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Nicole Hadley (380 KP) rated Upon a Spring Breeze (Every Amish Season, #1) in Books
Jun 18, 2018
Upon a Spring Breeze by Kelly Irvin is a beautiful, emotional Amish book. At 20 years old Bess is newly married and pregnant, life couldn't get better. Then, as she's making stew for her husband one evening she get's the news of his death. After her son is born he looks just like her late husband and coupled with her exhaustion and her babies colic she has a very hard time dealing with it. Her hormones are out of whack because she has postpartum depression and doesn't realize it. She feels like a total failure with things. Her mother-in law has dementia and thinks Bess's baby is her son who passed away and tries to care for him which just adds to Bess's stress. Bess takes a job at a Bed and Breakfast Inn close by and the son of the owner falls for her. he is an Englisher. She now has two men that have fallen for her, Dusty the Englisher and Aidan, who was her husbands best friend since childhood. Aidan has been in love with her since childhood but she married his best friend. He still carries the strong feelings for her.
Aidan, Caleb and Bess’ best friend since childhood, does his best to repress his guilt over Caleb’s passing. Try as he might, he blames himself for sending him into town that tragic day. He promises on Caleb’s dying breath to watch over Bess and their unborn child. He tries to make that a reality but his long standing feelings for Bess start to get in the way.
Bess tries to find her way working in a B and B in town. When the rumor mill runs wild with stories of her and the English owner’s son, she has to begin to face reality instead of living in her own world of grief. She soon learns to rely on a group of widows in her community. The guidance and love that they giver her along with Aiden’s unyielding support soon give Bess hope that there might be a future for her and young Joshua after all.
Kelly really has a way with bringing her characters to life. The reader is quickly drawn in as the characters are so easy to identify with and root for in their quest for happiness. I really enjoyed the many strong female voices in the book. The group of supporting widows that reached out to young Bess was easy to connect with and understand their loss and struggle with their own stories. Even though at first I was not a Mattie fan, my heart began to ache for her and the fact that Soloman left his wife’s dementia untreated for so long. The author did an excellent job delicately working Mattie’s tale into the story, although I hoped that in the epilogue she would have found treatment and possibly have recovered.
Kelly Irvin's writing is easy to follow. Intriguing, clean, and charming. The charcaters are believable. Their life situations are realistic. I was able to connect with both characters. Loss, grief, love, and faith are themes commonly found on every page.
I received an ARC from Thomas Nelson and Zondervan via NetGalley in exchange for an honest review.
Aidan, Caleb and Bess’ best friend since childhood, does his best to repress his guilt over Caleb’s passing. Try as he might, he blames himself for sending him into town that tragic day. He promises on Caleb’s dying breath to watch over Bess and their unborn child. He tries to make that a reality but his long standing feelings for Bess start to get in the way.
Bess tries to find her way working in a B and B in town. When the rumor mill runs wild with stories of her and the English owner’s son, she has to begin to face reality instead of living in her own world of grief. She soon learns to rely on a group of widows in her community. The guidance and love that they giver her along with Aiden’s unyielding support soon give Bess hope that there might be a future for her and young Joshua after all.
Kelly really has a way with bringing her characters to life. The reader is quickly drawn in as the characters are so easy to identify with and root for in their quest for happiness. I really enjoyed the many strong female voices in the book. The group of supporting widows that reached out to young Bess was easy to connect with and understand their loss and struggle with their own stories. Even though at first I was not a Mattie fan, my heart began to ache for her and the fact that Soloman left his wife’s dementia untreated for so long. The author did an excellent job delicately working Mattie’s tale into the story, although I hoped that in the epilogue she would have found treatment and possibly have recovered.
Kelly Irvin's writing is easy to follow. Intriguing, clean, and charming. The charcaters are believable. Their life situations are realistic. I was able to connect with both characters. Loss, grief, love, and faith are themes commonly found on every page.
I received an ARC from Thomas Nelson and Zondervan via NetGalley in exchange for an honest review.
Gareth von Kallenbach (965 KP) rated Equity (2016) in Movies
Jul 15, 2019
Today’s movie for your consideration is from the same selection of films you’d find ‘The Boiler Room’ with only this one is far more ‘reality based’. A financial thriller depicting the cutthroat and take-no-prisoners world of investment banking and Wall Street. ‘Equity’ is directed by Meera Menon and written by Sarah Megan Thomas, Alysia Renier, and Amy Fox. The film centers on investment banker, Naomi Bishop who is attempting to put together one of the biggest deals in her life and Wall Street history after her first ‘failure’, while combating rivals in and outside her own company, across gender lines, and a federal investigation focusing on someone she knows intimately … Or so she thinks.
‘Equity’ appeared in competition at the 2016 Sundance Film Festival and stars Anna Gunn, Sarah Megan Thomas, Alysia Renier, James Purefoy, Sophie Von Haselburg, Margret Colin, Lee Tergesen, and Craig Bierko.
Investment banker Naomi Bishop (Anna Gunn) was one of the most successful investment bankers on Wall Street. She was unstoppable. Until she lost her first deal. Well into her career, she is striving to keep her reputation intact as a ‘rain maker’. The one in her company that secures the deal every time and brings record profits for her company in the process. In jeopardy of missing out on a promotion, she pours all her effort into her latest deal and in the process passes over her assistant Erin Manning (Sarah Megan Thomas) for a promotion. An eager young woman with a new husband and a baby on the way, Erin also strives to break through the ‘gender lines’ that still exist and make her on mark on Wall Street. At the same time Samantha (Alysia Reiner), an investigator who has recently made the jump from investigating federal drug cases to white collar crime, is looking into the activities of investment banker Micheal Connor (James Purefoy). Who may or may not be with the same firm as Naomi Bishop and also Naomi’s significant other . Bishop soon discovers the tangled web centering on this latest deal and soon realizes that not only might she have been betrayed, but it might have been from more than one of the people she ‘almost trusts’.
I found this film to be very much an example of the chaos in the world of finance as well as the personal lives that people in this field may or may not have and the dangers posed when you become friends or close to others in said field. A great deal, no pun intended, hinges on this world. The ‘average person’s’ future can be decided here and they have absolutely no control over it and all the while you have these folks bickering amongst themselves and scrambling for every dollar. Sometimes breaking the law in the process and sometimes with no regard as to whether it affects those closest to them. It is indeed chaos in a purer form with no ‘happy ending’ and no ‘bad ending’. It’s a multi-billion dollar game of musical chairs with chairs and people being removed.
The film is ‘realistic’. As far as what we, outside that world, see it as. It’s all a numbers game with the potential for great profit or great lose to them. Your friends and those you trust will turn on you like that. They care about the money and the next big deal. People just fall by the waist side. It’s a rather refreshing take on ‘greed and ambition’. I give this film 4 out of 5 stars.
‘Equity’ appeared in competition at the 2016 Sundance Film Festival and stars Anna Gunn, Sarah Megan Thomas, Alysia Renier, James Purefoy, Sophie Von Haselburg, Margret Colin, Lee Tergesen, and Craig Bierko.
