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Irish Milkshake Murder
Carlene O'Connor, Liz Ireland and Peggy Ehrhart
9.0
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Raise a glass for St. Paddy’s Day but keep a shamrock handy because some of these minty milkshakes...
Lyndsey Gollogly (2893 KP) rated Dissent ( Rise of the Iliri 7) in Books
May 28, 2024
106 of 220
Kindle
Dissent ( Rise of the Iliri 7)
By Auryn Hadley
⭐️⭐️⭐️⭐️⭐️
Even before Sal joined the Black Blades, they were the best of her country’s elite forces, bred to be ferocious predators and trained to be deadly soldiers. They think as one, feel as one, yet possess their own special abilities--and Sal is their center. Their deepest secret, that the Black Blades are all crossbred iliri, is now out in the open. With the addition of Sal, a purebred iliri, they have become the most deadly creatures on the continent. Now the country that disbanded them needs them to defeat the invading Terrans. Sal desperately wants to defeat the Terrans and their leader, who will stop at nothing to wipe out the iliri. Ironically, saving the country that enslaved her people is the only way to save them.
As the strain begins to show, Sal is trying to let herself lean on the Blades, a band of brothers, some of whom share her bed – and it’s getting really crowded in the bedroom! The more of them there are, the more adorable these guys get, like puppies piled up around a warm fire. Although some of the human males in Sal’s world aren’t quite used to the reverse harem model of family life the iliri favor, the smoking (but tasteful) sex scenes are guaranteed to please readers.
Have you ever read a series that hooks you in from the first word to the last? Where all the books are consistently brilliant? This is mine!! Iwill forever rave about this series. It was never going to be easy going back home especially when she was about to turn it upside down. Sal is an amazing character the love these people have for her is just a joy to read. The world building is brilliant, the characters are so well thought out. I will recommend this series to every fantasy reader it’s just so good.
Kindle
Dissent ( Rise of the Iliri 7)
By Auryn Hadley
⭐️⭐️⭐️⭐️⭐️
Even before Sal joined the Black Blades, they were the best of her country’s elite forces, bred to be ferocious predators and trained to be deadly soldiers. They think as one, feel as one, yet possess their own special abilities--and Sal is their center. Their deepest secret, that the Black Blades are all crossbred iliri, is now out in the open. With the addition of Sal, a purebred iliri, they have become the most deadly creatures on the continent. Now the country that disbanded them needs them to defeat the invading Terrans. Sal desperately wants to defeat the Terrans and their leader, who will stop at nothing to wipe out the iliri. Ironically, saving the country that enslaved her people is the only way to save them.
As the strain begins to show, Sal is trying to let herself lean on the Blades, a band of brothers, some of whom share her bed – and it’s getting really crowded in the bedroom! The more of them there are, the more adorable these guys get, like puppies piled up around a warm fire. Although some of the human males in Sal’s world aren’t quite used to the reverse harem model of family life the iliri favor, the smoking (but tasteful) sex scenes are guaranteed to please readers.
Have you ever read a series that hooks you in from the first word to the last? Where all the books are consistently brilliant? This is mine!! Iwill forever rave about this series. It was never going to be easy going back home especially when she was about to turn it upside down. Sal is an amazing character the love these people have for her is just a joy to read. The world building is brilliant, the characters are so well thought out. I will recommend this series to every fantasy reader it’s just so good.
Merissa (13979 KP) rated Taylin's Temptation (Divergent Omegaverse #2) in Books
Aug 7, 2025
TAYLIN'S TEMPTATION is the second story, but the first full-length novel, in the Divergent Omegaverse series. As you might have gathered, this book focuses on Taylin and Hollis, whom we met in the introductory short story.
These two met five years before this story starts, but both of them hid behind a professional veneer. Once Derick and Lane announced their retirement, Hollis' position within the company changed, ensuring that he and Taylin work closer together. Apart from that, nothing much changes until they go on a work trip together. Hollis had tried warning Taylin that his heat was due, but Taylin's naughty wolf stopped him from hearing that, and so Taylin insisted he come with him on the trip. The gloves are off when Hollis goes into heat!
