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LilyLovesIndie (123 KP) rated King Hall (Forever Evermore, #1) in Books
Nov 5, 2018
Read the most up to date version of this review over on Ramble Media http://www.ramblemedia.com/?p=20241
I received an ARC of this book and I am so very glad I was given this opportunity as this book really is something else! I devoured it in no time at all, reading until I fell asleep on my kindle, waking up and reading some more. I honestly have not read a book this well written and gripping in a while, and it is most definitely a book worth adding to your to-read list sharpish!
So I suppose you want to know why I find this book so wonderful? Well for once, I am actually rather speechless, in an incredibly good way, as there is just so much good that it's hard to know where to start. Perhaps the one thing I absolutely loved in this book is the plot. A different take on the typical YA Magical genre, the inclusion of Kings, Mys factions, heartbreak, mates and the friendship between these groups, it's all so very different from the norm. But that is one of the greatest aspects of this book, it breaks so many of the standard rules and 'norms' of this genre. It is naughty in parts, funny in others and downright heart breaking at times as well. The plot is superbly paced to guide the reader through everything that takes place, without dragging it's feet or rushing too fast - it is perfectly pitched for your enjoyment. The twists and turns in the plot is another huge advantage as it simply keeps you on the balls of your feet throughout. It's rare to find a book that does this so completely so I have to give credit to Scarlett Dawn for developing such a wonderful plot development.
Something else that is amazing in this book is the dynamic between the characters. They are wonderful. Seriously, they gel so incredibly well with each other and with you as a reader that you feel like the 5th member of the Prodigy group. They are wonderful characters in their own right, but together they truly shine. Jack, a real Jack the lad, so untamed and playful; Pearl, a beauty with a mischievous side; Ezra, dark and mysterious, he exudes sex appeal; and Lily, well what can you say? She's shorter than average, smaller than average, a fiery tempered Shifter which matches her fiery red hair. I love her to bits, mostly because she really reminds me of myself, but also because she is a strong heroine, and these types of characters are really missing from books. She's inspirational and an absolute delight to read, sucking you into her crazy world and dragging you into all their mischief together. Equally, you also get drawn into her heart break, and my heart seriously ached with her with the tragedy she faced. She is an incredibly well written character, and one I honestly cannot wait to learn more about.
Another amazing aspect of this book is the humour which weaves its way throughout. It counteracts the dark undertones of sadness and tension throughout, meaning that although the darkness is there, there is always hope and happiness not far behind. This stops the story from becoming too angsty and helps the reader have a few good belly laughs along the way. The naughtiness of the humour is excellently written, balancing on the tasteful sexual humour rather than being crude. This makes it even more enjoyable to read as it just feels so natural. It's like an old pair of jeans, the book just feels so right as you read it. Although there may be uncomfortable moments (King Kincaid and Venclaire feature in most of them), Scarlett Dawn makes them incredibly enjoyable by using a unique brand of humour to ease the tension, usually through Lily's thoughts. I can only compliment this as it is something I know isn't hard to write and balance correctly.
So I suppose I ought to wrap this on before I gush too much and end up repeating myself. IF you haven't already guessed from reading the review so far, I absolutely, positively ADORED this book (yes, the capitalisation is most definitely needed). It has everything you want in a good read, emotions of all kinds, a fab pace and plot and excellent characters. There's nothing more for me to say other than to tell you to get a copy of this book sooner rather than later and be prepared for a cliff hanger that is out of this world! Now all there is for me to do is twiddle my thumbs and wait very impatiently for the next instalment!
I received an ARC of this book and I am so very glad I was given this opportunity as this book really is something else! I devoured it in no time at all, reading until I fell asleep on my kindle, waking up and reading some more. I honestly have not read a book this well written and gripping in a while, and it is most definitely a book worth adding to your to-read list sharpish!
So I suppose you want to know why I find this book so wonderful? Well for once, I am actually rather speechless, in an incredibly good way, as there is just so much good that it's hard to know where to start. Perhaps the one thing I absolutely loved in this book is the plot. A different take on the typical YA Magical genre, the inclusion of Kings, Mys factions, heartbreak, mates and the friendship between these groups, it's all so very different from the norm. But that is one of the greatest aspects of this book, it breaks so many of the standard rules and 'norms' of this genre. It is naughty in parts, funny in others and downright heart breaking at times as well. The plot is superbly paced to guide the reader through everything that takes place, without dragging it's feet or rushing too fast - it is perfectly pitched for your enjoyment. The twists and turns in the plot is another huge advantage as it simply keeps you on the balls of your feet throughout. It's rare to find a book that does this so completely so I have to give credit to Scarlett Dawn for developing such a wonderful plot development.