Investment banker Naomi Bishop (Anna Gunn) was one of the most successful investment bankers on Wall Street. She was unstoppable. Until she lost her first deal. Well into her career, she is striving to keep her reputation intact as a ‘rain maker’. The one in her company that secures the deal every time and brings record profits for her company in the process. In jeopardy of missing out on a promotion, she pours all her effort into her latest deal and in the process passes over her assistant Erin Manning (Sarah Megan Thomas) for a promotion. An eager young woman with a new husband and a baby on the way, Erin also strives to break through the ‘gender lines’ that still exist and make her on mark on Wall Street. At the same time Samantha (Alysia Reiner), an investigator who has recently made the jump from investigating federal drug cases to white collar crime, is looking into the activities of investment banker Micheal Connor (James Purefoy). Who may or may not be with the same firm as Naomi Bishop and also Naomi’s significant other . Bishop soon discovers the tangled web centering on this latest deal and soon realizes that not only might she have been betrayed, but it might have been from more than one of the people she ‘almost trusts’.
I found this film to be very much an example of the chaos in the world of finance as well as the personal lives that people in this field may or may not have and the dangers posed when you become friends or close to others in said field. A great deal, no pun intended, hinges on this world. The ‘average person’s’ future can be decided here and they have absolutely no control over it and all the while you have these folks bickering amongst themselves and scrambling for every dollar. Sometimes breaking the law in the process and sometimes with no regard as to whether it affects those closest to them. It is indeed chaos in a purer form with no ‘happy ending’ and no ‘bad ending’. It’s a multi-billion dollar game of musical chairs with chairs and people being removed.
The film is ‘realistic’. As far as what we, outside that world, see it as. It’s all a numbers game with the potential for great profit or great lose to them. Your friends and those you trust will turn on you like that. They care about the money and the next big deal. People just fall by the waist side. It’s a rather refreshing take on ‘greed and ambition’. I give this film 4 out of 5 stars.
Gareth von Kallenbach (965 KP) rated the PlayStation 4 version of Bulletstorm: Full Clip Edition in Video Games
Jun 19, 2019
When it was first released in 2011; Bulletstorm earned solid reviews and became a cult hit in large part to the over the top action and winning mix of characters, settings, and humor. Sadly though the game never did sell that well which made it a commercial failure and pretty much ended any hopes for a sequel.
Thankfully the developer People Can Fly has teamed with Gearbox to bring us Bulletstorm: Full Clip Edition which returns the game with upgraded graphics and framerates to let it take advantage of the new generation of gaming platforms, as well as the ability to play the campaign and online content as Duke Nukem.
Bulletstorm: Full Clip Edition combines action, humor, and enjoyable gameplay to create a winning product. The game was tells the story of privateer Grayson Hunt who has spent the last ten years of his life on a mission of revenge against a corrupt general who has wronged him and his crew. When the opportunity for revenge arises, Grayson crashes his own ship in order to bring the generals ship down which strands them on the hostile world of Stygia. Stygia used to be a resort world and now scores of mutants, monsters, dangerous plants, and more roam the landscape making short work of all they encounter.
With his friend Sato in need of medical care following the crash, Grayson and Sato set out to find the general in order to get off the planet and to get Sato proper medical care less his cyborg implants take over his body. Along the way Grayson and Sato must face many challenges and battle against never ending hordes of bad guys. Thankfully they have some awesome firepower at their disposal ranging from shotguns to assault rifles as well as sniper rifles and rocket launchers. The game requires players to purchase new weapons and ammo as well as the ability to upgrade your weapons from dropships which are scattered throughout the landscape.
The more bad guys you dispatch and the more creative you are with your kills earns you more points to spend on your arsenal. One of my favorite weapons is the sniper rifle which allows you to steer your fired shot into your enemies, which comes in handy considering how much cover they like to take. Should you run out of ammo, you can always send a bad guy flying, thanks to a kick from Grayson who has no issue with kicking hordes of bad guys into various obstacles. The game awards you for being creative with your kills like kicking someone to impale them on an object which gets you a Voodoo Doll reward as does sending an enemy into an electrical field or sending them into the jaws of a deadly plant.
There are so many ways to take out enemies half the fun is finding out new ways to do so. I also liked being able to supercharge my weapon and vaporize any underlings that got in my way. The game also allows players a leash which fires an electrical tether to manipulate objects. I love latching onto enemies and pulling them into harms way, or towards me so I could kick them into harms way, or unleash a fury of bullets upon them.
The graphics of the game are solid as the Unreal engine has taken what was a great looking game and made it look even better and has brought it up to modern standards even in areas where the graphics may seem a bit dated. From scenic landscapes to epic monsters the game deftly handles them all. An early chase from a gigantic mining wheel is still awesome as it encompasses the depth of the landscape and surroundings of Stygia. The language in the game is very sharp. Characters will unleash salvos of profanity that would make a drill sergeant cringe, but they are often done in very funny and unique combinations.
The multiplay modes of the game shine as well. You can really enjoy teaming up for unique kills. The control system of the game is good as I was easily able to move between movement and fire modes without any issues which allowed me to concentrate on the game and its challenges rather than having to fight a control system. Bulletstorm is also very clever with the locations of the game as one minute I am flying in an airship taking on a gigantic creature whereas another time I was guiding a giant robotic dinosaur through an amusement park to dispatch the bad guys. I also enjoy playing the Echoes mode which requires players to complete various locales and creatively dispatching enemies to earn points which will unlock new levels.
Being able to play as Duke Nukem in both the campaign and online was fun as it allowed me to experience the game from a new perspective and it is always great to see Duke in action.
From the winning mix of action and humor to the numerous variations the gameplay offers Bulletstorm is a winner from top to bottom. Some may find the solo play campaign a bit short and may say that some of the boss battles were overly tricky. I prefer to see the game as a great action romp which is set up perfectly for a sequel and is still one of the best action shooters in recent history.
http://sknr.net/2017/04/10/bulletstorm-full-cliip-edition/
Thankfully the developer People Can Fly has teamed with Gearbox to bring us Bulletstorm: Full Clip Edition which returns the game with upgraded graphics and framerates to let it take advantage of the new generation of gaming platforms, as well as the ability to play the campaign and online content as Duke Nukem.
Bulletstorm: Full Clip Edition combines action, humor, and enjoyable gameplay to create a winning product. The game was tells the story of privateer Grayson Hunt who has spent the last ten years of his life on a mission of revenge against a corrupt general who has wronged him and his crew. When the opportunity for revenge arises, Grayson crashes his own ship in order to bring the generals ship down which strands them on the hostile world of Stygia. Stygia used to be a resort world and now scores of mutants, monsters, dangerous plants, and more roam the landscape making short work of all they encounter.
With his friend Sato in need of medical care following the crash, Grayson and Sato set out to find the general in order to get off the planet and to get Sato proper medical care less his cyborg implants take over his body. Along the way Grayson and Sato must face many challenges and battle against never ending hordes of bad guys. Thankfully they have some awesome firepower at their disposal ranging from shotguns to assault rifles as well as sniper rifles and rocket launchers. The game requires players to purchase new weapons and ammo as well as the ability to upgrade your weapons from dropships which are scattered throughout the landscape.
The more bad guys you dispatch and the more creative you are with your kills earns you more points to spend on your arsenal. One of my favorite weapons is the sniper rifle which allows you to steer your fired shot into your enemies, which comes in handy considering how much cover they like to take. Should you run out of ammo, you can always send a bad guy flying, thanks to a kick from Grayson who has no issue with kicking hordes of bad guys into various obstacles. The game awards you for being creative with your kills like kicking someone to impale them on an object which gets you a Voodoo Doll reward as does sending an enemy into an electrical field or sending them into the jaws of a deadly plant.