There are a lot of different personalities in this story, some of which I can't wait to learn more about, some of which I don't particularly like right now. However, I'm reserving judgement as I know Ms. Sayle has a way of making you like even the man-whorish of character! It is a bit much at times, but I was always thankful to return to Taylin and Hollis.
This story is also full of light-hearted moments between brothers and close friends. HOWEVER, it's not all fun and frolics. During the above-mentioned work trip, they find a business that is decidedly not light-hearted, with the conditions the omegas are working in and under being disturbing, to say the least. I really hope this is one of the threads that continues and these omegas get their own HEAs, whether that's a mate or having a career.
I thoroughly enjoyed this story and can't wait to continue with the series. HIGHLY RECOMMENDED by me.
** Same worded review will appear elsewhere. **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 7, 2025
These two met five years before this story starts, but both of them hid behind a professional veneer. Once Derick and Lane announced their retirement, Hollis' position within the company changed, ensuring that he and Taylin work closer together. Apart from that, nothing much changes until they go on a work trip together. Hollis had tried warning Taylin that his heat was due, but Taylin's naughty wolf stopped him from hearing that, and so Taylin insisted he come with him on the trip. The gloves are off when Hollis goes into heat!
There are a lot of different personalities in this story, some of which I can't wait to learn more about, some of which I don't particularly like right now. However, I'm reserving judgement as I know Ms. Sayle has a way of making you like even the man-whorish of character! It is a bit much at times, but I was always thankful to return to Taylin and Hollis.
This story is also full of light-hearted moments between brothers and close friends. HOWEVER, it's not all fun and frolics. During the above-mentioned work trip, they find a business that is decidedly not light-hearted, with the conditions the omegas are working in and under being disturbing, to say the least. I really hope this is one of the threads that continues and these omegas get their own HEAs, whether that's a mate or having a career.
I thoroughly enjoyed this story and can't wait to continue with the series. HIGHLY RECOMMENDED by me.
** Same worded review will appear elsewhere. **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 7, 2025
Debbiereadsbook (1749 KP) rated Unbar the Barred (Darling Ranch #1) in Books
Aug 24, 2025
Cassidy and Trey are perfect for each other!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This book was originally called Ranch Down and was published in an anthology, it hasn't had any revisions, bar some minor editing. It's based in the Divergent Omegavesre world, but can totally be read as a stand alone novel to that series. It's a jumping off point, the start of a new series, set on Darling Ranch.
Cassidy and Trey have a friends with benefits thing going on. Neither will admit to the other, but they both want more. The arrival at the Darling Ranch of the Starling brothers presses ALL of Trey's buttons and he claims what really has been his for a long time. But can a city wolf and a farm chick really be happy?
This was, and I defy anyone to tell me otherwise, the most too stinkin cute, warm and fuzzies, low angst book I've read in a long time!
Cassidy and Trey really are perfect for each other. They know it. We know it but they refuse to admit to the other about it. It takes a Starling to flirt with Cassidy for Trey to broadcast his feelings across the bar and go all cave man on Cassidy and I loved that!
It's steamy, with Cassidy and Trey already in a relationship, of sorts. They already know what they like, what the other likes, so the first time is straight in, so to speak.
Once they admit to the other what they really want, they go all in and are out to make this work, they just need to find a compromise in the location of them being together.
Loved Cassidy's girls and their outfits!
Some overlap in the timeline with Silas's Sweetheart, which is the Divergent Omegaverse book 4. We do meet Cass and Trey there.
Thoroughly enjoyable hour's read!
4 very good stars
*same worded review will appear elsewhere
This book was originally called Ranch Down and was published in an anthology, it hasn't had any revisions, bar some minor editing. It's based in the Divergent Omegavesre world, but can totally be read as a stand alone novel to that series. It's a jumping off point, the start of a new series, set on Darling Ranch.
Cassidy and Trey have a friends with benefits thing going on. Neither will admit to the other, but they both want more. The arrival at the Darling Ranch of the Starling brothers presses ALL of Trey's buttons and he claims what really has been his for a long time. But can a city wolf and a farm chick really be happy?
This was, and I defy anyone to tell me otherwise, the most too stinkin cute, warm and fuzzies, low angst book I've read in a long time!