Something else that is amazing in this book is the dynamic between the characters. They are wonderful. Seriously, they gel so incredibly well with each other and with you as a reader that you feel like the 5th member of the Prodigy group. They are wonderful characters in their own right, but together they truly shine. Jack, a real Jack the lad, so untamed and playful; Pearl, a beauty with a mischievous side; Ezra, dark and mysterious, he exudes sex appeal; and Lily, well what can you say? She's shorter than average, smaller than average, a fiery tempered Shifter which matches her fiery red hair. I love her to bits, mostly because she really reminds me of myself, but also because she is a strong heroine, and these types of characters are really missing from books. She's inspirational and an absolute delight to read, sucking you into her crazy world and dragging you into all their mischief together. Equally, you also get drawn into her heart break, and my heart seriously ached with her with the tragedy she faced. She is an incredibly well written character, and one I honestly cannot wait to learn more about.
Another amazing aspect of this book is the humour which weaves its way throughout. It counteracts the dark undertones of sadness and tension throughout, meaning that although the darkness is there, there is always hope and happiness not far behind. This stops the story from becoming too angsty and helps the reader have a few good belly laughs along the way. The naughtiness of the humour is excellently written, balancing on the tasteful sexual humour rather than being crude. This makes it even more enjoyable to read as it just feels so natural. It's like an old pair of jeans, the book just feels so right as you read it. Although there may be uncomfortable moments (King Kincaid and Venclaire feature in most of them), Scarlett Dawn makes them incredibly enjoyable by using a unique brand of humour to ease the tension, usually through Lily's thoughts. I can only compliment this as it is something I know isn't hard to write and balance correctly.
So I suppose I ought to wrap this on before I gush too much and end up repeating myself. IF you haven't already guessed from reading the review so far, I absolutely, positively ADORED this book (yes, the capitalisation is most definitely needed). It has everything you want in a good read, emotions of all kinds, a fab pace and plot and excellent characters. There's nothing more for me to say other than to tell you to get a copy of this book sooner rather than later and be prepared for a cliff hanger that is out of this world! Now all there is for me to do is twiddle my thumbs and wait very impatiently for the next instalment!
Andy K (10823 KP) rated Okja (2017) in Movies
Nov 17, 2019
1st half vs. 2nd half
Director Bong Joon Ho has a phenomenal track record of producing engaging, interesting, rich, vibrant and complex stories. From Snowpiercer to The Host to current critic favorite, Parasite his unique storytelling has proven he can be imaginative and still bring an audience through an entertaining, creative story. This time, as others have said in their reviews, it seems like a tale of two halves remarkably different in tone, scale and narrative.
A large corporation sells itself as leading the world in global food production as it creates 26 "Super Pigs" that it disperses throughout the world and allows them to grow for 10 years adopted by farmers. During that time, one of them, Okja, is seen alongside their adopted family in South Korea. A young girl and her grandfather have made Okja part of their family and love their companion immensely Eventually the corporation, along with one of their weird spokespeople goons arrive and say they are going to bring Okja to New York.
The girl, Mija, doesn't want this to happen and for her to lose her friend and life-mate, Okja, so she decides to pursue the creature and rescue it from whatever plans are happening and bring back to their mountainous farm.
Unfortunately, the differences in tone really handicap the film almost immediately. I really thought this appeared to be a family film like Babe or Homeward Bound, but then turned into some kind of exposition to inhibit cruelty to animals? Not sure. There was profanity throughout which of course doesn't bother me but would be off putting if you wanted to show this movie in schools or for small children. The innocence is lost when thugs arrive and try and kidnap Okja, or this animal advocacy group also arrives to attempt their own rescue to prevent anything against their will of happening to the beast.
It doesn't happen too often for me, but I was really confused as to what the movie was trying to say. I am a meat eater myself and am not sorry for it. I certainly believe people should be who they are and would not push my beliefs on anyone else. Is that what the movie intends? Does it want to just be an entertaining adventure?
My confusion prevented me from enjoying the movie as much as I wanted to, but was still entertained by what I saw.
A large corporation sells itself as leading the world in global food production as it creates 26 "Super Pigs" that it disperses throughout the world and allows them to grow for 10 years adopted by farmers. During that time, one of them, Okja, is seen alongside their adopted family in South Korea. A young girl and her grandfather have made Okja part of their family and love their companion immensely Eventually the corporation, along with one of their weird spokespeople goons arrive and say they are going to bring Okja to New York.
The girl, Mija, doesn't want this to happen and for her to lose her friend and life-mate, Okja, so she decides to pursue the creature and rescue it from whatever plans are happening and bring back to their mountainous farm.
Unfortunately, the differences in tone really handicap the film almost immediately. I really thought this appeared to be a family film like Babe or Homeward Bound, but then turned into some kind of exposition to inhibit cruelty to animals? Not sure. There was profanity throughout which of course doesn't bother me but would be off putting if you wanted to show this movie in schools or for small children. The innocence is lost when thugs arrive and try and kidnap Okja, or this animal advocacy group also arrives to attempt their own rescue to prevent anything against their will of happening to the beast.