There are so many ways to take out enemies half the fun is finding out new ways to do so. I also liked being able to supercharge my weapon and vaporize any underlings that got in my way. The game also allows players a leash which fires an electrical tether to manipulate objects. I love latching onto enemies and pulling them into harms way, or towards me so I could kick them into harms way, or unleash a fury of bullets upon them.
The graphics of the game are solid as the Unreal engine has taken what was a great looking game and made it look even better and has brought it up to modern standards even in areas where the graphics may seem a bit dated. From scenic landscapes to epic monsters the game deftly handles them all. An early chase from a gigantic mining wheel is still awesome as it encompasses the depth of the landscape and surroundings of Stygia. The language in the game is very sharp. Characters will unleash salvos of profanity that would make a drill sergeant cringe, but they are often done in very funny and unique combinations.
The multiplay modes of the game shine as well. You can really enjoy teaming up for unique kills. The control system of the game is good as I was easily able to move between movement and fire modes without any issues which allowed me to concentrate on the game and its challenges rather than having to fight a control system. Bulletstorm is also very clever with the locations of the game as one minute I am flying in an airship taking on a gigantic creature whereas another time I was guiding a giant robotic dinosaur through an amusement park to dispatch the bad guys. I also enjoy playing the Echoes mode which requires players to complete various locales and creatively dispatching enemies to earn points which will unlock new levels.
Being able to play as Duke Nukem in both the campaign and online was fun as it allowed me to experience the game from a new perspective and it is always great to see Duke in action.
From the winning mix of action and humor to the numerous variations the gameplay offers Bulletstorm is a winner from top to bottom. Some may find the solo play campaign a bit short and may say that some of the boss battles were overly tricky. I prefer to see the game as a great action romp which is set up perfectly for a sequel and is still one of the best action shooters in recent history.
http://sknr.net/2017/04/10/bulletstorm-full-cliip-edition/
Acanthea Grimscythe (300 KP) rated Repo! The Genetic Opera (2008) in Movies
May 12, 2018
Contains spoilers, click to show
Repo! The Genetic Opera is perhaps one of the most underrated films I’ve ever watched. The first time I watched it was at the behest of the elder of my younger brothers during my senior year of high school. At that time, I thought it was alright. The characters were hauntingly beautiful and the costumes delightfully dark, but beyond its appeal to my horror loving heart, I had little interest in re-watching it. The other day, I was browsing Shudder and came across it and decided to watch it for the sake of nostalgia. It was then that I picked up on the parody that my seventeen-year-old self missed entirely: for-profit healthcare.
Repo! takes place in 2056, where a planet-wide organ failure epidemic has led to drastic measures. In a time of need, a company by the name of GeneCo has come to the rescue. Offering payment plans to those that cannot afford their new organs, GeneCo saves the lives of those unfortunate souls. But what happens when they can’t meet their payments? Well, that’s what repo men are for, isn’t it?
So where does the parody come in? A similar system already exists in the way the American health care system is presently structured with its for-profit health insurance. Most insurance companies, like GeneCo, are not there for the benefit of their consumers, but for the filling of their pockets. As long as you can pay the premium (or the payment), your coverage remains intact and you’re able to get treatment and medication (or keep your organs in the world of Repo!). The moment you’re not able to do that, your coverage is often revoked (or your organs are repossessed). Of course, in the real world, this isn’t as brutal as it is in Repo! At least, not in most cases, but it can be just as scary. For myself, it’s often quite terrifying as I struggle to stay in remission from ulcerative pancolitis.
Moving on from the parody, there are other aspects of the movie that I feel are also accurate representations of today’s society – things that I feel Repo! was a bit ahead of its time on. The Largo family seems to represent the manner by which the wealthy feed upon the powerlessness of the poor. Also, am I the only one that, upon re-watching this film, can’t help but think of Trump when I’m looking at Rotti Largo? As a villain, Rotti is largely incompetent. He uses others to do what he can’t and often resorts to bullying to get what he wants, as can be seen in the blood contract with Blind Mag. Another example is how he manipulated Nathan and later Shiloh to break and control them, in hopes of controlling them. While it worked for the former of the two, Shiloh was not susceptible to his manipulation – yet another reference to something we’re seeing in today’s society in regards to Shiloh’s generation (that is present-day millennials) and the older generation, which is more mixed politically.
I think it’s also important that we take a moment to focus on Shiloh as a character. She is, perhaps, my least favorite character in this film. Then again, she was also in her rebellious teenage years and was, naturally, horrendously stereotyped. She loathed her father for keeping her bound to her room, even though she understood why and, even when she found out his sins and the lies he told her, she failed to turn against him – paying homage to the saying that “blood is thicker than water.” The end comics only state that she went into hiding, hinting that she was never to be heard from again – which is a shame. I’d like to think she’d become an activist, but… I guess that wasn’t her future.
One of my favorite things about this musical is the haunting and unearthly qualities that linger around Blind Mag and the Graverobber. This is a film I will watch again and again, even if others loathe it for being campy and over the top. In fact, I plan to show it to my Dad’s girlfriend’s kid.
Repo! takes place in 2056, where a planet-wide organ failure epidemic has led to drastic measures. In a time of need, a company by the name of GeneCo has come to the rescue. Offering payment plans to those that cannot afford their new organs, GeneCo saves the lives of those unfortunate souls. But what happens when they can’t meet their payments? Well, that’s what repo men are for, isn’t it?
So where does the parody come in? A similar system already exists in the way the American health care system is presently structured with its for-profit health insurance. Most insurance companies, like GeneCo, are not there for the benefit of their consumers, but for the filling of their pockets. As long as you can pay the premium (or the payment), your coverage remains intact and you’re able to get treatment and medication (or keep your organs in the world of Repo!). The moment you’re not able to do that, your coverage is often revoked (or your organs are repossessed). Of course, in the real world, this isn’t as brutal as it is in Repo! At least, not in most cases, but it can be just as scary. For myself, it’s often quite terrifying as I struggle to stay in remission from ulcerative pancolitis.
Moving on from the parody, there are other aspects of the movie that I feel are also accurate representations of today’s society – things that I feel Repo! was a bit ahead of its time on. The Largo family seems to represent the manner by which the wealthy feed upon the powerlessness of the poor. Also, am I the only one that, upon re-watching this film, can’t help but think of Trump when I’m looking at Rotti Largo? As a villain, Rotti is largely incompetent. He uses others to do what he can’t and often resorts to bullying to get what he wants, as can be seen in the blood contract with Blind Mag. Another example is how he manipulated Nathan and later Shiloh to break and control them, in hopes of controlling them. While it worked for the former of the two, Shiloh was not susceptible to his manipulation – yet another reference to something we’re seeing in today’s society in regards to Shiloh’s generation (that is present-day millennials) and the older generation, which is more mixed politically.
I think it’s also important that we take a moment to focus on Shiloh as a character. She is, perhaps, my least favorite character in this film. Then again, she was also in her rebellious teenage years and was, naturally, horrendously stereotyped. She loathed her father for keeping her bound to her room, even though she understood why and, even when she found out his sins and the lies he told her, she failed to turn against him – paying homage to the saying that “blood is thicker than water.” The end comics only state that she went into hiding, hinting that she was never to be heard from again – which is a shame. I’d like to think she’d become an activist, but… I guess that wasn’t her future.
One of my favorite things about this musical is the haunting and unearthly qualities that linger around Blind Mag and the Graverobber. This is a film I will watch again and again, even if others loathe it for being campy and over the top. In fact, I plan to show it to my Dad’s girlfriend’s kid.