Cassidy and Trey really are perfect for each other. They know it. We know it but they refuse to admit to the other about it. It takes a Starling to flirt with Cassidy for Trey to broadcast his feelings across the bar and go all cave man on Cassidy and I loved that!
It's steamy, with Cassidy and Trey already in a relationship, of sorts. They already know what they like, what the other likes, so the first time is straight in, so to speak.
Once they admit to the other what they really want, they go all in and are out to make this work, they just need to find a compromise in the location of them being together.
Loved Cassidy's girls and their outfits!
Some overlap in the timeline with Silas's Sweetheart, which is the Divergent Omegaverse book 4. We do meet Cass and Trey there.
Thoroughly enjoyable hour's read!
4 very good stars
*same worded review will appear elsewhere
Debbiereadsbook (1749 KP) rated A Job Well Done in Books
Dec 22, 2025
a relatively easy read.
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Alex is a hit man, sent to eliminate a witness for a crime lord. But meeting Bryce makes Alex question everything. Then the pair of them have a target on their backs, and neither man will walk away unscathed.
I liked this, I liked this A LOT.
It's a little bit steamy, a little bit emotional, full of drama, and intrigue, danger and some funny moments too.
I liked that Bryce didn't really question his attraction to Alex, only the timing. Bryce had not come out as bi, and had not done anything with another man either, and his attraction and growing feelings for Alex were solid and he wasn't questioning them too closely. The situation isn't ideal, though!
I liked the way the story flowed, and I loved that both men had a voice.
I liked how this author tells her tales. I can only see one other, a much older book, than this, so I'm not sure how many books this author has written. It's clear she has skill and I would like to read something else. I would LOVE to read books about Alex' brothers, Michael, Luke and Abe and Bryce's brother, Clay. They all play a part here, even minor, but Abe and Clay piqued my interest!
However.
I did find that there were quite a few points that names were not used in the correct manner. For example, at one point, Bryce is speaking, and he says "Look, Bryce, about that . . " and another point, Alex looks into the water, but can see no sign of Alex. Minor points, but enough to make them stand out and for me to notice them, and make the comment about them.
I did enjoy it, though, apart from this point. It was a relatively easy read, that hit quite a few positive buttons.
4 very good stars
*same worded review will appear elsewhere
Alex is a hit man, sent to eliminate a witness for a crime lord. But meeting Bryce makes Alex question everything. Then the pair of them have a target on their backs, and neither man will walk away unscathed.
I liked this, I liked this A LOT.
It's a little bit steamy, a little bit emotional, full of drama, and intrigue, danger and some funny moments too.
I liked that Bryce didn't really question his attraction to Alex, only the timing. Bryce had not come out as bi, and had not done anything with another man either, and his attraction and growing feelings for Alex were solid and he wasn't questioning them too closely. The situation isn't ideal, though!
I liked the way the story flowed, and I loved that both men had a voice.
I liked how this author tells her tales. I can only see one other, a much older book, than this, so I'm not sure how many books this author has written. It's clear she has skill and I would like to read something else. I would LOVE to read books about Alex' brothers, Michael, Luke and Abe and Bryce's brother, Clay. They all play a part here, even minor, but Abe and Clay piqued my interest!
However.
I did find that there were quite a few points that names were not used in the correct manner. For example, at one point, Bryce is speaking, and he says "Look, Bryce, about that . . " and another point, Alex looks into the water, but can see no sign of Alex. Minor points, but enough to make them stand out and for me to notice them, and make the comment about them.
I did enjoy it, though, apart from this point. It was a relatively easy read, that hit quite a few positive buttons.
4 very good stars
*same worded review will appear elsewhere
Lindsay (1812 KP) rated Bound to Happen (Bound #2) in Books
Jan 27, 2026
We meet up with Fee. She is about studying or researching, not playing—her flatmates help her bury her mouse.
I am curious about her parents and, if she has any, her siblings. Suppose this is the same Fee that is mentioned at the end of book one. Her name is Aoife, but friends call her "Fee". Wonder what she's doing in London and who she works for.
We meet Gil, and we see his point of view. He seems interested in a woman who was on stage. What happened to him? What caused his death and exile to a theater in London? He has come alive this year when an ung woman came to visit and explore the stage.
Fee thinks she can pass on her leaking as if it were a choice. But what if she's soul, and she really does have a choice?
