romanov's in order. They're all stone and ice and everything but warmth and friendliness (besides Ivan and Zash of course.)
Ivan - oh my dear Ivan... (let's just leave it at that)
“It is if you separate the two- old life and new life. But once you learn that it's all one life and each day is a new page, it gets a bit easier to let your story take an unexpected path.”
Review:
**Possible spoilers ahead**
Romanov starts with the Romanov's in a house that is their base of exile, they have been taken into custody and are awaiting their execution trial. The family lives life to the best of their ability but then the dreadful day comes when half of the family is moved further away to be questioned. This only brings even more heartbreaking scenes until the moment when Nastya saves herself and Alexei.
Romanov is a historical retelling with a magical aspect that combines into a wonderfully executed novel. Family is the central focus, this ends up not only being the Romanov's greatest strength, but also their biggest burden. How the family is portrayed adds a sympathetic nature to the novel, and the relationship between Alexei and Nastya is not only sweet but also a strength that keeps them fighting together until the very end.
One thing that I really loved about Romanov, was that the Romanov's themselves were kind and forgiving to the Bolshevik's. They believed that they could prove their innocence to them by being friendly, plus it was just second nature to be friendly. The tension between the two was felt by everyone though, especially Nastya. Throughout the novel, you can see everything that she has to worry about but she still holds onto that little spark that makes her who she is, even despite the predicament she's in.
Nastya is a mischievous, cunning, and lovable young woman and her emotions leap out at the reader. When Zash enters the picture, he's nothing but harsh words and hostility. Nastya though, senses a kindness lurking underneath that stone wall and she becomes determined to release it.
As the story progresses, readers can sense the chemistry between the two of them and it makes you crave more of this heartbreaking story.
Story background and development –
The connections that are built with the reader and the narrator is beautiful and well crafted. And oh man! Was there a TON of background and development on more than just the main character. Romanov is a historical retelling of what the real Romanov family experienced, with a little bit of a fantasy twist to it of course. Nadine does an amazing job at giving the facts yet keeping it light enough to be read like a fantasy novel.
Plot –
History of fact and fiction with magic interwoven brings a tale that's not only intriguing but fascinating as well. Every page brings a few more steps into the build-up, causing this novel to be a pivoting story to be read by all.
Spelling/ Grammatical errors –
I did notice a few grammatical and spelling errors that took away from the scene but overall, Nadine's writing style is gripping and crafted in a way that allows nothing to pass you by.
Overall –
Romanov is a breathtaking and heart-wrenching story that will make the reader feel every tragedy, heartbreak, and moment of love that is seeped into every page.
Enjoyment –
I enjoyed every second of this novel and even stayed up late to devour it! All because I couldn't put it down. Nadine grabbed my attention and kept it until the very last page, leaving me in a ball of agony, mourning the pain that I felt.
Do I recommend?
H to the E to the L to the L to the Y to the E to the S, what does that spell? HELL YES! Everyone needs to pick this novel up and give it a read!!
“Let no one call you tame.”
4.5 stars
TRIGGER WARNINGS: murder, hostage situation, violence, alcoholism, loss of a loved one, starvation, terminal illness, executions, gunshots, trauma
“The bond of our hearts spans miles, memory, and time.”
Main Characters:
Anastasia "Nastya" Romanov - the mischievous and cunning main character. Narration is told from her POV and the development she receives throughout the novel is a breath of fresh air. The emotions she feels leaps out to the reader on every page and is honestly the most relatable character in the entire novel.
Zash - at first he was a hardhearted Bolshevik but eventually warms to Nastya's mischievousness. He does a full 180 after a certain scene and it was really nice to see him and Nastya become close.
Alexei - Nastya's brother who has a terminal illness that weakens his body. He's sassy, stubborn (but not as much as Nastya), and calms the wildness within Nastya. Alexei is the yin to Nastya's yang.
The Romanov family - the first half of the book revolves around the family as a whole, but they all had equal parts throughout the storyline compared to the two that outshown everyone: Alexei and Nastya.
The Bolsheviks - the soldiers in charge of keeping the Romanov's in order. They're all stone and ice and everything but warmth and friendliness (besides Ivan and Zash of course.)
Ivan - oh my dear Ivan... (let's just leave it at that)
“It is if you separate the two- old life and new life. But once you learn that it's all one life and each day is a new page, it gets a bit easier to let your story take an unexpected path.”
Review:
**Possible spoilers ahead**
Romanov starts with the Romanov's in a house that is their base of exile, they have been taken into custody and are awaiting their execution trial. The family lives life to the best of their ability but then the dreadful day comes when half of the family is moved further away to be questioned. This only brings even more heartbreaking scenes until the moment when Nastya saves herself and Alexei.
Romanov is a historical retelling with a magical aspect that combines into a wonderfully executed novel. Family is the central focus, this ends up not only being the Romanov's greatest strength, but also their biggest burden. How the family is portrayed adds a sympathetic nature to the novel, and the relationship between Alexei and Nastya is not only sweet but also a strength that keeps them fighting together until the very end.
One thing that I really loved about Romanov, was that the Romanov's themselves were kind and forgiving to the Bolshevik's. They believed that they could prove their innocence to them by being friendly, plus it was just second nature to be friendly. The tension between the two was felt by everyone though, especially Nastya. Throughout the novel, you can see everything that she has to worry about but she still holds onto that little spark that makes her who she is, even despite the predicament she's in.
Nastya is a mischievous, cunning, and lovable young woman and her emotions leap out at the reader. When Zash enters the picture, he's nothing but harsh words and hostility. Nastya though, senses a kindness lurking underneath that stone wall and she becomes determined to release it.
As the story progresses, readers can sense the chemistry between the two of them and it makes you crave more of this heartbreaking story.
Story background and development –
The connections that are built with the reader and the narrator is beautiful and well crafted. And oh man! Was there a TON of background and development on more than just the main character. Romanov is a historical retelling of what the real Romanov family experienced, with a little bit of a fantasy twist to it of course. Nadine does an amazing job at giving the facts yet keeping it light enough to be read like a fantasy novel.
Plot –
History of fact and fiction with magic interwoven brings a tale that's not only intriguing but fascinating as well. Every page brings a few more steps into the build-up, causing this novel to be a pivoting story to be read by all.
Spelling/ Grammatical errors –
I did notice a few grammatical and spelling errors that took away from the scene but overall, Nadine's writing style is gripping and crafted in a way that allows nothing to pass you by.
Overall –
Romanov is a breathtaking and heart-wrenching story that will make the reader feel every tragedy, heartbreak, and moment of love that is seeped into every page.
Enjoyment –
I enjoyed every second of this novel and even stayed up late to devour it! All because I couldn't put it down. Nadine grabbed my attention and kept it until the very last page, leaving me in a ball of agony, mourning the pain that I felt.