Hadley (567 KP) rated Handbook of Paranormal Powers in Books
Jun 2, 2019
I have always believed in the paranormal, but I am careful not to take everything at face value. When I picked up this book, I unfortunately took it at its face value, thinking that it was about how people developed these paranormal abilities and the things that they achieved with them.
But this book seems to have been written by a skeptic that disguised it as a book from a believer in the paranormal, which to say is a pretty clever way to sell a book when the belief in the paranormal is at an all time high. The author spends much of the book detailing people who have exhibited paranormal abilities just to quickly tear them down. I will say that Brian Haughton did a wonderful job on researching for this book, bringing up not only the history of paranormal abilities, but also self proclaimed psychics that readers may not have even heard of, such as Florence Cook, who had her abilities tested by none other than William Crookes( the discoverer of the element thallium).
Haughton's 'Handbook of Paranormal Powers' should have been titled something else, mostly because it's a history lesson in ESP and also, obviously, from the point-of-view of a skeptic. Yet, it doesn't lack for reading by believers; one such part I found interesting was a part on dowsing- the supernatural ability to find hidden objects, substances, geographic features, or sometimes even people- which you may have seen someone doing by holding two rods to find underground water. This part was about when dowsing became popular in the seventeenth-century France, and was being considered 'evil': ". . .with the dowser Baroness de Beausoleil and her husband, a mining expert, journeying across Europe and allegedly locating ore deposits of iron, gold, and silver. The couple established a thriving mineral company, but when their methods of locating metal ores became known they were accused of practicing the 'black arts' and imprisoned for the rest of their lives. " Readers learn that it wasn't until the nineteenth century, with the rise of spiritualism, that dowsing was no longer considered 'evil.'
Another one that interested me concerned the comedian Andy Kaufman, and his pursuit to rid himself of a rare lung cancer with psychic healing: "In March 1984, US comedian Andy Kaufman traveled to the Philippines for a six- week course of psychic surgery after being diagnosed with a rare lung cancer. The surgeon, Jun Labo, performed the operation, and claimed that he had removed large cancerous tumors from Kaufman's body. On May 16, 1984, Kaufman died from renal failure as a consequence of a metastatic lung cancer. "
I hate, but also love this book, not because Haughton backs up all of the skeptic claims with scientific research and tests, but because he claimed this to be a handbook or paranormal powers. If you glance at the cover, just below the title is: 'discover the secrets of mind readers, mediums, and more' - this can be taken that it's written by someone who believes in the paranormal, as well as someone who may have had personal experiences with the unknown, but with that said, I did learn a lot about the history of paranormal powers as well as people I had never heard of.
To prove the skepticism in Haughton's writing, we can turn to page 173, where he writes about how to test whether or not a self-proclaimed psychic surgeon is real. But even before this page and throughout this book, Haughton explains someone doing an extraordinary thing only to quickly explain away why it was fake to begin with. The 'Handbook of Paranormal Powers' reads a lot like a college thesis, that I found myself getting bored with the matter-of-fact tone. Some readers may enjoy reading essay-type books, but for me, it becomes repetitive enough that I don't remember much of the information I had just read.
Also, readers may come away with the feeling that Haughton doesn't care about the slight chance that some paranormal powers may be real, but instead he'd rather read about the scientific facts. I would only recommend this book to people who want to do a light reading on paranormal history, meaning mostly what made headlines in the news. For believers, I would suggest you go elsewhere.
But this book seems to have been written by a skeptic that disguised it as a book from a believer in the paranormal, which to say is a pretty clever way to sell a book when the belief in the paranormal is at an all time high. The author spends much of the book detailing people who have exhibited paranormal abilities just to quickly tear them down. I will say that Brian Haughton did a wonderful job on researching for this book, bringing up not only the history of paranormal abilities, but also self proclaimed psychics that readers may not have even heard of, such as Florence Cook, who had her abilities tested by none other than William Crookes( the discoverer of the element thallium).
Haughton's 'Handbook of Paranormal Powers' should have been titled something else, mostly because it's a history lesson in ESP and also, obviously, from the point-of-view of a skeptic. Yet, it doesn't lack for reading by believers; one such part I found interesting was a part on dowsing- the supernatural ability to find hidden objects, substances, geographic features, or sometimes even people- which you may have seen someone doing by holding two rods to find underground water. This part was about when dowsing became popular in the seventeenth-century France, and was being considered 'evil': ". . .with the dowser Baroness de Beausoleil and her husband, a mining expert, journeying across Europe and allegedly locating ore deposits of iron, gold, and silver. The couple established a thriving mineral company, but when their methods of locating metal ores became known they were accused of practicing the 'black arts' and imprisoned for the rest of their lives. " Readers learn that it wasn't until the nineteenth century, with the rise of spiritualism, that dowsing was no longer considered 'evil.'
Another one that interested me concerned the comedian Andy Kaufman, and his pursuit to rid himself of a rare lung cancer with psychic healing: "In March 1984, US comedian Andy Kaufman traveled to the Philippines for a six- week course of psychic surgery after being diagnosed with a rare lung cancer. The surgeon, Jun Labo, performed the operation, and claimed that he had removed large cancerous tumors from Kaufman's body. On May 16, 1984, Kaufman died from renal failure as a consequence of a metastatic lung cancer. "
I hate, but also love this book, not because Haughton backs up all of the skeptic claims with scientific research and tests, but because he claimed this to be a handbook or paranormal powers. If you glance at the cover, just below the title is: 'discover the secrets of mind readers, mediums, and more' - this can be taken that it's written by someone who believes in the paranormal, as well as someone who may have had personal experiences with the unknown, but with that said, I did learn a lot about the history of paranormal powers as well as people I had never heard of.
To prove the skepticism in Haughton's writing, we can turn to page 173, where he writes about how to test whether or not a self-proclaimed psychic surgeon is real. But even before this page and throughout this book, Haughton explains someone doing an extraordinary thing only to quickly explain away why it was fake to begin with. The 'Handbook of Paranormal Powers' reads a lot like a college thesis, that I found myself getting bored with the matter-of-fact tone. Some readers may enjoy reading essay-type books, but for me, it becomes repetitive enough that I don't remember much of the information I had just read.
Also, readers may come away with the feeling that Haughton doesn't care about the slight chance that some paranormal powers may be real, but instead he'd rather read about the scientific facts. I would only recommend this book to people who want to do a light reading on paranormal history, meaning mostly what made headlines in the news. For believers, I would suggest you go elsewhere.
Kirk Bage (1775 KP) rated The Midnight Sky (2020) in Movies
Jan 22, 2021
As a movie star, which, let’s face it, is George Clooney’s main and best job, we haven’t seen the guy for four years, since the largely underwhelming Money Monster. And, as a director, you’d be forgiven for thinking he hasn’t done anything for years, so unmemorable was 2017’s Suburbicon, with Matt Damon. It is a worrying trend of his entire career, that despite some genuine gold, and even a few diamonds here and there over the years, there are way more duds, with large pockets of “meh” thrown in.
The Netflix original movie The Midnight Sky was never going to be met with very high expectations, therefore. Although, it is testament to gorgeous George’s allure that we are still curious to at least see for ourselves what all the poor reviews are about. It seemed to be unanimous around the big voices that the main issue is that “nothing happens”. This does not worry me normally, as it quite often demonstrates how a 2020s audience, especially a Netflix one, has the attention span of a hungry vole in search of a fast worm followed by a quick nap! Patient story building and minimalism are not well regarded any more in the main. And that is a big problem for this film in finding an appreciative audience.