Will she help Gil? Her mother warned her, but she didn't take it seriously.
Where she is now, she has to forget her family, such as her brothers and parents. However, we have some memories of her mom and Papa, and of her brother, Michael, and the twins. Will her siblings have Souler, or is it just women in the family?
It's getting more and more interesting as the story goes on. Will Fee finally know that she found her healing? Did he see her?
Why can souls travel centuries? But somewhat struggling in the 21st century with life once they run into their leeches?
Will Fee and Gil have a few children at some point? Will they be souls as well?
Will Fee free her leating? Will she join him once she does? She's trying to learn her soul's past. But is it a family business, or something else? Did her mother not get all the help, or did she not know how to bring her ghost to her, and that is why Fee and her sibling were living in Paris, France, in the 1700s?
I am curious about her parents and, if she has any, her siblings. Suppose this is the same Fee that is mentioned at the end of book one. Her name is Aoife, but friends call her "Fee". Wonder what she's doing in London and who she works for.
We meet Gil, and we see his point of view. He seems interested in a woman who was on stage. What happened to him? What caused his death and exile to a theater in London? He has come alive this year when an ung woman came to visit and explore the stage.
Fee thinks she can pass on her leaking as if it were a choice. But what if she's soul, and she really does have a choice?
Will she help Gil? Her mother warned her, but she didn't take it seriously.
Where she is now, she has to forget her family, such as her brothers and parents. However, we have some memories of her mom and Papa, and of her brother, Michael, and the twins. Will her siblings have Souler, or is it just women in the family?
It's getting more and more interesting as the story goes on. Will Fee finally know that she found her healing? Did he see her?
Why can souls travel centuries? But somewhat struggling in the 21st century with life once they run into their leeches?
Will Fee and Gil have a few children at some point? Will they be souls as well?
Will Fee free her leating? Will she join him once she does? She's trying to learn her soul's past. But is it a family business, or something else? Did her mother not get all the help, or did she not know how to bring her ghost to her, and that is why Fee and her sibling were living in Paris, France, in the 1700s?
Bob Mann (459 KP) rated La La Land (2016) in Movies
Sep 29, 2021
“It’s very nostalgic – will people like it?”
A little film. Not sure whether you might have heard of it yet? Damien Chazelle has followed up his astonishingly proficient “Whiplash” – my top film of 2015 – with a sure-fire theatre-filler in “La La Land”. The old-fashioned musical extravaganza is back, and back with style!
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
Gareth von Kallenbach (980 KP) rated The Heartbreak Kid (2007) in Movies
Aug 14, 2019
It has been almost ten years since Ben Stiller teamed with the Farrelly brothers for the comedy classic “There’s Something About Mary”, which launched a series of highly successful films for Stiller who has championed the likeable loser role to the delight of audiences worldwide.
In the new film “The Heartbreak Kid”, Stiller is Eddie Cantrow, a successful owner of a San Francisco sporting goods, store who is at a crossroads in his life. At 40, Eddie is unmarried, not dating anyone, and about to attend the wedding of his former fiancé.
As if Eddie did not have enough to on his mind as he prepares for the wedding, his father (Jerry Stiller), constantly grills him on the need for him to sleep with more women and settle down. His best friend Mac (Rob Coddry) always touts the virtues of marriage and the need to do what the woman tells him to.
Shortly after the wedding, Eddie sees a lady being mugged and attempts to help her out. While things do not go as planned, he does form a connection with her and learns that her name is Lila (Malin Akerman), and despite his inability to muster the courage to ask for her number, she eventually shows up at his store looking for him.
The two begin to date and it looks like Eddie has finally found the perfect girl for him. She even shows old fashioned values by not wanting to have sex until later in their relationship, as she does not want to mess up a good thing.
The couple’s plans take an unexpected detour when Lila informs Eddie that her job plans to move her overseas for two years. When Eddie learns that her company will not transfer a married person, he musters up the courage and marries Lila after only 6 weeks of data.
The smitten couple plan to take three weeks to drive down to Cabo and stay at a resort, and enjoy their first weeks as husband and wife. Along the way, Eddie starts to see some annoying behavior arise in Lila, such as actively singing and acting along to every song on the radio, and some very acrobatic, dominate, and painful tendencies when they consummate their marriage.