It doesn't happen too often for me, but I was really confused as to what the movie was trying to say. I am a meat eater myself and am not sorry for it. I certainly believe people should be who they are and would not push my beliefs on anyone else. Is that what the movie intends? Does it want to just be an entertaining adventure?
My confusion prevented me from enjoying the movie as much as I wanted to, but was still entertained by what I saw.
Kirk Bage (1775 KP) rated Fruitvale Station (2013) in Movies
Aug 6, 2020
Here is another movie that was put up for consideration for my upcoming book 21st Century Cinema: 200 Essential Films. It didn’t quite make the final cut, but is part of the long list of honourable mentions – movies that are easy to like and recommend, but aren’t quite of the very highest quality in their respective genres.
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Amanda (96 KP) rated The Woman in the Window in Books
Mar 11, 2019
Anna has what's called Agoraphobia, meaning that she has anxiety leaving her house. Therefore, anything that needs to be done outside the house, she has done for her. Any medications she needs, groceries, etc., they are delivered to her house. She can't even bare to open a window because it would trigger her phobia. You learn there are different reasons for this kind of phobia.
Loss of a loved one.
Tragic accident.
Or...it could be something else entirely.
Ann also talks to other people with the same phobia and tries to also council them. You don't find out till much later as to why Anna who was a child psychologist now cannot bare to leave her home. She suffers from depression and is on multiple medications. She's separated from her husband, whom also has their daughter with him.
And she drinks...a lot.
One of the things I liked about Anna is her love for old movies. I loved how Finn incorporated some lines from different movies, including Alfred Hitchcock. Anna witnesses a murder in her neighbors house across the street. Try as she may, nobody takes her seriously and blame it on the medication she takes with alcohol.
“You can hear someone’s secrets and their fears and their wants, but remember that these exist alongside other people’s secrets and fears, people living in the same room.”
I kind of felt bad for her, but sometime during the story, I started to get frustrated with her as well. I really got a Girl on a Train feel. The main character always needs a drink or has to drink something in order to keep herself together, even though the alcohol doesn't help her situation at all.
On a different note, Girl on a Train was highly depressing.
The more the story progressed the more intrigued I got because there were quite a few twists that I honestly didn't see coming and I found myself yelling, 'WHAT?' Glad I was only listening to a book in the car and not in my house where someone could look at me funny. Not that people don't do that anyway, but such as life as a bookworm, I don't care.
“The definition of insanity, Fox, Wesley used to remind me, paraphrasing Einstein, is doing the same thing again and again and expecting different result.”
I've read a few psychological thrillers and while they were good, none kept me on my toes like this one. So many things happen with Anna and they come in bits and pieces but eventually make up a whole puzzle. You almost start to believe that perhaps Anna didn't see someone being murdered...maybe she did have an illusion.
Did it happen?
You have to read and find out.
I'd definitely give this 4 1/2 stars. Finn's writing in Anna's point of view is brilliant. You are inside her head and you are seeing everything through her eyes. She may start to ramble from time to time, but that just shows that she's still someone who is suffering. Other characters that play a major role in her life you don't know all that much...but you learn who they are in the end.
It's a long book, but every minute of it was well worth the listen. I will say that toward the beginning it was more like Girl on a Train, but it slowly morphs into Alfred Hitchcock's, Rear Window. I will say that I look forward to A.J. Finn's next novel.
Loss of a loved one.
Tragic accident.
Or...it could be something else entirely.
Ann also talks to other people with the same phobia and tries to also council them. You don't find out till much later as to why Anna who was a child psychologist now cannot bare to leave her home. She suffers from depression and is on multiple medications. She's separated from her husband, whom also has their daughter with him.
And she drinks...a lot.
One of the things I liked about Anna is her love for old movies. I loved how Finn incorporated some lines from different movies, including Alfred Hitchcock. Anna witnesses a murder in her neighbors house across the street. Try as she may, nobody takes her seriously and blame it on the medication she takes with alcohol.
“You can hear someone’s secrets and their fears and their wants, but remember that these exist alongside other people’s secrets and fears, people living in the same room.”
I kind of felt bad for her, but sometime during the story, I started to get frustrated with her as well. I really got a Girl on a Train feel. The main character always needs a drink or has to drink something in order to keep herself together, even though the alcohol doesn't help her situation at all.
On a different note, Girl on a Train was highly depressing.
The more the story progressed the more intrigued I got because there were quite a few twists that I honestly didn't see coming and I found myself yelling, 'WHAT?' Glad I was only listening to a book in the car and not in my house where someone could look at me funny. Not that people don't do that anyway, but such as life as a bookworm, I don't care.