Clooney himself pitched it as Gravity meets The Revenant. Now, what you have done there, George, is set yourself up to be compared to two works of relative genius, both with far bigger budgets and the actual big screen in mind, not the “yes, it’s still a movie, but it is made for TV and phones” phenomenon. So it is bound to suffer in any critique. It didn’t stand a chance.
OK, it is ponderously slow. Fact. And there are moments when staring at Clooney’s extremely compelling beard is the most interesting thing to do with your brain or eyes in that moment. But to say nothing happens is erroneously unfair – Augustine is dying, and alone, in a world that has destroyed itself in an unspecified way. As he navigates a nightmare landscape of ice and his own diminishing sanity his subconscious creates an ethereal presence to guide him to his “essential” purpose: getting a message to a distant space station not to return to Earth under any circumstances.
Whilst not remotely original, and borrowing from the previously specified references in big, obvious ways (as well as Solaris, which GC didn’t mention, but its influence is apparent, both the Soderburgh and Tarkovsky versions), the heart of the idea isn’t anywhere near as weak as the naysayers would have you believe. If, in fact, you tune in to Clooney’s fine, sensitive performance, whilst reading between the lines of emotion and meaning, it is quite a satisfying tale. Yes, with a lot of problems, not least of all in momentum and the excitement you might expect from a sci-fi. But it isn’t “bad”, per se. Merely ponderous.
As for those up in space, including the always watchable and wonderful Felicity Jones, David Oyelowo, and Kyle Chandler, their lot is much more difficult than the Earthbound sequences. Caught between budget CGI and sets, and trapped in recreations of better space films, they simply don’t have the script to create any atmosphere or chemistry between themselves. Including an excruciating sing-along sequence that serves no purpose other than to make you cringe! The shame then is that we never feel like they are worth saving, which makes Augustine’s efforts feel futile and hollow – maybe something Clooney as director wanted to convey… but he shouldn’t have done it by making us care absolutely zero about those being saved.
Ultimately, it is an admirable failure in many ways, and not worth an earnest recommendation. It is another flop for Clooney as director. But there is just enough beauty and fragility in what Clooney is doing as an actor to make it far from a complete waste of time. Yes, it is a further example of Netflix producing something that feels churned out and corner cutting, rather than a fully rounded work that has all the framework a big cinema release would receive. It just isn’t quite as bad as the reviews suggest.
The Netflix original movie The Midnight Sky was never going to be met with very high expectations, therefore. Although, it is testament to gorgeous George’s allure that we are still curious to at least see for ourselves what all the poor reviews are about. It seemed to be unanimous around the big voices that the main issue is that “nothing happens”. This does not worry me normally, as it quite often demonstrates how a 2020s audience, especially a Netflix one, has the attention span of a hungry vole in search of a fast worm followed by a quick nap! Patient story building and minimalism are not well regarded any more in the main. And that is a big problem for this film in finding an appreciative audience.
Clooney himself pitched it as Gravity meets The Revenant. Now, what you have done there, George, is set yourself up to be compared to two works of relative genius, both with far bigger budgets and the actual big screen in mind, not the “yes, it’s still a movie, but it is made for TV and phones” phenomenon. So it is bound to suffer in any critique. It didn’t stand a chance.
OK, it is ponderously slow. Fact. And there are moments when staring at Clooney’s extremely compelling beard is the most interesting thing to do with your brain or eyes in that moment. But to say nothing happens is erroneously unfair – Augustine is dying, and alone, in a world that has destroyed itself in an unspecified way. As he navigates a nightmare landscape of ice and his own diminishing sanity his subconscious creates an ethereal presence to guide him to his “essential” purpose: getting a message to a distant space station not to return to Earth under any circumstances.
Whilst not remotely original, and borrowing from the previously specified references in big, obvious ways (as well as Solaris, which GC didn’t mention, but its influence is apparent, both the Soderburgh and Tarkovsky versions), the heart of the idea isn’t anywhere near as weak as the naysayers would have you believe. If, in fact, you tune in to Clooney’s fine, sensitive performance, whilst reading between the lines of emotion and meaning, it is quite a satisfying tale. Yes, with a lot of problems, not least of all in momentum and the excitement you might expect from a sci-fi. But it isn’t “bad”, per se. Merely ponderous.
As for those up in space, including the always watchable and wonderful Felicity Jones, David Oyelowo, and Kyle Chandler, their lot is much more difficult than the Earthbound sequences. Caught between budget CGI and sets, and trapped in recreations of better space films, they simply don’t have the script to create any atmosphere or chemistry between themselves. Including an excruciating sing-along sequence that serves no purpose other than to make you cringe! The shame then is that we never feel like they are worth saving, which makes Augustine’s efforts feel futile and hollow – maybe something Clooney as director wanted to convey… but he shouldn’t have done it by making us care absolutely zero about those being saved.
Ultimately, it is an admirable failure in many ways, and not worth an earnest recommendation. It is another flop for Clooney as director. But there is just enough beauty and fragility in what Clooney is doing as an actor to make it far from a complete waste of time. Yes, it is a further example of Netflix producing something that feels churned out and corner cutting, rather than a fully rounded work that has all the framework a big cinema release would receive. It just isn’t quite as bad as the reviews suggest.
Gareth von Kallenbach (965 KP) rated Spider-Man 2 (2004) in Movies
Aug 14, 2019
There comes a time in every young persons life where they have to make a series of decisions regarding their future. For many the pressures of finance, school, work, and ever-changing social dynamic force individuals to take a look at their values and what is important, adjusting their lives as needed.
For many this is a difficult situation that is often accomplished through trial and error marking the difficult transition into adulthood. For Peter Parker (Tobey Maguire), the added pressure of dealing with his dual identity of Spider-Man has driven him to the edge.
Since Peter spends his evenings scouring New York fighting crime, his college studies and job have become seriously neglected. With difficulties paying the bills and making it to class and work on time, Peter has become weary of his life, as Spider-Man has made it close to impossible for him to lead any semblance of normality.
Further hindering Peter’s life is his strong feelings for Mary Jane Watson (Kirsten Dunst), who he keeps at a distance to protect her from reprisals from enemies of his alter ego, though it is causing him endless emotional turmoil to do so.
Faced with losing the woman of his dreams and his lives goals, Peter decides to abandon his alter ego and live life as a normal person allowing his energies to be focused on his studies and pursuit of science.
Peter’s new found freedom is interrupted by the emergence of a new villain named Dr. Octopus (Alfred Molina), who is a brilliant scientist turned evil as a result of an experiment gone awry. The Doctor has four metallic limbs grafted to his body and is capable of amazing feats of strength and copious amounts of destruction and mayhem due to his unrestrained madness.
The cause of the good doctors wrath is to complete the experiment that disabled him and avenge the loss of his wife in the accident that created him. Towards that end, the Doctor needs an abundance of financial assets and a rare fuel source that can only be provided by his former employer Harry Osborn (James Franco). Harry is only to happy to comply as he still blames Spider-Man for the death of his father in the previous film, and promises to supply the Doctor if he delivers Spider-Man to him. The recent failure of the Doctors experiment, have pushed Norman to the edge as what was to be a shining achievement for the company has now left him reeling and looking for answers, straining his relationship with Peter and Mary Jane.