As the honeymoon unfolds, Eddie becomes trapped in a nightmare, as it seems that Lila has become a crazy freak, and is not the person he though he married. Unsure what to do next, Eddie meets a lady named Miranda (Michelle Monaghan), while Lila is recovering from severe sunburn.
Intrigued by Miranda, Eddie starts to spend time with her, and soon falls for her which forces Eddie to figure out how to break the news of his marriage to Miranda, and how to get away from Lila.
In true Farrelly brother’s style, a series of outrageous and over the top events follows punctuated by some very crude and at times funny jokes and situations that push Eddie to the limits to find true love.
The film is a remake of the 1972 Neil Simon film of the same name, and while updated with more off color humor, the basic premise of the film has remained unchanged. There are some funny moments in the film and Stiller once again gets the job done as the likeable Eddie.
The problem is that for me, the film was two long, as many times there were gaps of almost twenty minutes between some of the good jokes, and I was left watching fairly dull stuff waiting for the next funny moment to arrive.
The performances in the film were eager, and the brothers did a workmanlike job of direction, as none of the cast was really challenged by the material. Even fine supporting work by Carlos Mencia as Uncle Tito did not get the chance to reach the potential his character showed. In the end, the film just had too many moments that did not work, as the jokes were too few and far between to truly be effective.
In the new film “The Heartbreak Kid”, Stiller is Eddie Cantrow, a successful owner of a San Francisco sporting goods, store who is at a crossroads in his life. At 40, Eddie is unmarried, not dating anyone, and about to attend the wedding of his former fiancé.
As if Eddie did not have enough to on his mind as he prepares for the wedding, his father (Jerry Stiller), constantly grills him on the need for him to sleep with more women and settle down. His best friend Mac (Rob Coddry) always touts the virtues of marriage and the need to do what the woman tells him to.
Shortly after the wedding, Eddie sees a lady being mugged and attempts to help her out. While things do not go as planned, he does form a connection with her and learns that her name is Lila (Malin Akerman), and despite his inability to muster the courage to ask for her number, she eventually shows up at his store looking for him.
The two begin to date and it looks like Eddie has finally found the perfect girl for him. She even shows old fashioned values by not wanting to have sex until later in their relationship, as she does not want to mess up a good thing.
The couple’s plans take an unexpected detour when Lila informs Eddie that her job plans to move her overseas for two years. When Eddie learns that her company will not transfer a married person, he musters up the courage and marries Lila after only 6 weeks of data.
The smitten couple plan to take three weeks to drive down to Cabo and stay at a resort, and enjoy their first weeks as husband and wife. Along the way, Eddie starts to see some annoying behavior arise in Lila, such as actively singing and acting along to every song on the radio, and some very acrobatic, dominate, and painful tendencies when they consummate their marriage.
As the honeymoon unfolds, Eddie becomes trapped in a nightmare, as it seems that Lila has become a crazy freak, and is not the person he though he married. Unsure what to do next, Eddie meets a lady named Miranda (Michelle Monaghan), while Lila is recovering from severe sunburn.
Intrigued by Miranda, Eddie starts to spend time with her, and soon falls for her which forces Eddie to figure out how to break the news of his marriage to Miranda, and how to get away from Lila.
In true Farrelly brother’s style, a series of outrageous and over the top events follows punctuated by some very crude and at times funny jokes and situations that push Eddie to the limits to find true love.
The film is a remake of the 1972 Neil Simon film of the same name, and while updated with more off color humor, the basic premise of the film has remained unchanged. There are some funny moments in the film and Stiller once again gets the job done as the likeable Eddie.
The problem is that for me, the film was two long, as many times there were gaps of almost twenty minutes between some of the good jokes, and I was left watching fairly dull stuff waiting for the next funny moment to arrive.
The performances in the film were eager, and the brothers did a workmanlike job of direction, as none of the cast was really challenged by the material. Even fine supporting work by Carlos Mencia as Uncle Tito did not get the chance to reach the potential his character showed. In the end, the film just had too many moments that did not work, as the jokes were too few and far between to truly be effective.