“The definition of insanity, Fox, Wesley used to remind me, paraphrasing Einstein, is doing the same thing again and again and expecting different result.”
I've read a few psychological thrillers and while they were good, none kept me on my toes like this one. So many things happen with Anna and they come in bits and pieces but eventually make up a whole puzzle. You almost start to believe that perhaps Anna didn't see someone being murdered...maybe she did have an illusion.
Did it happen?
You have to read and find out.
I'd definitely give this 4 1/2 stars. Finn's writing in Anna's point of view is brilliant. You are inside her head and you are seeing everything through her eyes. She may start to ramble from time to time, but that just shows that she's still someone who is suffering. Other characters that play a major role in her life you don't know all that much...but you learn who they are in the end.
It's a long book, but every minute of it was well worth the listen. I will say that toward the beginning it was more like Girl on a Train, but it slowly morphs into Alfred Hitchcock's, Rear Window. I will say that I look forward to A.J. Finn's next novel.
BankofMarquis (1832 KP) rated Hereditary (2018) in Movies
Jun 28, 2018
Laughable
For me, the hardest genre of film to get right is horror. In short order the filmmaker needs to set up the premise and "rules of engagement" of the world that is being presented and then execute incredulous situations and predicaments in such a way that are plausible and tense.
Only a small amount (let's say 10% to be generous) gets this balance right. 80% of the time, they fall short and either the film is boring or (more often) turns into a "gore-fest". And...in the bottom 10% are the films where they miss so spectacularly that you are entertained by how ridiculous and over-the-top things are.
Such is the case with Ari Aster's HEREDITARY, a film that was billed as a "tense, thriller with unthinkable family tragedy that veers into the realm of the Supernatural".
I would bill it as "stupid".
Starring the usually reliable Toni Collette as Annie, a miniature-model artist (people in these types of films usually have occupations that make no sense) who's relationship with her mother is strained - at best. She is married to Steve (Gabriel Byrne - far removed from his USUAL SUSPECTS days), and has 2 children, Peter (Alex Wolff) and Charlie (Milly Shapiro). They had another child who has passed away. When Annie's mother dies, Annie starts to discover disturbing secrets about her mother and her family's heritage.
I won't say more - for I would spoil things - but the film starts promisingly enough - and there's an unexpected, tragic death that I thought was handled interestingly enough and I had positive hopes for the rest of the film - but the scenarios and escalating events of this film build on each other from there, one more ridiculous than the other. I kept wanting to scream to the screen - "call the authorities", which would have ended things right there, but this being a film, no one ever does.
As I stated, Toni Collette is, usually, a sign of quality in a movie...but not here. She (and Byrne) are listed as Executive Producers of this film (which means, I think, they gave up parts of their salaries for % points in this film - good luck getting any money out of that). Her Annie is melodramatic and over-the-top - and CRAZY - almost from the start, so when she starts getting REALLY melodramatic and C-R-A-Z-Y, it is laughable. Gabriel Byrne walks through this film looking like he is wondering where the Craft Services truck is, giving a "minimalist" performance (read: he mailed it in). And the two kids are haunting...in their blankness and blandness.
But...it is the ever increasing bizarre events that had me howling with laughter in my seat (as opposed to squirming in terror). I would spoil things if I mentioned them, but I didn't buy any of it. Writer/Director Aster just kept throwing one event even more "weird" and bizarre than preceding one. I actually said to my buddy sitting next to me at one point, "who is that old, fat, naked guy, and where did he come from"?
I think that says it all.
I'm sure there was probably a good movie in here someplace, this wasn't it.
Letter Grade: C (for the opening 1/2 hour or so and the "unexpected death" that was executed well).
4 stars (out of 10) and you can take it - or leave it - to the Bank(ofMarquis)
Only a small amount (let's say 10% to be generous) gets this balance right. 80% of the time, they fall short and either the film is boring or (more often) turns into a "gore-fest". And...in the bottom 10% are the films where they miss so spectacularly that you are entertained by how ridiculous and over-the-top things are.
Such is the case with Ari Aster's HEREDITARY, a film that was billed as a "tense, thriller with unthinkable family tragedy that veers into the realm of the Supernatural".
I would bill it as "stupid".
Starring the usually reliable Toni Collette as Annie, a miniature-model artist (people in these types of films usually have occupations that make no sense) who's relationship with her mother is strained - at best. She is married to Steve (Gabriel Byrne - far removed from his USUAL SUSPECTS days), and has 2 children, Peter (Alex Wolff) and Charlie (Milly Shapiro). They had another child who has passed away. When Annie's mother dies, Annie starts to discover disturbing secrets about her mother and her family's heritage.