What follows is a wild ride of action, romance, drama, and comedy as the tangled web that is Peter Parker’s life unfolds and it is one wild ride.
“Spider-Man 2” is a solid film that will delight fans of the first film as well as the comic and will provide a welcome presence at the theaters this Summer from the flock of big budget disappointments that have been the norm.
Sam Raimi paces the film at a slow pace to start with and allows the action and pace of the film to unfold. The film never seems in your face as despite the intense action sequences, the film remains a character driven piece as the relationship between Peter and those he cares for are central elements to the film.
As adventure films go, “Spider-Man 2” has a very complex storyline as several mature issues are developed and explored which helps round out the characters from comic book icons to people that you actually care about.
If I had to find fault with the film, and it would be nitpicking, would be that Doctor Octopus did not stand out as menacing a threat as The Green Goblin did in the last film, as he does not embody the same level of fear and evil. That being said, Maguire is amazing as he does a great job of making Peter a realistic character by showing the audience the pain and conflict as well as the joy that Peter experiences being Spider-Man.
The special effects are amazing but never overshadow the human performance and tone of the film, as after all, this is still a story about a regular guy, with regular problems and extraordinary abilities that are part gift and part curse.
The supporting work of Franco and Dunst is solid and there chemistry amongst the leads is evident. The ending of the film sets the stage perfectly for the next chapter in the series and here is hoping that the winning formula continues as “Spider-Man 2” is not only the best comic inspired film ever made, but one of the best films of the year.
For many this is a difficult situation that is often accomplished through trial and error marking the difficult transition into adulthood. For Peter Parker (Tobey Maguire), the added pressure of dealing with his dual identity of Spider-Man has driven him to the edge.
Since Peter spends his evenings scouring New York fighting crime, his college studies and job have become seriously neglected. With difficulties paying the bills and making it to class and work on time, Peter has become weary of his life, as Spider-Man has made it close to impossible for him to lead any semblance of normality.
Further hindering Peter’s life is his strong feelings for Mary Jane Watson (Kirsten Dunst), who he keeps at a distance to protect her from reprisals from enemies of his alter ego, though it is causing him endless emotional turmoil to do so.
Faced with losing the woman of his dreams and his lives goals, Peter decides to abandon his alter ego and live life as a normal person allowing his energies to be focused on his studies and pursuit of science.
Peter’s new found freedom is interrupted by the emergence of a new villain named Dr. Octopus (Alfred Molina), who is a brilliant scientist turned evil as a result of an experiment gone awry. The Doctor has four metallic limbs grafted to his body and is capable of amazing feats of strength and copious amounts of destruction and mayhem due to his unrestrained madness.
The cause of the good doctors wrath is to complete the experiment that disabled him and avenge the loss of his wife in the accident that created him. Towards that end, the Doctor needs an abundance of financial assets and a rare fuel source that can only be provided by his former employer Harry Osborn (James Franco). Harry is only to happy to comply as he still blames Spider-Man for the death of his father in the previous film, and promises to supply the Doctor if he delivers Spider-Man to him. The recent failure of the Doctors experiment, have pushed Norman to the edge as what was to be a shining achievement for the company has now left him reeling and looking for answers, straining his relationship with Peter and Mary Jane.
What follows is a wild ride of action, romance, drama, and comedy as the tangled web that is Peter Parker’s life unfolds and it is one wild ride.
“Spider-Man 2” is a solid film that will delight fans of the first film as well as the comic and will provide a welcome presence at the theaters this Summer from the flock of big budget disappointments that have been the norm.
Sam Raimi paces the film at a slow pace to start with and allows the action and pace of the film to unfold. The film never seems in your face as despite the intense action sequences, the film remains a character driven piece as the relationship between Peter and those he cares for are central elements to the film.
As adventure films go, “Spider-Man 2” has a very complex storyline as several mature issues are developed and explored which helps round out the characters from comic book icons to people that you actually care about.
If I had to find fault with the film, and it would be nitpicking, would be that Doctor Octopus did not stand out as menacing a threat as The Green Goblin did in the last film, as he does not embody the same level of fear and evil. That being said, Maguire is amazing as he does a great job of making Peter a realistic character by showing the audience the pain and conflict as well as the joy that Peter experiences being Spider-Man.
The special effects are amazing but never overshadow the human performance and tone of the film, as after all, this is still a story about a regular guy, with regular problems and extraordinary abilities that are part gift and part curse.
The supporting work of Franco and Dunst is solid and there chemistry amongst the leads is evident. The ending of the film sets the stage perfectly for the next chapter in the series and here is hoping that the winning formula continues as “Spider-Man 2” is not only the best comic inspired film ever made, but one of the best films of the year.
BankofMarquis (1832 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 22, 2019
These X-Men end not with a Bang but with a Whimper
"This is how it ends,not with a bang, but with a whimper".
Running a successful movie franchise is a tricky thing. For every franchise that ends successfully (the original Harry Potter series, the recent Avengers), there are many, many more that just sort of peter out (The Hunger Games, The Maze Runner, every version of Star Trek), and, unfortunately, this run of the X-MEN is finishing up with a look of boredom and disinterest.
And that's too bad for the DARK PHOENIX story line had great, dramatic potential to go with a series of whiz-bang special effect set pieces that should have been spectacular. Telling the tale of erswhile X-Men "hero", Jean Grey, who is turned into a villain and battles her former mates, DARK PHOENIX is filled with missed opportunities.
Let's start with the lackluster Direction and lame script - both by Simon Kinberg - a Producer and sometime writer who is making his Feature Film Directorial debut with this film. He should stay with Producing. His direction is limp and uninspired which fits in well with his uninspiring dialogue and clunky interactions and plot machinations.
At least the top notch actors can save this turkey, right?
Nope. For the most part, they are just as uninspired and mediocre as the direction and writing and that is too bad for they are a strong collection of performers. James McAvoy is just lost as Charles Xavier. I can see the look in his eyes as he is thinking to himself "what is my character trying to do here"? I didn't believe for a second that he believed anything his character was saying and doing. Same goes for the usually reliable Nicholas Hoult as Hank McCoy/Beast. The script has these two at odds with each and they both act these scenes with a "we don't buy this contrived fight either" chagrined look.
The usually reliable Jessica Chastain is wasted as the main villain in this film, a mysterious figure who serves as the anti-Charles Xavier mentor to Jean Grey (Sophie Turner, more on her later). It looks to me that she was given the "George Lucas/Natalie Portman/Star Wars: Episode 1" acting guideline - be one note and monotonous and take out any hint of emotion. Which also takes out any hint of interest.
As for Turner, I'm sorry to say this about an actress that I generally loved in GAME OF THRONES, but she is just plain bad in her role as the conflicted Jean Grey. Her character is torn between the good and the bad, but instead of acting that, she says it over and over again "I don't know what's happening to me", "I feel torn". She (and Director/Writer Kinberg) violate the #1 rule in movies - "Show, don't tell". They "tell" over and over and don't take the time to show. Disappointing wouldn't begin to describe my reaction to Turner's performance.
At least Jennifer Lawrence is there to ground this film and bring some of her star power, right? Nope. She waltzes through the few scenes she has in this film with the look of "I am contractually obligated to be here".
Well...how about Even Peters who was a bit of a breakout as Quicksilver? Nope...they, inexplicably, sideline his character fairly early on in this film.