Do I recommend?
H to the E to the L to the L to the Y to the E to the S, what does that spell? HELL YES! Everyone needs to pick this novel up and give it a read!!
“Let no one call you tame.”
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
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4.5 stars
TRIGGER WARNINGS: murder, hostage situation, violence, alcoholism, loss of a loved one, starvation, terminal illness, executions, gunshots, trauma
“The bond of our hearts spans miles, memory, and time.”
Main Characters:
Anastasia "Nastya" Romanov - the mischievous and cunning main character. Narration is told from her POV and the development she receives throughout the novel is a breath of fresh air. The emotions she feels leaps out to the reader on every page and is honestly the most relatable character in the entire novel.
Zash - at first he was a hardhearted Bolshevik but eventually warms to Nastya's mischievousness. He does a full 180 after a certain scene and it was really nice to see him and Nastya become close.
Alexei - Nastya's brother who has a terminal illness that weakens his body. He's sassy, stubborn (but not as much as Nastya), and calms the wildness within Nastya. Alexei is the yin to Nastya's yang.
The Romanov family - the first half of the book revolves around the family as a whole, but they all had equal parts throughout the storyline compared to the two that outshown everyone: Alexei and Nastya.
The Bolsheviks - the soldiers in charge of keeping the Romanov's in order. They're all stone and ice and everything but warmth and friendliness (besides Ivan and Zash of course.)
Ivan - oh my dear Ivan... (let's just leave it at that)
“It is if you separate the two- old life and new life. But once you learn that it's all one life and each day is a new page, it gets a bit easier to let your story take an unexpected path.”
Review:
**Possible spoilers ahead**
Romanov starts with the Romanov's in a house that is their base of exile, they have been taken into custody and are awaiting their execution trial. The family lives life to the best of their ability but then the dreadful day comes when half of the family is moved further away to be questioned. This only brings even more heartbreaking scenes until the moment when Nastya saves herself and Alexei.
Romanov is a historical retelling with a magical aspect that combines into a wonderfully executed novel. Family is the central focus, this ends up not only being the Romanov's greatest strength, but also their biggest burden. How the family is portrayed adds a sympathetic nature to the novel, and the relationship between Alexei and Nastya is not only sweet but also a strength that keeps them fighting together until the very end.
One thing that I really loved about Romanov, was that the Romanov's themselves were kind and forgiving to the Bolshevik's. They believed that they could prove their innocence to them by being friendly, plus it was just second nature to be friendly. The tension between the two was felt by everyone though, especially Nastya. Throughout the novel, you can see everything that she has to worry about but she still holds onto that little spark that makes her who she is, even despite the predicament she's in.
Nastya is a mischievous, cunning, and lovable young woman and her emotions leap out at the reader. When Zash enters the picture, he's nothing but harsh words and hostility. Nastya though, senses a kindness lurking underneath that stone wall and she becomes determined to release it.
As the story progresses, readers can sense the chemistry between the two of them and it makes you crave more of this heartbreaking story.
Story background and development –
The connections that are built with the reader and the narrator is beautiful and well crafted. And oh man! Was there a TON of background and development on more than just the main character. Romanov is a historical retelling of what the real Romanov family experienced, with a little bit of a fantasy twist to it of course. Nadine does an amazing job at giving the facts yet keeping it light enough to be read like a fantasy novel.
Plot –
History of fact and fiction with magic interwoven brings a tale that's not only intriguing but fascinating as well. Every page brings a few more steps into the build-up, causing this novel to be a pivoting story to be read by all.
Spelling/ Grammatical errors –
I did notice a few grammatical and spelling errors that took away from the scene but overall, Nadine's writing style is gripping and crafted in a way that allows nothing to pass you by.
Overall –
Romanov is a breathtaking and heart-wrenching story that will make the reader feel every tragedy, heartbreak, and moment of love that is seeped into every page.
Enjoyment –
I enjoyed every second of this novel and even stayed up late to devour it! All because I couldn't put it down. Nadine grabbed my attention and kept it until the very last page, leaving me in a ball of agony, mourning the pain that I felt.
Do I recommend?
H to the E to the L to the L to the Y to the E to the S, what does that spell? HELL YES! Everyone needs to pick this novel up and give it a read!!
“Let no one call you tame.”
4.5 stars
TRIGGER WARNINGS: murder, hostage situation, violence, alcoholism, loss of a loved one, starvation, terminal illness, executions, gunshots, trauma
“The bond of our hearts spans miles, memory, and time.”
Main Characters:
Anastasia "Nastya" Romanov - the mischievous and cunning main character. Narration is told from her POV and the development she receives throughout the novel is a breath of fresh air. The emotions she feels leaps out to the reader on every page and is honestly the most relatable character in the entire novel.
Zash - at first he was a hardhearted Bolshevik but eventually warms to Nastya's mischievousness. He does a full 180 after a certain scene and it was really nice to see him and Nastya become close.
Alexei - Nastya's brother who has a terminal illness that weakens his body. He's sassy, stubborn (but not as much as Nastya), and calms the wildness within Nastya. Alexei is the yin to Nastya's yang.
The Romanov family - the first half of the book revolves around the family as a whole, but they all had equal parts throughout the storyline compared to the two that outshown everyone: Alexei and Nastya.
The Bolsheviks - the soldiers in charge of keeping the Romanov's in order. They're all stone and ice and everything but warmth and friendliness (besides Ivan and Zash of course.)
Ivan - oh my dear Ivan... (let's just leave it at that)
“It is if you separate the two- old life and new life. But once you learn that it's all one life and each day is a new page, it gets a bit easier to let your story take an unexpected path.”
Review:
**Possible spoilers ahead**
Romanov starts with the Romanov's in a house that is their base of exile, they have been taken into custody and are awaiting their execution trial. The family lives life to the best of their ability but then the dreadful day comes when half of the family is moved further away to be questioned. This only brings even more heartbreaking scenes until the moment when Nastya saves herself and Alexei.
Romanov is a historical retelling with a magical aspect that combines into a wonderfully executed novel. Family is the central focus, this ends up not only being the Romanov's greatest strength, but also their biggest burden. How the family is portrayed adds a sympathetic nature to the novel, and the relationship between Alexei and Nastya is not only sweet but also a strength that keeps them fighting together until the very end.
One thing that I really loved about Romanov, was that the Romanov's themselves were kind and forgiving to the Bolshevik's. They believed that they could prove their innocence to them by being friendly, plus it was just second nature to be friendly. The tension between the two was felt by everyone though, especially Nastya. Throughout the novel, you can see everything that she has to worry about but she still holds onto that little spark that makes her who she is, even despite the predicament she's in.
Nastya is a mischievous, cunning, and lovable young woman and her emotions leap out at the reader. When Zash enters the picture, he's nothing but harsh words and hostility. Nastya though, senses a kindness lurking underneath that stone wall and she becomes determined to release it.