I won't say more - for I would spoil things - but the film starts promisingly enough - and there's an unexpected, tragic death that I thought was handled interestingly enough and I had positive hopes for the rest of the film - but the scenarios and escalating events of this film build on each other from there, one more ridiculous than the other. I kept wanting to scream to the screen - "call the authorities", which would have ended things right there, but this being a film, no one ever does.
As I stated, Toni Collette is, usually, a sign of quality in a movie...but not here. She (and Byrne) are listed as Executive Producers of this film (which means, I think, they gave up parts of their salaries for % points in this film - good luck getting any money out of that). Her Annie is melodramatic and over-the-top - and CRAZY - almost from the start, so when she starts getting REALLY melodramatic and C-R-A-Z-Y, it is laughable. Gabriel Byrne walks through this film looking like he is wondering where the Craft Services truck is, giving a "minimalist" performance (read: he mailed it in). And the two kids are haunting...in their blankness and blandness.
But...it is the ever increasing bizarre events that had me howling with laughter in my seat (as opposed to squirming in terror). I would spoil things if I mentioned them, but I didn't buy any of it. Writer/Director Aster just kept throwing one event even more "weird" and bizarre than preceding one. I actually said to my buddy sitting next to me at one point, "who is that old, fat, naked guy, and where did he come from"?
I think that says it all.
I'm sure there was probably a good movie in here someplace, this wasn't it.
Letter Grade: C (for the opening 1/2 hour or so and the "unexpected death" that was executed well).
4 stars (out of 10) and you can take it - or leave it - to the Bank(ofMarquis)
Kristy H (1252 KP) rated An Unwanted Guest in Books
Mar 11, 2019
Eerie read with a rather tidy ending
Mitchell's Inn is a lovely lodge far away from the hustle and bustle of it all--there's no wifi, just a relaxing setting, good food, and comfortable rooms. But this particular weekend, things go awry when a bad storm hits, covering the Inn in ice and knocking out the power: there's no phone service or the ability for anyone to leave the premises. Then, by morning, one of the guests is dead. It could be an accident, but no one can say for sure. And when the second guest dies, it's certain: they are trapped with a murderer. There's no power, no contact with the world, and someone is slowly killing them off. Is someone else next and how do the remaining guests stay safe?
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
Lottie disney bookworm (1056 KP) rated The Fractured Empire in Books
Oct 25, 2021
The Fractured Empire is the first in the Worlds Apart series and takes place on the fifth anniversary of The Silent Explosion when Adelaide lost her mother and sister and Clark lost his father.
“Clark and Adelaide think their lives can’t get any worse. Until they meet each other.”
The style of this book is distinctly steampunk rather than the medieval style that I am used to with ElBin books. I was nervous about this as I generally don’t read books in a steampunk setting but I did find I really enjoyed it. To me the world building wasn’t quite as clear in my mind but I’m not sure if this was because I wasn’t reading a physical book.
Despite this, The Fractured Empire met all my expectations and more! How can it not when it includes all my favourite tropes such as enemies to lovers and, of course, the old forced shared-bed situation.
“who kidnapped someone and then introduced themselves? Yet here we were”
The characters are amazing, of course they are! There isn’t an underdeveloped or “2D” character in sight as we follow Addie, Clark and his 2 brothers around the Ceithren Empire, desperately seeking answers … and finding some that they didn’t expect!
Clark and Addie’s relationship is a rollercoaster! The term enemies-to-lovers does not do this pair justice, it’s more like enemies-to-almost lovers-to- definite enemies- to- begrudging colleagues. There is a definite attraction though and it is very physical to begin with: there are a lot of references to Clark’s muscles, Addie’s dress slipping down etc. I have read other reviews where they use this to say that the romance relationship is shallow but I don’t believe this is the case, they are both quite young as characters and it merely demonstrates, in my opinion, how they are constantly drawn to each other.
The best thing about Clark and Addie’s dynamic is 100% the amount of bickering and sarcasm. Oh the amount of sarcasm in this book speaks to my soul and it is here where I think the audiobook may have been better than a physical book (I know, I know! Don’t shoot!) The narrators for Clark and Addie really captured the personalities of the characters, even down to the pacing of their reading and, in Addie’s case, the haughty tones.
From the mysterious best friend Nell (who I’m still not sure if I trust or not) to Addie’s oppressive Director father to the playboy prince: the cast of supporting characters deserves an honourable mention, particularly Gunther. If you aren’t in love with Gunther we can’t be friends – it’s as simple as that!
“I gave them a mocking salute before I turned and jumped, right out the hundredth story window”
The Fractured Empire presents twists upon twists and constantly changes who you can trust but still manages to flow really well and keep the reader engaged. This is a testament to the writing of Robin but also to the narrators of the audiobook, Cris Dukehart and Graham Halstead. Some small snippets felt like they were recorded in sections and sounded out of place but on the whole the pair really embodied the characters and kept me hooked.