Emma @ The Movies (1786 KP) rated Onward (2020) in Movies
Mar 15, 2020
I had very mixed feelings about Onward after seeing the trailer, it didn't feel like Pixar and if you'd shown it to me out of context I'd never have guessed it was them.
It's Ian's 16th birthday and things aren't exactly going to plan. To cheer him up his mum gives him and his brother a present left for them by their late father. In a world that has forgotten magic, their father had still believed, and he's leaving them a way that will allow them to see him again. When the only way to complete the spell means finding something long forgotten the brothers must embark on a quest, one that older brother Barley has been preparing for his whole life.
Onward starts with a great potted history of magic in their world and how it's been replaced by modern amenities. It feels like they made a very quick change but I liked it over the sped-up timeline over many years, it actually summed up a more modern way of abandoning things that aren't convenient. It also allows you to have fun little moments of thinking about how things changed when you see flashes of their past during the film.
With Pixar you know that you're going to get that sentiment and deeper meaning that induces bucketloads of tears and in Onward it's a strong message about family and how the past weighs down on what's actually happening in the present. None of that meaning really feels like it's there until very late in the film though, the beginning is more like some generic off-brand fantasy adventure, and though the two ends fit together they don't seem like they belong together.
The mix of characters is fun but we don't get a proper introduction to who, or what, many of them are. It's a shame that with such a varied selection of creatures that most are just relegated to being quirky looking with no real function. There were at least things to appreciate from some of them, Colt counting I thought was a fun touch, and I loved Corey the Manticore, her whole transition through the film was funny and very entertaining.
Chris Pratt as Barley was the only spot on bit of casting for me, his happy-go-lucky demeanour fits the character and we're treated to some of that Starlord adventure. (My favourite Barley scene was definitely the bridge). Everyone else kind of felt a little... meh? I wasn't wowed, I wasn't hooked in trying to work out who the voices were, it all felt a little bland. Partly I think that's because I never felt like I learned anything about them. Sure, some bits were fun, but through most of the film I wasn't really bothered what happened to any of them.
The journey that brothers Ian and Barley go on is full of twists and turns, they're amusing but nothing we haven't really seen before. As I mentioned, the emotional payoff doesn't appear until very late, and it did reduce me to tears, but it could have been so much more. The build-up to it had no real substance, especially when you consider how meaningful it's conclusion is.
In fact, the build-up could have offered up so many different things. For a fantasy story with magic and mythical creatures it holds little to no magical feeling. There's no real spectacle or pizzazz to anything. When I think of magic in other films I get wonder and joy, but in Onward it's done more for jokes. Even at the climax of the film it takes on so much humour that it detracts from the emotions.
Dan Scalon's story is partly based on his own experiences (I'm assuming with less mythical creature though)... and that story is peak Pixar... but the world created around it isn't strong enough for the sentiment it portrays. Taking such a powerful message about family and bundling it up in something that doesn't have the usual Pixar strength and heart feels like a travesty to me.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/onward-movie-review.html
It's Ian's 16th birthday and things aren't exactly going to plan. To cheer him up his mum gives him and his brother a present left for them by their late father. In a world that has forgotten magic, their father had still believed, and he's leaving them a way that will allow them to see him again. When the only way to complete the spell means finding something long forgotten the brothers must embark on a quest, one that older brother Barley has been preparing for his whole life.
Onward starts with a great potted history of magic in their world and how it's been replaced by modern amenities. It feels like they made a very quick change but I liked it over the sped-up timeline over many years, it actually summed up a more modern way of abandoning things that aren't convenient. It also allows you to have fun little moments of thinking about how things changed when you see flashes of their past during the film.
With Pixar you know that you're going to get that sentiment and deeper meaning that induces bucketloads of tears and in Onward it's a strong message about family and how the past weighs down on what's actually happening in the present. None of that meaning really feels like it's there until very late in the film though, the beginning is more like some generic off-brand fantasy adventure, and though the two ends fit together they don't seem like they belong together.
The mix of characters is fun but we don't get a proper introduction to who, or what, many of them are. It's a shame that with such a varied selection of creatures that most are just relegated to being quirky looking with no real function. There were at least things to appreciate from some of them, Colt counting I thought was a fun touch, and I loved Corey the Manticore, her whole transition through the film was funny and very entertaining.