As the story progresses, readers can sense the chemistry between the two of them and it makes you crave more of this heartbreaking story.
Story background and development –
The connections that are built with the reader and the narrator is beautiful and well crafted. And oh man! Was there a TON of background and development on more than just the main character. Romanov is a historical retelling of what the real Romanov family experienced, with a little bit of a fantasy twist to it of course. Nadine does an amazing job at giving the facts yet keeping it light enough to be read like a fantasy novel.
Plot –
History of fact and fiction with magic interwoven brings a tale that's not only intriguing but fascinating as well. Every page brings a few more steps into the build-up, causing this novel to be a pivoting story to be read by all.
Spelling/ Grammatical errors –
I did notice a few grammatical and spelling errors that took away from the scene but overall, Nadine's writing style is gripping and crafted in a way that allows nothing to pass you by.
Overall –
Romanov is a breathtaking and heart-wrenching story that will make the reader feel every tragedy, heartbreak, and moment of love that is seeped into every page.
Enjoyment –
I enjoyed every second of this novel and even stayed up late to devour it! All because I couldn't put it down. Nadine grabbed my attention and kept it until the very last page, leaving me in a ball of agony, mourning the pain that I felt.
Do I recommend?
H to the E to the L to the L to the Y to the E to the S, what does that spell? HELL YES! Everyone needs to pick this novel up and give it a read!!
“Let no one call you tame.”
Purple Phoenix Games (2266 KP) rated Tiny Epic Galaxies: BLAST OFF! in Tabletop Games
Mar 30, 2021
Yes, we have reviewed Tiny Epic Galaxies in the past. We loved it. It’s close to being a Golden Feather Award recipient. It has earned a spot on my Top 10 Games of All Time list. I cannot say enough great things about the game. But wait, a newer updated version has recently hit the scene. Is it just new art on the same game? Nope. Read on.
I will not be explaining the entire game in this review as indeed it is mostly the same game as before. However, I will be visiting some differences between this version and the original.
Firstly, the art is most certainly different. The card layouts are all different. The components are completely different. It is markedly improved for me, but I will save my gushings until the end.
Mechanics-wise, the differences are slight, but perfectly altered. For starters, many of the benefits of using planet powers have been streamlined, simplified, and make a lot of sense. Much of this has to do with iconography on the cards, but also the powers are mostly brand new. Additionally, this version rids players of the Secret Mission cards from the original. Now, I enjoyed that aspect of OG TEG, but I did not find myself pining for it whilst playing BLAST OFF! Also removed from this version is the seventh action die; BLAST OFF! comes complete with six dice total. Again, it reduces the number of actions that can be completed on a turn, but I haven’t missed that extra die. One of the greatest changes in this version is the Converter tweak. In the original game a player would need to sacrifice two inactive dice to convert a third die to whichever face was needed. In the new version, only one die is needed for sacrifice along with either one Energy or one Culture value. The Converter was always neglected in the older version, and now it’s a real option during play.
I do wish certain aspects of the older version were included, however. What has been eliminated in the streamlining process is the Solo mode and the fifth player. BLAST OFF! can accommodate two to four players now instead of one to five players, with the black components being axed from this version. I will miss the Solo mode mostly because I used to love breaking out the game later at night once the kids were asleep to try to conquer the Red rival (I almost never play Red). I do understand that a Solo mode may still be created in the future by Gamelyn directly or by another gamer.
All of these changes are minor, but equate to a much better gameplay overall. I do want to speak more on components, so let’s away with them.
Components. Okay, BLAST OFF! boasts improvements on the original game on every facet of components. Yes, the materials are similar quality, so it’s a wash there, but everything else is so much better. The dice are bigger, and ORANGE (great choice btw)! The iconography is much easier to understand and decipher throughout the game. The planets now have two new alignments: Life (plant icon) and Tech (gear icon). I feel the iconography and terminology in the first version could be confusing to new players, but plants vs gears is easy to distinguish. The ships are more stylized now, and the inclusion of this new Galaxy Slider to move up the Galaxy Track on the mats is most excellent. All of these improvements definitely cater to new Tiny Epic Galaxies players, and are most welcome as I try to convince my brother that this is one of the best games out there.
Obviously I am keeping this version and am seriously considering weeding out my original version of TEG with all expansions in favor for this. I just feel better playing it. It is more streamlined, easier to play and teach, and I love the way it looks on the table much more. One minor wish I have for the game is different player colors. This game could have been a triumph with just four different player colors from the original. Now, there’s nothing wrong with tried and true blue, yellow, green, and red, but I’m much more interested in playing a game with fuscia, purple, volt (like our green color we use throughout our branding), and aqua. Maybe it has to do with colorblindness, I don’t know, but take on the colors like are found in Seasons or something, and this game would blast off higher on my Top 10 Games of All Time list for sure.
That said, Purple Phoenix Games still gives this one a rocket of a GOLDEN FEATHER AWARD! If you are a fan of the original but wish new players to the game would enjoy it more, check out BLAST OFF! Nearly everything that has been changed caters to newer players and giving all players a more aesthetically-pleasing experience over the original. I will definitely be playing my copy a TON. Maybe if I ask nicely Gamelyn Games will make me some different player colors. Maybe.
I will not be explaining the entire game in this review as indeed it is mostly the same game as before. However, I will be visiting some differences between this version and the original.
Firstly, the art is most certainly different. The card layouts are all different. The components are completely different. It is markedly improved for me, but I will save my gushings until the end.
Mechanics-wise, the differences are slight, but perfectly altered. For starters, many of the benefits of using planet powers have been streamlined, simplified, and make a lot of sense. Much of this has to do with iconography on the cards, but also the powers are mostly brand new. Additionally, this version rids players of the Secret Mission cards from the original. Now, I enjoyed that aspect of OG TEG, but I did not find myself pining for it whilst playing BLAST OFF! Also removed from this version is the seventh action die; BLAST OFF! comes complete with six dice total. Again, it reduces the number of actions that can be completed on a turn, but I haven’t missed that extra die. One of the greatest changes in this version is the Converter tweak. In the original game a player would need to sacrifice two inactive dice to convert a third die to whichever face was needed. In the new version, only one die is needed for sacrifice along with either one Energy or one Culture value. The Converter was always neglected in the older version, and now it’s a real option during play.
I do wish certain aspects of the older version were included, however. What has been eliminated in the streamlining process is the Solo mode and the fifth player. BLAST OFF! can accommodate two to four players now instead of one to five players, with the black components being axed from this version. I will miss the Solo mode mostly because I used to love breaking out the game later at night once the kids were asleep to try to conquer the Red rival (I almost never play Red). I do understand that a Solo mode may still be created in the future by Gamelyn directly or by another gamer.