Thank you to Robin Mahle for providing a free copy of the audiobook of The Fractured Empire. My TBR list however, does not thank you as it now has 3 more additions to it! (*Edit* 4! I found out about the prequel!)
“Clark and Adelaide think their lives can’t get any worse. Until they meet each other.”
The style of this book is distinctly steampunk rather than the medieval style that I am used to with ElBin books. I was nervous about this as I generally don’t read books in a steampunk setting but I did find I really enjoyed it. To me the world building wasn’t quite as clear in my mind but I’m not sure if this was because I wasn’t reading a physical book.
Despite this, The Fractured Empire met all my expectations and more! How can it not when it includes all my favourite tropes such as enemies to lovers and, of course, the old forced shared-bed situation.
“who kidnapped someone and then introduced themselves? Yet here we were”
The characters are amazing, of course they are! There isn’t an underdeveloped or “2D” character in sight as we follow Addie, Clark and his 2 brothers around the Ceithren Empire, desperately seeking answers … and finding some that they didn’t expect!
Clark and Addie’s relationship is a rollercoaster! The term enemies-to-lovers does not do this pair justice, it’s more like enemies-to-almost lovers-to- definite enemies- to- begrudging colleagues. There is a definite attraction though and it is very physical to begin with: there are a lot of references to Clark’s muscles, Addie’s dress slipping down etc. I have read other reviews where they use this to say that the romance relationship is shallow but I don’t believe this is the case, they are both quite young as characters and it merely demonstrates, in my opinion, how they are constantly drawn to each other.
The best thing about Clark and Addie’s dynamic is 100% the amount of bickering and sarcasm. Oh the amount of sarcasm in this book speaks to my soul and it is here where I think the audiobook may have been better than a physical book (I know, I know! Don’t shoot!) The narrators for Clark and Addie really captured the personalities of the characters, even down to the pacing of their reading and, in Addie’s case, the haughty tones.
From the mysterious best friend Nell (who I’m still not sure if I trust or not) to Addie’s oppressive Director father to the playboy prince: the cast of supporting characters deserves an honourable mention, particularly Gunther. If you aren’t in love with Gunther we can’t be friends – it’s as simple as that!
“I gave them a mocking salute before I turned and jumped, right out the hundredth story window”
The Fractured Empire presents twists upon twists and constantly changes who you can trust but still manages to flow really well and keep the reader engaged. This is a testament to the writing of Robin but also to the narrators of the audiobook, Cris Dukehart and Graham Halstead. Some small snippets felt like they were recorded in sections and sounded out of place but on the whole the pair really embodied the characters and kept me hooked.
Thank you to Robin Mahle for providing a free copy of the audiobook of The Fractured Empire. My TBR list however, does not thank you as it now has 3 more additions to it! (*Edit* 4! I found out about the prequel!)
Purple Phoenix Games (2266 KP) rated Lagoon: Land of Druids in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
Lagoon is a land of harmony and balance. Or at least it WAS until the rise of humanity. The three spiritual energies that once existed in a perfect equilibrium are now fighting for dominance and control over the destiny of Lagoon. Each energy has amassed a following of druids who are working to ensure that their chosen energy is victorious! Which energy will you choose to serve, and will your choice be the correct one in the end? There’s only one way to find out!
Lagoon: Land of the Druids is a game of tile placement and exploration. You are the leader of a circle of druids, and they will do your bidding throughout the game. On your turn, you will take any/all of these five actions: Move, Summon (add one of your reserve druids to the play area), Explore (add a new site tile to the table), Invoke (use a Site Action), or Unravel (remove a site tile from play). You can perform as many of these actions as you want, as long as you have the appropriate resources to spend. Each tile in the game is double-sided, and each side has a unique action/ability associated with it. Strategy is everything – which tile side should you choose to bring into play, and how can you best use the available abilities to benefit your chosen energy? You also have to keep an eye on your opponents because they might be trying to undermine your plans to help their energy achieve success! The game ends when all tiles have been explored, and then players count up points dependent upon which energy was ultimately dominant. The player with the most points is the winner!
As a solo game, Lagoon plays similarly to the multi-player game. Instead of competing against other humans, you are playing against an AI opponent (fondly referred to as “AJ” in the rulebook). On its turn, alternating with yours, the AI executes three steps – Explore, Unravel, and Invoke (perform an action dependent on which druids the AI currently has in play). Each of those steps is explained in more detail in the rulebook. The game ends as in a normal group game, and the player (either you or the AI) with the highest score wins.
The first thing I should mention are the solo rules themselves – they are very wordy and contain lots of ambiguity. It took me a couple of read-throughs before I felt comfortable trying to play, and even now I still keep the solo rules easily accessible when I do play. With so many moving elements in this game, clear and concise rules are necessary for an unencumbered game.