Chris Pratt as Barley was the only spot on bit of casting for me, his happy-go-lucky demeanour fits the character and we're treated to some of that Starlord adventure. (My favourite Barley scene was definitely the bridge). Everyone else kind of felt a little... meh? I wasn't wowed, I wasn't hooked in trying to work out who the voices were, it all felt a little bland. Partly I think that's because I never felt like I learned anything about them. Sure, some bits were fun, but through most of the film I wasn't really bothered what happened to any of them.
The journey that brothers Ian and Barley go on is full of twists and turns, they're amusing but nothing we haven't really seen before. As I mentioned, the emotional payoff doesn't appear until very late, and it did reduce me to tears, but it could have been so much more. The build-up to it had no real substance, especially when you consider how meaningful it's conclusion is.
In fact, the build-up could have offered up so many different things. For a fantasy story with magic and mythical creatures it holds little to no magical feeling. There's no real spectacle or pizzazz to anything. When I think of magic in other films I get wonder and joy, but in Onward it's done more for jokes. Even at the climax of the film it takes on so much humour that it detracts from the emotions.
Dan Scalon's story is partly based on his own experiences (I'm assuming with less mythical creature though)... and that story is peak Pixar... but the world created around it isn't strong enough for the sentiment it portrays. Taking such a powerful message about family and bundling it up in something that doesn't have the usual Pixar strength and heart feels like a travesty to me.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/onward-movie-review.html
Bob Mann (459 KP) rated Mother! (2017) in Movies
Sep 29, 2021
Welcome to the Crystal Maze.
Darren Aronosfsky’s mother! is like no other film you’ll see this year: guaranteed. As a film lover, an Aronosfsky film is a bit like root canal at the dentist: you know you really need to go ahead and do it, but you know you’re not going to be very comfortable in the process.
Jennifer Lawrence (“Passengers“, “Joy“) plays “mother!” doing up a dilapidated old house in the middle of nowhere with her much older husband “Him” (Javier Bardem, “Skyfall”). he (sorry…. He) is a world-famous poet struggling to overcome a massive writing block. The situation is making things tense between the couple, and things get worse when He inexplicably invites a homeless couple “man” (Ed Harris, “Westworld”, “The Truman Show”) and “woman” (Michelle Pfeiffer, “Stardust”) to stay at the house. As things go progressively downhill, is mother losing her mind or is all the crazy stuff going on actually happening?
Jennifer Lawrence can do no wrong at the moment, and her complexion in the film is flawless: it needs to be, since she has the camera constantly about 3 inches from her face for large chunks of the movie: I sat in the very back row, and I still wasn’t far enough away! Her portrayal of a house-proud woman getting progressively more and more irritated by her guests’ inconsiderate acts – a glass? without a table mat??! – is a joy to watch. As her DIY ‘paradise’ is progressively sullied my ‘man’ and ‘woman’, so her distress grows exponentially.
Some of the supporting acting is also superb, with Ed Harris and particularly Michelle Pfeiffer enjoying themselves immensely. Also worthy of note are the brothers played by real-life brothers Brian Gleeson and Domhnall Gleeson: the latter must never sleep since he must be *constantly* on set at the moment. One of these guys in particular is very abel! (sic).
Whereas the trailer depicts this as a kind of normal haunted house spookfest, it is actually nothing of the sort: much of the action (although far-fetched) has a reasonably rational explanation (a continuation of my theme of the “physics of horror” from my last two reviews). The film is largely seen through mother!’s eyes, and the skillful cinematographer Matthew Libatique – an Aronosfsky-regular – oppressively and relentlessly delivers a uniquely tense cinematic experience. For me, for the first two thirds of the film at least, it succeeds brilliantly.
Aronosfsky is no shirker of film controversy: having Natalie Portman perform oral sex on Natalie Portman in “Black Swan” was enough to teach you that. But in the final reels of this film, Aronosfsky doesn’t just wind the dial past 10 to the Spinal Tap 11…. he keeps going right on up to 20. There are a few scenes in movies over the years that I wish I could go back and “unsee”, and this film has one of those: a truly upsetting slice of horror, playing to your worst nightmares of loss and despair. While the religious allegory in these scenes is splatted on as heavily as the splodges of mother!’s decorative plaster, they are nonetheless extremely disturbing and bound to massively divide the cinema audience. I think it’s fair to say that this DVD is not going to have “The Perfect Gift for Mother’s Day” as its marketing strapline.