All of these changes are minor, but equate to a much better gameplay overall. I do want to speak more on components, so let’s away with them.
Components. Okay, BLAST OFF! boasts improvements on the original game on every facet of components. Yes, the materials are similar quality, so it’s a wash there, but everything else is so much better. The dice are bigger, and ORANGE (great choice btw)! The iconography is much easier to understand and decipher throughout the game. The planets now have two new alignments: Life (plant icon) and Tech (gear icon). I feel the iconography and terminology in the first version could be confusing to new players, but plants vs gears is easy to distinguish. The ships are more stylized now, and the inclusion of this new Galaxy Slider to move up the Galaxy Track on the mats is most excellent. All of these improvements definitely cater to new Tiny Epic Galaxies players, and are most welcome as I try to convince my brother that this is one of the best games out there.
Obviously I am keeping this version and am seriously considering weeding out my original version of TEG with all expansions in favor for this. I just feel better playing it. It is more streamlined, easier to play and teach, and I love the way it looks on the table much more. One minor wish I have for the game is different player colors. This game could have been a triumph with just four different player colors from the original. Now, there’s nothing wrong with tried and true blue, yellow, green, and red, but I’m much more interested in playing a game with fuscia, purple, volt (like our green color we use throughout our branding), and aqua. Maybe it has to do with colorblindness, I don’t know, but take on the colors like are found in Seasons or something, and this game would blast off higher on my Top 10 Games of All Time list for sure.
That said, Purple Phoenix Games still gives this one a rocket of a GOLDEN FEATHER AWARD! If you are a fan of the original but wish new players to the game would enjoy it more, check out BLAST OFF! Nearly everything that has been changed caters to newer players and giving all players a more aesthetically-pleasing experience over the original. I will definitely be playing my copy a TON. Maybe if I ask nicely Gamelyn Games will make me some different player colors. Maybe.
Kirk Bage (1775 KP) rated Toy Story 4 (2019) in Movies
Feb 11, 2021
The rule of threes is a pretty solid philosophy. We find things repeated in triplicate satisfying and complete. There is no rule of four, it isn’t a thing. Four is usually one too many… and this was the fear for all Pixar and Toy Story fans when this project was announced, fairly unexpectedly, in 2018. Toy Story 3 was a beautiful and heart-rending end to the saga of Woody, Buzz and co. It was an end. Wasn’t it? Everything worth saying had been said, and it was all tied up in a plastic bow rather perfectly.
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Well, Pixar are innovators and pioneers of the highest order, so maybe we should just trust that they know what they are doing (apart from the Cars series). Please don’t ruin it all, is all we asked, with fingers crossed. So many franchises and beloved event movies have had their legacy shat on by one too many sequels. Die Hard, Alien, Star Wars, The Terminator, etc, etc. Isn’t it best to leave well alone and concentrate on new ideas and new directions?
All the usual voice actors, Mr Hanks and Mr Allen, were back on board, with some intriguing additions in guest stars such as Christina Hendricks and Keanu Reeves, as Gabby Gabby and Duke Caboom, respectively. There was also a new director in Josh Cooley, who had been part of the team since story boarding The Incredibles in 2003, and graduating to writer and actor on Inside Out. It’s good to know Pixar look after their own with these kind of opportunities, but was this the right film and series to be making a debut in? A lot of pressure, you would think.
So, firstly, by now we know the entire world breathed a sigh of relief that it wasn’t terrible. Not only wasn’t it terrible, but it was a heck of a lot of fun! I mean, a lot! It went on to win the Oscar for best animated film, and everyone that went on to watch it after its cinema release unanimously says: “Hey, this is much better than I thought… maybe even my second favourite out of the four”. And it is true! It’s not just good enough, it is great. I loved it.
I tend to save my animation for Sundays. I don’t know why, but that feels like the best day to indulge my inner child and sense of sentimental wonder. From minute one I was into this film. As soon as you see and hear your old friends in the toy box, it doesn’t take long to feel at home in this world of talking, walking, feeling, fearing, loving characters. They are so well drawn, in all senses, it is hard to think of animated entities so adored and part of the family. I laughed, I cried, I felt excited and worried and tense and ultimately warmed up with joy. It has it all.
Not to say it merely repeats the best tricks of the first three, it doesn’t. In fact, there are a lot of differences here. It feels a little more mature, like we have all grown up together and have no need to be patronised or expositioned at. It assumes we know these people (yes, I think of them as people, that is why it works) and can leap into their lives at any point. Woody, who is of course the beating heart of the show, has been a friend, a paramour and brother before, but now he is a father figure too, an evolution that reflects life. And these guys know how effective that is going to be.
There is a slight concern regarding his adopted ward, the controversial “Forky”, who seemed a little childish and simplistic in theory… but that becomes a wonderful part of the whole point… no spoilers. I’d understand if the character grated a tiny touch at first; it kinda did with me. But the laughs are there eventually, and some of them are big laughs! Fear not, it works. Not perfect, but it works. Although why it isn’t called “Sporky” I do not know… it is clearly a spork and not a fork. Oh, yes, I know why, it is because that is what Bonnie calls him, and she is a child. Genius. I was wrong.
The plot, such as it is, is an adventure story worthy of Indiana Jones at points, and it moves along at an exciting clip for sure! Gabby Gabby is gloriously sinister, as are her ventriloquist dummy henchmen; Duke Caboom is hilarious and has probably the best light relief moments; but there is also the duo of “Ducky” and “Bunny” to enjoy on a more surreal and perhaps more adult level. Even when you see where it is going, it has the ability to surprise you, which is terrific film-making art in any animation, or anything full stop. Not least, the final 10 minutes, which break the heart in the best way, just as all the previous films have done. The thought of where they leave it brings a lump to my throat even now!
In short. If you haven’t seen it: do. If you have, watch it again as part of a Toy Story marathon and see exactly how different it is from start to finish, and just how many themes and ideas it has covered in its 25 year existence. Bravo Pixar, you did it again!
Gareth von Kallenbach (980 KP) rated Ready or Not (2019) in Movies
Sep 2, 2019
I’ve always loved playing games, board games, role playing games, computer games…whatever. I remember as a kid most of the games we played were played outside, whether it was a game of capture the flag, tag, or the always entertaining game of Hide and Seek. All the games I have ever played have been played in fun, with no real stakes involved outside of maybe some pride or some friendly competition. What if there was more at stake than simply having to sit out the game for the rest of the time? What if hiding and surviving until dawn was the only way you were going to live to see the next day? I don’t know about you, but I’d make sure it was the best game of Hide and Seek I’d ever played, or it would end up being my last. Ready or Not, a dark comedy from Fox Searchlight (now Walt Disney Studios) and directed by Matt Bettinelli-Olpin and Tyler Gillett, explores what happens when a ruthless business man sells his soul to the devil for the sake of a board game empire.