When I say there are a lot of moving elements, I mean it. At any point, you could have up to 5 druids in play, with access to up to 5 unique site powers to invoke in addition to the basic actions you can take on your turn. And on top of that, your druids are spiritually connected, so a druid on one site can use the power of a different site as long as you have a druid there as well. There are also lots of opportunities to combo powers this way, and unless you’re 100% focused, you could lose track of what you already did or forget to pay for an action. And in a solo game, you’re not only tracking this for yourself, you also have to make sure you’re executing the AI turns correctly. There’s just a lot going on and it can be easy to accidentally skip a step.
The thing I dislike most about playing Lagoon solo is that I have to make decisions for the AI. When placing tiles on AI turns, I get to choose which side to play. When the AI unravels a site, I get to choose which site to remove. It’s hard to play this game honestly because I can just choose whatever will benefit ME the most, and not necessarily act in the AI’s best interest. Obviously, a human opponent would do whatever they want for themselves, but in a solo game I am in control of my opponent. The rulebook does offer ways to alleviate this, but I either honestly forget to refer back to the rules for certain situations, or I just choose to ignore the suggestions. I know, I know, that sounds like a personal problem. And I guess it is. I just don’t like the responsibility of having to play two competing sides because it is hard to stay honest. Since this game is so dependent on strategy and personal decisions, there is no good way for an AI opponent to be successful.
Lagoon: Land of the Druids is a complex game that requires more strategy than you think. That being said, I don’t like to play it solo. Each turn offers lots of opportunities, but so many options can be overwhelming. Having to make decisions for the AI is not enjoyable for me because I am aware that I do not always make the best decision for the AI – it’s just hard for me to consciously make decisions detrimental to my game. The idea of this game is neat, but the execution of the solo rules (from their editing to their actual gameplay) just doesn’t work well for me. Give it a try solo if you want, but you’re not really missing a lot if you don’t.
https://purplephoenixgames.wordpress.com/2019/03/11/solo-chronicles-lagoon-land-of-the-druids/
Lagoon is a land of harmony and balance. Or at least it WAS until the rise of humanity. The three spiritual energies that once existed in a perfect equilibrium are now fighting for dominance and control over the destiny of Lagoon. Each energy has amassed a following of druids who are working to ensure that their chosen energy is victorious! Which energy will you choose to serve, and will your choice be the correct one in the end? There’s only one way to find out!
Lagoon: Land of the Druids is a game of tile placement and exploration. You are the leader of a circle of druids, and they will do your bidding throughout the game. On your turn, you will take any/all of these five actions: Move, Summon (add one of your reserve druids to the play area), Explore (add a new site tile to the table), Invoke (use a Site Action), or Unravel (remove a site tile from play). You can perform as many of these actions as you want, as long as you have the appropriate resources to spend. Each tile in the game is double-sided, and each side has a unique action/ability associated with it. Strategy is everything – which tile side should you choose to bring into play, and how can you best use the available abilities to benefit your chosen energy? You also have to keep an eye on your opponents because they might be trying to undermine your plans to help their energy achieve success! The game ends when all tiles have been explored, and then players count up points dependent upon which energy was ultimately dominant. The player with the most points is the winner!
As a solo game, Lagoon plays similarly to the multi-player game. Instead of competing against other humans, you are playing against an AI opponent (fondly referred to as “AJ” in the rulebook). On its turn, alternating with yours, the AI executes three steps – Explore, Unravel, and Invoke (perform an action dependent on which druids the AI currently has in play). Each of those steps is explained in more detail in the rulebook. The game ends as in a normal group game, and the player (either you or the AI) with the highest score wins.
The first thing I should mention are the solo rules themselves – they are very wordy and contain lots of ambiguity. It took me a couple of read-throughs before I felt comfortable trying to play, and even now I still keep the solo rules easily accessible when I do play. With so many moving elements in this game, clear and concise rules are necessary for an unencumbered game.
When I say there are a lot of moving elements, I mean it. At any point, you could have up to 5 druids in play, with access to up to 5 unique site powers to invoke in addition to the basic actions you can take on your turn. And on top of that, your druids are spiritually connected, so a druid on one site can use the power of a different site as long as you have a druid there as well. There are also lots of opportunities to combo powers this way, and unless you’re 100% focused, you could lose track of what you already did or forget to pay for an action. And in a solo game, you’re not only tracking this for yourself, you also have to make sure you’re executing the AI turns correctly. There’s just a lot going on and it can be easy to accidentally skip a step.