The only saving grace in this movie is the great Michael Fassbender as Magneto. He was a welcome, charismatic presence in this film that drew my attention - and interest - the second he appeared on screen. It was great to see him and I found myself rooting for him - no matter what. Doesn't matter that Magneto's presence in this film is shoe-horned in. You could take his character out of this film and the outcomes probably wouldn't change a bit. But...I don't care...at least there was someone interesting to watch.
At least there are decent action scenes, right? Nope. Kinberg chooses to use the quick/cut edit confuse the audience style of action to cover mistakes in both choreography and geography and figures a quick cut and an explosion can cover lack of emotional commitment and interesting fight choreography.
This film closes this Chapter on these X-Men and (besides Fassbender and an "AVENGERS ASSEMBLE" moment that was pretty cool) I say good riddance. With Disney's purchase of Fox and Marvel, the X-Men can now be incorporated into the Marvel Cinematic Universe and that can only be an improvement on this.
Letter Grade C+ (Fassbender's performance keeps this from being a total failure)
5 stars out of 10 and you can take that to the Bank(OfMarquis)
Running a successful movie franchise is a tricky thing. For every franchise that ends successfully (the original Harry Potter series, the recent Avengers), there are many, many more that just sort of peter out (The Hunger Games, The Maze Runner, every version of Star Trek), and, unfortunately, this run of the X-MEN is finishing up with a look of boredom and disinterest.
And that's too bad for the DARK PHOENIX story line had great, dramatic potential to go with a series of whiz-bang special effect set pieces that should have been spectacular. Telling the tale of erswhile X-Men "hero", Jean Grey, who is turned into a villain and battles her former mates, DARK PHOENIX is filled with missed opportunities.
Let's start with the lackluster Direction and lame script - both by Simon Kinberg - a Producer and sometime writer who is making his Feature Film Directorial debut with this film. He should stay with Producing. His direction is limp and uninspired which fits in well with his uninspiring dialogue and clunky interactions and plot machinations.
At least the top notch actors can save this turkey, right?
Nope. For the most part, they are just as uninspired and mediocre as the direction and writing and that is too bad for they are a strong collection of performers. James McAvoy is just lost as Charles Xavier. I can see the look in his eyes as he is thinking to himself "what is my character trying to do here"? I didn't believe for a second that he believed anything his character was saying and doing. Same goes for the usually reliable Nicholas Hoult as Hank McCoy/Beast. The script has these two at odds with each and they both act these scenes with a "we don't buy this contrived fight either" chagrined look.
The usually reliable Jessica Chastain is wasted as the main villain in this film, a mysterious figure who serves as the anti-Charles Xavier mentor to Jean Grey (Sophie Turner, more on her later). It looks to me that she was given the "George Lucas/Natalie Portman/Star Wars: Episode 1" acting guideline - be one note and monotonous and take out any hint of emotion. Which also takes out any hint of interest.
As for Turner, I'm sorry to say this about an actress that I generally loved in GAME OF THRONES, but she is just plain bad in her role as the conflicted Jean Grey. Her character is torn between the good and the bad, but instead of acting that, she says it over and over again "I don't know what's happening to me", "I feel torn". She (and Director/Writer Kinberg) violate the #1 rule in movies - "Show, don't tell". They "tell" over and over and don't take the time to show. Disappointing wouldn't begin to describe my reaction to Turner's performance.
At least Jennifer Lawrence is there to ground this film and bring some of her star power, right? Nope. She waltzes through the few scenes she has in this film with the look of "I am contractually obligated to be here".
Well...how about Even Peters who was a bit of a breakout as Quicksilver? Nope...they, inexplicably, sideline his character fairly early on in this film.
The only saving grace in this movie is the great Michael Fassbender as Magneto. He was a welcome, charismatic presence in this film that drew my attention - and interest - the second he appeared on screen. It was great to see him and I found myself rooting for him - no matter what. Doesn't matter that Magneto's presence in this film is shoe-horned in. You could take his character out of this film and the outcomes probably wouldn't change a bit. But...I don't care...at least there was someone interesting to watch.
At least there are decent action scenes, right? Nope. Kinberg chooses to use the quick/cut edit confuse the audience style of action to cover mistakes in both choreography and geography and figures a quick cut and an explosion can cover lack of emotional commitment and interesting fight choreography.
This film closes this Chapter on these X-Men and (besides Fassbender and an "AVENGERS ASSEMBLE" moment that was pretty cool) I say good riddance. With Disney's purchase of Fox and Marvel, the X-Men can now be incorporated into the Marvel Cinematic Universe and that can only be an improvement on this.
Letter Grade C+ (Fassbender's performance keeps this from being a total failure)
5 stars out of 10 and you can take that to the Bank(OfMarquis)
Gareth von Kallenbach (965 KP) rated Seeking a Friend for the End of the World (2012) in Movies
Aug 7, 2019
How many times have you seen this premise played out in film or other forms of entertainment: The world is going to end and there’s one last ditch plan or effort to save it (It inevitably succeeds, of course!); alternatively, the world has ended already and we’re left with post-apocalyptic society picking up the pieces. The premise is everywhere; the fascination with the end of days has been evident throughout our popular culture for decades. Yet, the thing about these two premises is that it avoids a (quite large) important question about the nature of the situation. What if our last ditch effort doesn’t succeed? What if there is no post-apocalyptic setting giving us hope for a re-built future. “Seeking a Friend for the End of the World”, a brand new film directed and written by Lorene Scafaria (“Nick and Nora’s Infinite Playlist”) attempts to focus on that gap often glossed over by apocalyptic fiction. It assumes there is no hope, there is a conclusion, and how do we deal with that?
It’s a comedy drama that pokes fun of the absurdity of a monotonous society coping with the conclusion of all civilization, while interweaving a touching romance between two people with broken pasts and deep regrets. Yet, it is a movie with some notable flaws, mainly in how it focuses its attention.
The premise is fairly simple, and rightly so. There is a large asteroid named “Matilda” barreling towards Earth and its impact will wipe out all life on our beloved planet. The film starts with the announcement that the last chance for Earth’s survival, a space mission to destroy the asteroid, has failed due to a fire on board the vessel. With only three weeks left to live, insurance salesman Dodge Peterson (Steve Carell) must decide how to spend the rest of his life. He decides to chase down an old highschool sweetheart and is accompanied by his neighbor, Penny (Keira Knightley) who wishes to return home to see her family one last time. They meet several characters in their roadtrip journey through pre-apocalyptica, including characters played by Rob Corddry and Martin Sheen.
The simple premise seems familiar due to its subject matter (C’mon, it’s 2012. I’m surprised there hasn’t been even more apocalypse movies flooding the theaters). Yet, strangely it feels fresh simply in how it handles itself. As said, most movies focus on the last daring mission to save mankind from certain destruction, or assumes that certain destruction really isn’t the end. People like to see hope, they don’t want to be confined by fate. This movie takes a different approach. Right off the bat it basically tells you there is zero hope, zero chance of getting out of this mess. Now what do you do? This particular premise lets comedy shine for the first two acts of the movie. There are subtle jokes, like the absurdity of naming a rock about to destroy all of mankind “Matilda”.
There are more traditional joke set-ups, favoring quick joke-punchline material that is mostly laugh-out-loud funny. And there is a fair amount of dark humor, simple funniness in the absurdity of how people treat the end of days. People mowing their lawns, still cleaning houses, even cops who continue to pull people over all poke fun of how people cannot let go of even the most monotonous of tasks that define their lift – regardless of how pointless they are due to the situation. Or the people who just let go and want to spend their last days without care, throwing themselves into orgies, drugs or riots. However, the tone of the drama limits the humor of the movie, favoring those kinds of moderate laughs over hysterical or hilarious moments. That’s the underlying issue of the film: that it feels like the humor is constrained due to fear of it undermining its drama.