Early on we are introduced to Grace. She spent her childhood bouncing from foster home to foster home, wanting a family but just never quite getting one. When she finally finds the man of her dreams Alex (Mark O’Brien) who also is one of the heirs to a giant gaming empire, she believes that all her longing for a family, even one as messed up as his, is finally paying off. Not long after the wedding it is revealed that part of the tradition to joining the family is to play a game. Alex reassures her that the game could be something as simple as checkers or possibly as complex as chess. He doesn’t know as it’s up to a special box, imbued with mystical powers that selects the game that she will be forced to play.
Upon placing the card in the box, and withdrawing it, three little words are inscribed upon it…Hide and Seek. Thinking this is simply a game, and with no further instructions, the family puts on the Hide and Seek record and begin counting to 100. Once the count is up, weapons are handed out to the “seekers” and the game begins.
Not long after finding her hiding spot, Grace quickly becomes bored of playing and comes out admitting defeat. It is only after a series of unfortunate events resulting in the deaths of some of the key players does Grace finally understand that this family plays for keeps. With the help of an unlikely ally from Alex’s brother Daniel (Adam Brody), she not only is given an opportunity to survive the night, but also learns of the pact with the devil that was made which allowed the family to acquire its great fortune. Unless they can satisfy the curse, the entire family will not live to see the sunrise.
Ready or Not takes an outstanding cast and provides them with an equally fantastic setting. Andie MacDowell portrays the creepy mother-in-law Becky, along with her equally creepy and even more unhinged husband Tony (Henry Czerny). Each character plays out their roles in the most over-the-top performances imaginable, an they pull them off more believably then I think they even had intended. Whether its Kristian Bunn as the bumbling Fitch, who is forced to YouTube how to use a crossbow and googles whether pacts with the devil are real or BS…or Elyse Levesque as the stoic Charity, who has absolutely no problem killing someone, if it means she gets to maintain her lavish lifestyle. The cast is truly what pulls the movie off, with their ability to take the absurdity and make it almost feel normal.
Ready or Not does have the occasional jump scare and is literally coated in blood throughout, but it’s the dark comedy that really sets this movie apart from many that have come before it. I don’t know if it’s wrong to laugh at things that should be completely taboo as much as I did. Ready or Not tries to make you think it’s serious, even when you know it is intentionally not. While some of the dialog might fall a bit flat, you’d be hard pressed to notice between your bursts of laughter. You know a movie does something right, when you find yourself quoting it not only immediately after it finishes, but into the next day (and at this rate probably beyond).
Ready or Not is a fun film, that’s the best way to describe it. It’s gruesome and of course violent, but it doesn’t take itself seriously and asks the same of the audience. There have been other movies who have taken this genre too seriously in the past, and lead to mixed results. Ready or Not wants you to laugh at its absurdity and take glee in the events that take place. Based on the individual characters, it’s amazing that the family has survived as long as it has…must be because that card doesn’t come up very often. If you are looking for a fun film, one that you want to laugh at (and with) you could certainly do worse than Ready or Not. It is one of the best dark comedies to come out in years, and it makes me long for the days when movies were still unique and weren’t simply attempting to reboot everything.
Early on we are introduced to Grace. She spent her childhood bouncing from foster home to foster home, wanting a family but just never quite getting one. When she finally finds the man of her dreams Alex (Mark O’Brien) who also is one of the heirs to a giant gaming empire, she believes that all her longing for a family, even one as messed up as his, is finally paying off. Not long after the wedding it is revealed that part of the tradition to joining the family is to play a game. Alex reassures her that the game could be something as simple as checkers or possibly as complex as chess. He doesn’t know as it’s up to a special box, imbued with mystical powers that selects the game that she will be forced to play.
Upon placing the card in the box, and withdrawing it, three little words are inscribed upon it…Hide and Seek. Thinking this is simply a game, and with no further instructions, the family puts on the Hide and Seek record and begin counting to 100. Once the count is up, weapons are handed out to the “seekers” and the game begins.
Not long after finding her hiding spot, Grace quickly becomes bored of playing and comes out admitting defeat. It is only after a series of unfortunate events resulting in the deaths of some of the key players does Grace finally understand that this family plays for keeps. With the help of an unlikely ally from Alex’s brother Daniel (Adam Brody), she not only is given an opportunity to survive the night, but also learns of the pact with the devil that was made which allowed the family to acquire its great fortune. Unless they can satisfy the curse, the entire family will not live to see the sunrise.
Ready or Not takes an outstanding cast and provides them with an equally fantastic setting. Andie MacDowell portrays the creepy mother-in-law Becky, along with her equally creepy and even more unhinged husband Tony (Henry Czerny). Each character plays out their roles in the most over-the-top performances imaginable, an they pull them off more believably then I think they even had intended. Whether its Kristian Bunn as the bumbling Fitch, who is forced to YouTube how to use a crossbow and googles whether pacts with the devil are real or BS…or Elyse Levesque as the stoic Charity, who has absolutely no problem killing someone, if it means she gets to maintain her lavish lifestyle. The cast is truly what pulls the movie off, with their ability to take the absurdity and make it almost feel normal.
Ready or Not does have the occasional jump scare and is literally coated in blood throughout, but it’s the dark comedy that really sets this movie apart from many that have come before it. I don’t know if it’s wrong to laugh at things that should be completely taboo as much as I did. Ready or Not tries to make you think it’s serious, even when you know it is intentionally not. While some of the dialog might fall a bit flat, you’d be hard pressed to notice between your bursts of laughter. You know a movie does something right, when you find yourself quoting it not only immediately after it finishes, but into the next day (and at this rate probably beyond).
Ready or Not is a fun film, that’s the best way to describe it. It’s gruesome and of course violent, but it doesn’t take itself seriously and asks the same of the audience. There have been other movies who have taken this genre too seriously in the past, and lead to mixed results. Ready or Not wants you to laugh at its absurdity and take glee in the events that take place. Based on the individual characters, it’s amazing that the family has survived as long as it has…must be because that card doesn’t come up very often. If you are looking for a fun film, one that you want to laugh at (and with) you could certainly do worse than Ready or Not. It is one of the best dark comedies to come out in years, and it makes me long for the days when movies were still unique and weren’t simply attempting to reboot everything.
Bob Mann (459 KP) rated Bohemian Rhapsody (2018) in Movies
Sep 28, 2021
“Fame and fortune and everything that goes with it”.
Sometimes a trailer generates a bit of a buzz of excitement with a cinema audience and the first showings of the trailer for “Bohemian Rhapsody” was a case in point. But would the film live up to the potential?