Which all leaves me… where exactly? For the first time in a long time I actually have no idea! This is a film that I was willing to give an “FF” to while I was watching it, but as time has passed and I have thought more on the environmental and religious allegories, and the portrayal of the cult worship prevalent in popular X-factor celebrity, I am warming to it despite my best instincts not to. I’m not religious, but I would love to compare notes on this one with someone with strongly Christian views.
So, I’m actually going to break all the rules (a snake told me to) and not provide any rating below at this time. I might revisit it again at Christmas* to see if I can resolve it in my mind as either a movie masterpiece or over-indulgent codswallop.
* I have, and have decided to give it 4 Fads… its a film I’ve thought about a lot over the last few months.
Jennifer Lawrence (“Passengers“, “Joy“) plays “mother!” doing up a dilapidated old house in the middle of nowhere with her much older husband “Him” (Javier Bardem, “Skyfall”). he (sorry…. He) is a world-famous poet struggling to overcome a massive writing block. The situation is making things tense between the couple, and things get worse when He inexplicably invites a homeless couple “man” (Ed Harris, “Westworld”, “The Truman Show”) and “woman” (Michelle Pfeiffer, “Stardust”) to stay at the house. As things go progressively downhill, is mother losing her mind or is all the crazy stuff going on actually happening?
Jennifer Lawrence can do no wrong at the moment, and her complexion in the film is flawless: it needs to be, since she has the camera constantly about 3 inches from her face for large chunks of the movie: I sat in the very back row, and I still wasn’t far enough away! Her portrayal of a house-proud woman getting progressively more and more irritated by her guests’ inconsiderate acts – a glass? without a table mat??! – is a joy to watch. As her DIY ‘paradise’ is progressively sullied my ‘man’ and ‘woman’, so her distress grows exponentially.
Some of the supporting acting is also superb, with Ed Harris and particularly Michelle Pfeiffer enjoying themselves immensely. Also worthy of note are the brothers played by real-life brothers Brian Gleeson and Domhnall Gleeson: the latter must never sleep since he must be *constantly* on set at the moment. One of these guys in particular is very abel! (sic).
Whereas the trailer depicts this as a kind of normal haunted house spookfest, it is actually nothing of the sort: much of the action (although far-fetched) has a reasonably rational explanation (a continuation of my theme of the “physics of horror” from my last two reviews). The film is largely seen through mother!’s eyes, and the skillful cinematographer Matthew Libatique – an Aronosfsky-regular – oppressively and relentlessly delivers a uniquely tense cinematic experience. For me, for the first two thirds of the film at least, it succeeds brilliantly.
Aronosfsky is no shirker of film controversy: having Natalie Portman perform oral sex on Natalie Portman in “Black Swan” was enough to teach you that. But in the final reels of this film, Aronosfsky doesn’t just wind the dial past 10 to the Spinal Tap 11…. he keeps going right on up to 20. There are a few scenes in movies over the years that I wish I could go back and “unsee”, and this film has one of those: a truly upsetting slice of horror, playing to your worst nightmares of loss and despair. While the religious allegory in these scenes is splatted on as heavily as the splodges of mother!’s decorative plaster, they are nonetheless extremely disturbing and bound to massively divide the cinema audience. I think it’s fair to say that this DVD is not going to have “The Perfect Gift for Mother’s Day” as its marketing strapline.
Which all leaves me… where exactly? For the first time in a long time I actually have no idea! This is a film that I was willing to give an “FF” to while I was watching it, but as time has passed and I have thought more on the environmental and religious allegories, and the portrayal of the cult worship prevalent in popular X-factor celebrity, I am warming to it despite my best instincts not to. I’m not religious, but I would love to compare notes on this one with someone with strongly Christian views.
So, I’m actually going to break all the rules (a snake told me to) and not provide any rating below at this time. I might revisit it again at Christmas* to see if I can resolve it in my mind as either a movie masterpiece or over-indulgent codswallop.
* I have, and have decided to give it 4 Fads… its a film I’ve thought about a lot over the last few months.