Those who expect a comedy movie will only get two-thirds of one. And those who expect a drama movie will get mostly one. By no means does it fail at comedy or drama, but it just does not strike that delicate balance to be both in the same setting. The last act of the movie almost completely drops the comedy in favor of a dramatic and romantic conclusion. It’s not a huge fault, because the writing, and well-paced relationship development between the two main protagonists (Dodge and Penny), means that their inevitable romance seems natural, honest, and believable. The comedy is really only around in the first two thirds of the movie to try and keep your attention away from the obvious conclusion to their story – the fact that they end up together (and, perhaps, another conclusion entirely). So, when it does eventually happen, even though it was obvious from the start that it would, it does feel very endearing. The natural chemistry between Steve Carell and Keira Knightley is quite good, so buying their romance is not difficult in the slightest.
Yet, even still, that underlying issue keeps coming back. The fact that the comedy feels like a tool to facilitate a good dramatic ending ,instead of natural focus of the movie, undermines the experience for those who want to get some laughs. If there was a more natural balance between the romantic elements and comedy elements throughout the whole movie and not just the first two thirds, it could bring forth much more powerful comedy and/or drama. That way those who desire comedy or romance would be delighted to get a good deal of both intertwined.
I commend the film for how it handles the subject matter of inevitability. Even though it pokes fun at absurdity and really garners good laughs, it always has this underlying sense of regret, sadness and dread. You’re always reminded in the back of your mind that the world is going to end, but it does a good enough job pulling you into the characters’ last struggle to piece together their lives after decades of failure and regret that you end up really wanting to see them pull through somehow. Its last act is especially poignant, and definitely emotionally strong. Even though the themes of throwing away your past in favor of a happier future (despite it being such a short future) are not well concealed, they still end up being particularly strong. A film that can really make you appreciate what you have outside the film and the limited time you have left to enjoy it has to be commended for making you think.
“Seeking a Friend for the End of the World” is a fairly powerful romance drama that focuses on how people deal with loss, regret and the prospect of inevitable fate. More importantly, though, is that it focuses on how people can build something profoundly beautiful even in the last moments of their lives – regardless of their pasts or (lack) of future prospects. It has comedy in the movie, but it never really shines nor intertwines with the drama. They almost feel like two separate elements that struggle to mix together. Yet, the comedy is mostly laugh-out-loud funny and the drama is quite poignant and endearing. It definitely had the potential to make us laugh to tears or even bring us to tears through drama, but instead it settles for simply making us laugh and reflect.
It’s a comedy drama that pokes fun of the absurdity of a monotonous society coping with the conclusion of all civilization, while interweaving a touching romance between two people with broken pasts and deep regrets. Yet, it is a movie with some notable flaws, mainly in how it focuses its attention.
The premise is fairly simple, and rightly so. There is a large asteroid named “Matilda” barreling towards Earth and its impact will wipe out all life on our beloved planet. The film starts with the announcement that the last chance for Earth’s survival, a space mission to destroy the asteroid, has failed due to a fire on board the vessel. With only three weeks left to live, insurance salesman Dodge Peterson (Steve Carell) must decide how to spend the rest of his life. He decides to chase down an old highschool sweetheart and is accompanied by his neighbor, Penny (Keira Knightley) who wishes to return home to see her family one last time. They meet several characters in their roadtrip journey through pre-apocalyptica, including characters played by Rob Corddry and Martin Sheen.
The simple premise seems familiar due to its subject matter (C’mon, it’s 2012. I’m surprised there hasn’t been even more apocalypse movies flooding the theaters). Yet, strangely it feels fresh simply in how it handles itself. As said, most movies focus on the last daring mission to save mankind from certain destruction, or assumes that certain destruction really isn’t the end. People like to see hope, they don’t want to be confined by fate. This movie takes a different approach. Right off the bat it basically tells you there is zero hope, zero chance of getting out of this mess. Now what do you do? This particular premise lets comedy shine for the first two acts of the movie. There are subtle jokes, like the absurdity of naming a rock about to destroy all of mankind “Matilda”.
There are more traditional joke set-ups, favoring quick joke-punchline material that is mostly laugh-out-loud funny. And there is a fair amount of dark humor, simple funniness in the absurdity of how people treat the end of days. People mowing their lawns, still cleaning houses, even cops who continue to pull people over all poke fun of how people cannot let go of even the most monotonous of tasks that define their lift – regardless of how pointless they are due to the situation. Or the people who just let go and want to spend their last days without care, throwing themselves into orgies, drugs or riots. However, the tone of the drama limits the humor of the movie, favoring those kinds of moderate laughs over hysterical or hilarious moments. That’s the underlying issue of the film: that it feels like the humor is constrained due to fear of it undermining its drama.
Those who expect a comedy movie will only get two-thirds of one. And those who expect a drama movie will get mostly one. By no means does it fail at comedy or drama, but it just does not strike that delicate balance to be both in the same setting. The last act of the movie almost completely drops the comedy in favor of a dramatic and romantic conclusion. It’s not a huge fault, because the writing, and well-paced relationship development between the two main protagonists (Dodge and Penny), means that their inevitable romance seems natural, honest, and believable. The comedy is really only around in the first two thirds of the movie to try and keep your attention away from the obvious conclusion to their story – the fact that they end up together (and, perhaps, another conclusion entirely). So, when it does eventually happen, even though it was obvious from the start that it would, it does feel very endearing. The natural chemistry between Steve Carell and Keira Knightley is quite good, so buying their romance is not difficult in the slightest.
Yet, even still, that underlying issue keeps coming back. The fact that the comedy feels like a tool to facilitate a good dramatic ending ,instead of natural focus of the movie, undermines the experience for those who want to get some laughs. If there was a more natural balance between the romantic elements and comedy elements throughout the whole movie and not just the first two thirds, it could bring forth much more powerful comedy and/or drama. That way those who desire comedy or romance would be delighted to get a good deal of both intertwined.
I commend the film for how it handles the subject matter of inevitability. Even though it pokes fun at absurdity and really garners good laughs, it always has this underlying sense of regret, sadness and dread. You’re always reminded in the back of your mind that the world is going to end, but it does a good enough job pulling you into the characters’ last struggle to piece together their lives after decades of failure and regret that you end up really wanting to see them pull through somehow. Its last act is especially poignant, and definitely emotionally strong. Even though the themes of throwing away your past in favor of a happier future (despite it being such a short future) are not well concealed, they still end up being particularly strong. A film that can really make you appreciate what you have outside the film and the limited time you have left to enjoy it has to be commended for making you think.
“Seeking a Friend for the End of the World” is a fairly powerful romance drama that focuses on how people deal with loss, regret and the prospect of inevitable fate. More importantly, though, is that it focuses on how people can build something profoundly beautiful even in the last moments of their lives – regardless of their pasts or (lack) of future prospects. It has comedy in the movie, but it never really shines nor intertwines with the drama. They almost feel like two separate elements that struggle to mix together. Yet, the comedy is mostly laugh-out-loud funny and the drama is quite poignant and endearing. It definitely had the potential to make us laugh to tears or even bring us to tears through drama, but instead it settles for simply making us laugh and reflect.