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
The Plot
Farrokh Bulsara (Rami Malek), born in Zanzibar to Indian parents, is a shy boy with a dramatic singing voice. At a concert he meets Mary (Lucy Boynton) who becomes the “love of his life”. When a space for a lead singer becomes available in a college band, Farrokh leaps at the chance and onstage becomes an exuberant extrovert. The band, of course, changes its name to Queen and with Farrokh assuming the name of Freddie Mercury they are set for global success. But Freddie is a complex character, and the demands and temptations of global super-stardom take a terrible toll.
The Review
Wow! What a great film on so many different levels. As a biopic of Mercury and a history of one of the greatest ever rock bands, the film is highly entertaining. But I wasn’t prepared for how emotional I would find it. Mercury’s life is befitting of a Shakespearian tragedy: an estrangement from his ‘conservative’ father (Ace Bhatti); a public extravert, but privately an insecure and needy bi-sexual, constantly searching for his perch in life; a meteoric rise and an equally spectacular and historic fall.
Do you remember where you were (if anywhere!) during the historic Live Aid concert at Wembley in July 1985? My eagle-minded wife had to remind me that we were travelling to Hampshire to house hunt because of my graduate job offer from IBM Hursley Park. My 3 month old daughter was rolling around, unstrapped, in a carry cot on the back seat: different times; different rules! Why this is relevant is that the film culminates in a recreation of the band’s spectacular 20 minute set for 1985’s Live Aid concert at Wembley. It’s a spectacular piece of cinema and one that – for me – puts the much hyped concert scenes from “A Star is Born” back in its box. Aside from a few niggles (the sound engineers in the booth were, if I’m not mistaken, all the size of Hagrid!) it’s a spectacular piece of CGI work.
It’s also worth remembering that whilst today’s massive stadium concerts from the likes of Adele and Coldplay are commonplace, back in the UK of 1985 most of the bands played in more traditional theatre venues: this really was an historic event on so many levels.
If I’m being critical, there are a few bits of the movie that are a tad tacky and twee. A whizz around the world of tour locations is composed of some pretty ropy animations that didn’t work for me. And a few of the ‘creations’ of classic songs – particularly “Another One Bites the Dust” – are a bit forced. Countering that though, the “Bohemian Rhapsody” is mesmerising.
The Turns
I’ll just put it right out there, Rami Malek is just sensational as Mercury! I first called out Malek as someone to watch in “Need For Speed“, but since then he’s gone on to major fame in the TV series “Mr Robot”. Here he is a force of nature on the screen and you literally can’t take your eyes off him. Every nuance of Mercury’s tortured soul is up there. I would love to see the performance recognized in the Awards season, with the showreel clip being a brilliant standoff in the rain with Paul Prenter (“Downton’s” Allen Leech).
The rest of the band – Ben Hardy as drummer Roger Taylor; Gwilym Lee as lead guitar Brian May; and Joseph Mazzello (yes, young Tim from “Jurassic Park”!) as bass guitarist John Deacon – all work well together, with Lee looking more like Brian May than Brian May!
Lucy Boynton, so great in “Sing Street“, gets a meaty dramatic role to sink her teeth into, and the ever-reliable Tom Hollander is great as the band’s legal rep/manager Jim “Miami” Beech: his ‘knowing looks’ near the end of the film are brilliantly done.
The surprise piece of casting though was the very welcome return of Mike Myers as the exec Ray Foster: only seen spasmodically on screen since 2009’s “Inglorious Basterds”. It’s a role that reminded me of Tom Cruise‘s turn in “Tropic Thunder”! But it’s well done. After making “Bohemian Rhapsody” famous again in “Wayne’s World”, how could he have refused? I say “Welcome back Mr Myers”: you’ve been missed.
And a final shout out to Paul Jones, my son-in-law’s brother, who gets a full screen appearance in the crowd, arms outstretched, during the “Fat Bottomed Girls” set! (I must admit, I missed it, so will have to go and see it again!)
Final Thoughts
This is a film that grabs you and propels you through the story at a fast lick. It’s a surprisingly moving story, with a well-known and tragic finale. It’s not a perfect film, but it is up there wih the year’s best as a high-energy cinema experience.
Bob Mann (459 KP) rated Love, Simon (2018) in Movies
Sep 29, 2021
Time to Exhale.
I saw this as a Cineworld “Secret Unlimited Screening” event (for non-UK readers, Cineworld is one of the main movie-theater chains), so went in – like the majority of the audience I suspect – predicting early sight of Lara Croft in skin tight shorts! This was a bit different! A secret screening is an interesting concept, and really tests the metal of a film in engaging its audience early. This one failed to some degree, with seven people (I was counting) walking out in the first 10 minutes. (To be fair on those seven, the film’s first 20 minutes are rather laborious; and to be fair on the film, this was a pretty full auditorium so as a percentage drop out it was low).
Teen heartthrob Nick Robinson (the older brother from “Jurassic World“) plays the eponymous hero who has a well-buried secret: he’s gay. Growing up in Pleasantville (I almost expected someone to yell “Cat!” and the fire brigade turn up) he feels unable to come out to either his high-school friends or his loving family (“Apple pie cooling on the window-sill anyone?”). But striking up an email relationship with another closeted male from the same high school – nicknamed “Blue” – allows him to explore his feelings about his sexuality and fall in love all at the same time. But neither coming out or love run terribly smoothly for Simon…
Happy families. From left, Nick Robinson, Talitha Bateman, Jennifer Garner and Josh Duhamel.
I am forty years adrift from being able to directly relate to the stresses and strains of modern high-school life (though I AM still 17 on the inside people!) But even to me, this film doesn’t feel like it should be set in the present day. While it needs to be for its tweeting and blogging story-line, surely there are few backwaters in either America or Western Europe where gay people have to stay so silent? An 80’s or early 90’s setting would, I think, have worked so much better. (Ironically, its not his gay-ness or otherwise that his friends get upset by, but something far more fundamental in the human condition).
Definitely set in the present day.
That aside, this is a sweet and ultimately quite engaging film that I’m sure will be a big hit with a teenage audience. While for me it didn’t come close to ticking all of the coming-of-age boxes that the inestimable “Lady Bird” did, it does cover old ground in a new and refreshing way, and I’m sure it WILL be very helpful for many gay people in getting the courage to come out. Times are different today, but I still can imagine few things requiring more bravery than declaring you are gay to your parents and closest friends (even though, deep down, they surely already suspect).
So, it’s sweet, but also for me (although far from its target audience) rather flat. As a comedy drama, the moments of comedy are few and far between, with only one or two of the lines making me chuckle rather than smile. A quiet auditorium is not a good sign for a film with “Comedy” in its imdb description. It does however occasionally break through with something memorable: a full on college “La La Land” scene (“Not that gay” – LoL) is a case in point. And all of the scenes featuring comedy actress Natasha Rothwell as drama teacher Ms Allbright add much needed energy and humour to the film.
Someone should tell him… regardless of gender preference, sex is never going to work like this.