The thing I dislike most about playing Lagoon solo is that I have to make decisions for the AI. When placing tiles on AI turns, I get to choose which side to play. When the AI unravels a site, I get to choose which site to remove. It’s hard to play this game honestly because I can just choose whatever will benefit ME the most, and not necessarily act in the AI’s best interest. Obviously, a human opponent would do whatever they want for themselves, but in a solo game I am in control of my opponent. The rulebook does offer ways to alleviate this, but I either honestly forget to refer back to the rules for certain situations, or I just choose to ignore the suggestions. I know, I know, that sounds like a personal problem. And I guess it is. I just don’t like the responsibility of having to play two competing sides because it is hard to stay honest. Since this game is so dependent on strategy and personal decisions, there is no good way for an AI opponent to be successful.
Lagoon: Land of the Druids is a complex game that requires more strategy than you think. That being said, I don’t like to play it solo. Each turn offers lots of opportunities, but so many options can be overwhelming. Having to make decisions for the AI is not enjoyable for me because I am aware that I do not always make the best decision for the AI – it’s just hard for me to consciously make decisions detrimental to my game. The idea of this game is neat, but the execution of the solo rules (from their editing to their actual gameplay) just doesn’t work well for me. Give it a try solo if you want, but you’re not really missing a lot if you don’t.
https://purplephoenixgames.wordpress.com/2019/03/11/solo-chronicles-lagoon-land-of-the-druids/
Emma @ The Movies (1786 KP) rated Rambo: Last Blood (2019) in Movies
Nov 5, 2019
The film is an incredibly short 90 minutes long, not just for the fact it's 90 minutes but it ramps up the action so fast that you get to the end in what seems like record speed. Don't expect to be here for the storyline, while it has the makings of an excellent base it's clear that they really wanted a blood spurting mess of action... and in that respect this was a massive success.
Had I not see any of the other films before this I think I would still get a sense of the character but I wouldn't have been able to appreciate the trauma behind it all. You can tell he's got some kind of combat background and from the fact he's built himself a warren of tunnels and makes his own weapons you know there's something major in the backstory.
It could be a stand alone movie as it is but it probably would have been a better one with some more character work.
Everyone plays to their character well and the sheer volume of violence they all manage to bring to the screen with mostly fitting reactions is incredible. The amount of extra characters is something to behold and I particularly liked the way the gang comes together when Rambo goes hunting for them.
We're introduced to Carmen who is on her own hunt like Rambo, sadly she is a little underused and is mainly a way to get Rambo out of trouble so he can get to the next part of the film. Her story is summed up pretty quickly and this could easily have been developed into a bigger part.
Stallone... What do you want me to say? He's here to kick ass in the only way Stallone can. He does the crazed thing really well and I liked the way his parental instincts kicked, but there isn't a whole lot of acting to deal with in this really.
I want to avoid spoilers but there are a couple of emotional scenes that are done quite well and make a nice contrast with the "all hell breaks loose" action.
Let's just get to that action, shall we? Rambo basically Home Alones the shit out of his property. I'm honestly surprised that there wasn't the inclusion of some Wile E. Coyote traps to get a bit of everything in there. I enjoyed the montage of him kitting the place out, it really worked and built the anticipation of what was to come.
If there's one thing I knew before seeing this film it's that nothing was going to be subtle and the way he gets the gangs attention for the finale really threw subtle out the window. Sometimes you just need ridiculous violence, this was pretty ridiculous.
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/rambo-last-blood-movie-review.html
Had I not see any of the other films before this I think I would still get a sense of the character but I wouldn't have been able to appreciate the trauma behind it all. You can tell he's got some kind of combat background and from the fact he's built himself a warren of tunnels and makes his own weapons you know there's something major in the backstory.
It could be a stand alone movie as it is but it probably would have been a better one with some more character work.
Everyone plays to their character well and the sheer volume of violence they all manage to bring to the screen with mostly fitting reactions is incredible. The amount of extra characters is something to behold and I particularly liked the way the gang comes together when Rambo goes hunting for them.
We're introduced to Carmen who is on her own hunt like Rambo, sadly she is a little underused and is mainly a way to get Rambo out of trouble so he can get to the next part of the film. Her story is summed up pretty quickly and this could easily have been developed into a bigger part.
Stallone... What do you want me to say? He's here to kick ass in the only way Stallone can. He does the crazed thing really well and I liked the way his parental instincts kicked, but there isn't a whole lot of acting to deal with in this really.
I want to avoid spoilers but there are a couple of emotional scenes that are done quite well and make a nice contrast with the "all hell breaks loose" action.
Let's just get to that action, shall we? Rambo basically Home Alones the shit out of his property. I'm honestly surprised that there wasn't the inclusion of some Wile E. Coyote traps to get a bit of everything in there. I enjoyed the montage of him kitting the place out, it really worked and built the anticipation of what was to come.
If there's one thing I knew before seeing this film it's that nothing was going to be subtle and the way he gets the gangs attention for the finale really threw subtle out the window. Sometimes you just need ridiculous violence, this was pretty ridiculous.
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/rambo-last-blood-movie-review.html