Of the teen actors, Robinson is fine but it is Katherine Langford as Simon’s friend Leah who stood out for me. Talitha Eliana Bateman (“The 5th Wave“; looking a whole lot younger than her 16 years!) is also impressive as Simon’s culinary sister Nora. Simon’s parents are played by Jennifer Garner (“Dallas Buyers Club“) and Josh Duhamel (a new one on me… he’s been in the “Transformers” films apparently).
Simon says walk this way. From left, Jorge Lendeborg Jr., Nich Robinson, Alexandra Shipp and Katherine Langford.
The screenplay is by movie virgins Elizabeth Berger and Isaac Aptaker, and is a slightly patchy affair. There are scenes that worked well (a cringe inducing sports stadium scene for example) but other times where it seems to be trying too hard for T-shirt captions…. a line from Ethan (Clark Moore) about hate crime was a “Ye-what?” moment.
Some of the characters really don’t quite work either: Tony Hale (so memorable as the useless PA in “Veep”) plays almost a school-ified version of Stephen Stucker’s Johnny from “Airplane”. Perhaps that would work as some sort of whacky hall monitor guy… but it transpires that he is the headmaster. No, I don’t think so.
A bit OTT. Veep’s Tony Hale as the principal with a surfeit of bonhomie.
So, in summary, after a bit of a bumpy start, its a pleasant watch that culminates in a feel-good ending. Feel good, that is, providing you have liberal views: I can’t see it pleasing many Trump supporters. I also can’t see it getting a cinema release in Gambia or Nigeria, though God only knows they could use one. If I could give half stars I would give this one an extra half as I applaud both the theme its trying to promote and for bringing something fresh to the screen…
Teen heartthrob Nick Robinson (the older brother from “Jurassic World“) plays the eponymous hero who has a well-buried secret: he’s gay. Growing up in Pleasantville (I almost expected someone to yell “Cat!” and the fire brigade turn up) he feels unable to come out to either his high-school friends or his loving family (“Apple pie cooling on the window-sill anyone?”). But striking up an email relationship with another closeted male from the same high school – nicknamed “Blue” – allows him to explore his feelings about his sexuality and fall in love all at the same time. But neither coming out or love run terribly smoothly for Simon…
Happy families. From left, Nick Robinson, Talitha Bateman, Jennifer Garner and Josh Duhamel.
I am forty years adrift from being able to directly relate to the stresses and strains of modern high-school life (though I AM still 17 on the inside people!) But even to me, this film doesn’t feel like it should be set in the present day. While it needs to be for its tweeting and blogging story-line, surely there are few backwaters in either America or Western Europe where gay people have to stay so silent? An 80’s or early 90’s setting would, I think, have worked so much better. (Ironically, its not his gay-ness or otherwise that his friends get upset by, but something far more fundamental in the human condition).
Definitely set in the present day.
That aside, this is a sweet and ultimately quite engaging film that I’m sure will be a big hit with a teenage audience. While for me it didn’t come close to ticking all of the coming-of-age boxes that the inestimable “Lady Bird” did, it does cover old ground in a new and refreshing way, and I’m sure it WILL be very helpful for many gay people in getting the courage to come out. Times are different today, but I still can imagine few things requiring more bravery than declaring you are gay to your parents and closest friends (even though, deep down, they surely already suspect).
So, it’s sweet, but also for me (although far from its target audience) rather flat. As a comedy drama, the moments of comedy are few and far between, with only one or two of the lines making me chuckle rather than smile. A quiet auditorium is not a good sign for a film with “Comedy” in its imdb description. It does however occasionally break through with something memorable: a full on college “La La Land” scene (“Not that gay” – LoL) is a case in point. And all of the scenes featuring comedy actress Natasha Rothwell as drama teacher Ms Allbright add much needed energy and humour to the film.
Someone should tell him… regardless of gender preference, sex is never going to work like this.
Of the teen actors, Robinson is fine but it is Katherine Langford as Simon’s friend Leah who stood out for me. Talitha Eliana Bateman (“The 5th Wave“; looking a whole lot younger than her 16 years!) is also impressive as Simon’s culinary sister Nora. Simon’s parents are played by Jennifer Garner (“Dallas Buyers Club“) and Josh Duhamel (a new one on me… he’s been in the “Transformers” films apparently).
Simon says walk this way. From left, Jorge Lendeborg Jr., Nich Robinson, Alexandra Shipp and Katherine Langford.
The screenplay is by movie virgins Elizabeth Berger and Isaac Aptaker, and is a slightly patchy affair. There are scenes that worked well (a cringe inducing sports stadium scene for example) but other times where it seems to be trying too hard for T-shirt captions…. a line from Ethan (Clark Moore) about hate crime was a “Ye-what?” moment.
Some of the characters really don’t quite work either: Tony Hale (so memorable as the useless PA in “Veep”) plays almost a school-ified version of Stephen Stucker’s Johnny from “Airplane”. Perhaps that would work as some sort of whacky hall monitor guy… but it transpires that he is the headmaster. No, I don’t think so.
A bit OTT. Veep’s Tony Hale as the principal with a surfeit of bonhomie.
So, in summary, after a bit of a bumpy start, its a pleasant watch that culminates in a feel-good ending. Feel good, that is, providing you have liberal views: I can’t see it pleasing many Trump supporters. I also can’t see it getting a cinema release in Gambia or Nigeria, though God only knows they could use one. If I could give half stars I would give this one an extra half as I applaud both the theme its trying to promote and for bringing something fresh to the screen…
BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Mandy and G.D. Burkhead (26 KP) rated Flightless Falcon in Books
May 20, 2018
Shelf Life – Flightless Falcon Still Glides Pretty Well
Flightless Falcon is a light DAW fantasy by Mickey Zucker Reichert that first came out in paperback in July of 2001. Set in your typical fantasy land – lightly coated in magic but sans any fantastical creatures such as dragons, elves, dwarves, and the like – it follows the sad, luckless exploits of an ex-miner named Tamison made useless after a cave in kills his father and brother and leaves him trapped deep in the mine for a few days.
Afterwards, with a debilitating fear of both the dark and being underground, he’s unable to continue as a miner, yet too unskilled to get any other job. As such, he and his family live in dirt poverty for a decade or so until he finally decides to try stealing what they need instead of earning the money to buy it. Unfortunately he’s just as horrible at this as anything else he tries and ends up in jail for two years.
When he finally gets out, his family’s disappeared, so he adopts a stray dog and lives on the streets for a while. Then one day a guard finds him and tells him, “Hey, I know where your family is, and it’s bad, man, we should go save ’em.” So Tamison saves a fortune teller from some different guards, just for good measure, and the three of them go off to get his family back.
The plot evolves from there – I won’t go into much greater detail because I don’t want to give anything away. And while it’s an entertaining read, it does have its share of snags, though not often or strong enough to derail the overall experience. Still, might was well talk about ’em.
The majority of these moments occur due to the protagonist himself; Tamison’s constant suffering and depression and worthlessness gets a bit irritating after a while (and not a very long while). But you do end up genuinely sympathizing with him, at least for the most part – his self-pitying and constant sobbing are offset, personality-wise, by his intense love and devotion to his family’s welfare (though apparently it still isn’t strong enough for him to suck up his phobia and go back to working in the mines). The end result is a character that, while whiny enough that you want to reach into the pages and smack him, is still believable. The fact that a lot of his misfortune is brought on by bad luck and the overwhelming apathy of the world around him, instead of just his own sad uselessness, also helps save what might have been an otherwise excruciatingly sad-sack protagonist.
But ignore what Miss Reichert and the back cover of the book say – the real star of this story isn’t Tamison, the guard (Dallan), or the fortune teller (Rifkah). It’s the weasely bastard of a con man that Tamison can’t stop running into, the aptly-named Con. This guy’s selfish lack of a moral compass and unwillingness to sugarcoat anything for anyone is a breath of fresh air amidst the hopeful optimism and general boyscout do-goodery of the rest of the starring party, and his quick wit and blunt, sarcastic dialogue are at once impressive and entertaining to read in the circumstances. His back story’s also far more interesting than anything Tamison, Dallan, and Rifkah can come up with.
The story itself also grows past a simple “save some good guys from some bad guys” fetch quest to envelope a degree of political intrigue, subterfuge, loyalty dilemmas, and good ol’ fashion backstabbery. I won’t say anything more past the obvious (there’s a twist, you know there’s gonna be a twist, there’s always a twist) other than to say that the generic good-guy-bad-guy feeling the book’s own synopsis offers slips slowly into a more realistic, more satisfying realm of uncertain grayness that accompanies all conflicts between the world’s two rival governments, the one Tamison belongs to and the one he’s told is harboring his missing family.
Basically, each time you think this book is going to march the plot or one of the characters into Generic Land (and you will occasionally think this multiple times), the direction skews off at the last moment to surprise you. The result is that you end up reading the book in two minds: one for soaking up the story and being entertained, and one with a critical eye turned always on the author’s style, to see where it threatens to stray into unimpressiveness and how it keeps saving itself.
But don’t focus overly much on my criticisms – that’s just how I’ve been trained to talk about good writing, to search for the roughest spots and pick at them in order to see how the whole thing might be polished even more. The reason this book is so easy to criticize is because its weak spots are few and manageable and therefor easy to cover and be done with in the length of a blog post. The overall impression I came away with is still one of a fun, thoughtful, imaginative tale, at times suspenseful, at times moving, and always deeply visual. I didn’t mention the detailed visual descriptions did I? Oh well, I just did. Now you know they’re there.
It’s not going to turn into the next blockbuster fantasy franchise, but if you find it in your used book store, there are less-enjoyable ways to spend your reading time. I recommend Flightless Falcon to anyone who enjoys well-written, character-driven fantasy and doesn’t need it to last through a dozen sequels.
Afterwards, with a debilitating fear of both the dark and being underground, he’s unable to continue as a miner, yet too unskilled to get any other job. As such, he and his family live in dirt poverty for a decade or so until he finally decides to try stealing what they need instead of earning the money to buy it. Unfortunately he’s just as horrible at this as anything else he tries and ends up in jail for two years.
When he finally gets out, his family’s disappeared, so he adopts a stray dog and lives on the streets for a while. Then one day a guard finds him and tells him, “Hey, I know where your family is, and it’s bad, man, we should go save ’em.” So Tamison saves a fortune teller from some different guards, just for good measure, and the three of them go off to get his family back.
The plot evolves from there – I won’t go into much greater detail because I don’t want to give anything away. And while it’s an entertaining read, it does have its share of snags, though not often or strong enough to derail the overall experience. Still, might was well talk about ’em.
The majority of these moments occur due to the protagonist himself; Tamison’s constant suffering and depression and worthlessness gets a bit irritating after a while (and not a very long while). But you do end up genuinely sympathizing with him, at least for the most part – his self-pitying and constant sobbing are offset, personality-wise, by his intense love and devotion to his family’s welfare (though apparently it still isn’t strong enough for him to suck up his phobia and go back to working in the mines). The end result is a character that, while whiny enough that you want to reach into the pages and smack him, is still believable. The fact that a lot of his misfortune is brought on by bad luck and the overwhelming apathy of the world around him, instead of just his own sad uselessness, also helps save what might have been an otherwise excruciatingly sad-sack protagonist.
But ignore what Miss Reichert and the back cover of the book say – the real star of this story isn’t Tamison, the guard (Dallan), or the fortune teller (Rifkah). It’s the weasely bastard of a con man that Tamison can’t stop running into, the aptly-named Con. This guy’s selfish lack of a moral compass and unwillingness to sugarcoat anything for anyone is a breath of fresh air amidst the hopeful optimism and general boyscout do-goodery of the rest of the starring party, and his quick wit and blunt, sarcastic dialogue are at once impressive and entertaining to read in the circumstances. His back story’s also far more interesting than anything Tamison, Dallan, and Rifkah can come up with.
The story itself also grows past a simple “save some good guys from some bad guys” fetch quest to envelope a degree of political intrigue, subterfuge, loyalty dilemmas, and good ol’ fashion backstabbery. I won’t say anything more past the obvious (there’s a twist, you know there’s gonna be a twist, there’s always a twist) other than to say that the generic good-guy-bad-guy feeling the book’s own synopsis offers slips slowly into a more realistic, more satisfying realm of uncertain grayness that accompanies all conflicts between the world’s two rival governments, the one Tamison belongs to and the one he’s told is harboring his missing family.
Basically, each time you think this book is going to march the plot or one of the characters into Generic Land (and you will occasionally think this multiple times), the direction skews off at the last moment to surprise you. The result is that you end up reading the book in two minds: one for soaking up the story and being entertained, and one with a critical eye turned always on the author’s style, to see where it threatens to stray into unimpressiveness and how it keeps saving itself.
But don’t focus overly much on my criticisms – that’s just how I’ve been trained to talk about good writing, to search for the roughest spots and pick at them in order to see how the whole thing might be polished even more. The reason this book is so easy to criticize is because its weak spots are few and manageable and therefor easy to cover and be done with in the length of a blog post. The overall impression I came away with is still one of a fun, thoughtful, imaginative tale, at times suspenseful, at times moving, and always deeply visual. I didn’t mention the detailed visual descriptions did I? Oh well, I just did. Now you know they’re there.
It’s not going to turn into the next blockbuster fantasy franchise, but if you find it in your used book store, there are less-enjoyable ways to spend your reading time. I recommend Flightless Falcon to anyone who enjoys well-written, character-driven fantasy and doesn’t need it to last through a dozen sequels.