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TravelersWife4Life (31 KP) rated Katherine's Arrangement (Shenandoah Brides #1) in Books
Feb 23, 2021
https://travelingwife4life.wordpress.com/2020/08/05/katherines-arrangement-book-spotlight
Katherine’s Arrangement
by Blossom Turner reminds me very much of a twist on Gone with the Wind for some reason. It is a the first book in a five book series :)
“The reason you feel so close to nature is because God uses creation to speak to people”
After reading the book, I went back and reread it. I liked the book, I really did. I thought that Blossom Turner did a great job showing some of the hardships of life after the Civil War and that her characters show TRUE genuine feelings rather than dumbing them down; It made the book all the more believable. I thought that Katherine shows strength and fortitude to do what was right for her family even though she was not quite happy about it. I also really felt for all that Blossom Turner put Josiah through. I thought he handled everything quite well (mostly) and I liked his maturity in contrast to Katherines. Both characters grew throughout the story and I thought the ending gave a good redeeming quality to both characters.
“The majestic flight of an eagle caught her eye, and she imagined what it would be like to soar high above the complexities of this life – to escape duty and obligation and fly far away from the weight of this decision.”
Blossom Turner writes with detail and imagination that is fun and engaging to read. However, the pace of the story appeared a bit slow and repetitive in places, and things were drawn out a bit more than I thought was necessary. But overall, the story was an interesting read filled with drama, scandal, and forgiveness.
I give this book a 3 out of 5 stars for the creative storyline, the real portrayal of the character's feelings, and for the redemptive story of Christ's forgiveness. I loved Blossom Turner's first book (Anna's Secret) and I will continue to read her books
Katherine’s Arrangement
by Blossom Turner reminds me very much of a twist on Gone with the Wind for some reason. It is a the first book in a five book series :)
“The reason you feel so close to nature is because God uses creation to speak to people”
After reading the book, I went back and reread it. I liked the book, I really did. I thought that Blossom Turner did a great job showing some of the hardships of life after the Civil War and that her characters show TRUE genuine feelings rather than dumbing them down; It made the book all the more believable. I thought that Katherine shows strength and fortitude to do what was right for her family even though she was not quite happy about it. I also really felt for all that Blossom Turner put Josiah through. I thought he handled everything quite well (mostly) and I liked his maturity in contrast to Katherines. Both characters grew throughout the story and I thought the ending gave a good redeeming quality to both characters.
“The majestic flight of an eagle caught her eye, and she imagined what it would be like to soar high above the complexities of this life – to escape duty and obligation and fly far away from the weight of this decision.”
Blossom Turner writes with detail and imagination that is fun and engaging to read. However, the pace of the story appeared a bit slow and repetitive in places, and things were drawn out a bit more than I thought was necessary. But overall, the story was an interesting read filled with drama, scandal, and forgiveness.
I give this book a 3 out of 5 stars for the creative storyline, the real portrayal of the character's feelings, and for the redemptive story of Christ's forgiveness. I loved Blossom Turner's first book (Anna's Secret) and I will continue to read her books
Joe Goodhart (27 KP) rated Rocket: The Blue River Score in Books
Nov 30, 2020
I have to confess: I went into this one with low expectations, largely due to trying to read the previous Rocket outing, Matthew Rosenberg's ROCKET RACCOON: GROUNDED! That book was just depressing as hell, and every character in it just felt wholly out-of-character, as if Rosenberg no flarking clue as to who the characters actually were and how they were SUPPOSED to behave! Fortunately, my pre-"low expectations" were ill-placed, as Trash Panda's outing was as far from the depressing wreck that Rosenberg churned out!
Yes, first and foremost, it was a Rocket Raccoon story, but it was also so much more. It felt not unlike SMOKIN' ACES or SNATCH...only on another planet, with aliens and an augmented raccoon! Writer Al Ewing is clearly a fan of pulp noir novels, and it shows throughout. Ah, if only Marvel would realize what a great film this mini would make!
If you like the wise-cracking, sometimes edgy wit of RR - basically, the RR of the MCU - then this is a book for you! Rocket has a great scheme in here, as well as some good intentions, all of which amounts to a double-cross and an ending that effectively resolves everything with a somewhat bittersweet ending. Bravo, Mr. Ewing! I truly hope Marvel lets him helm another RR solo mini!
And, if that does happen, allowed for another Ewing-helmed outing with RR, I hope that brings along artist Adam Gorham and colorist Michael Garland. Those two brought this fun li'l space heist to life ever so well! I was a big fan of Sara Pichelli's GOTG art for Rocket, but as good as she was, I feel these two were just as good, if not better! Definitely artists (and colorists) to keep an eye out for!
End of the day, you could do a whole lot worse that reading ROCKET: THE BLUE RIVE SCORE. *cough* CIVIL WAR II *cough* Bendis' ALL-NEW X-MEN run *cough cough*
Yes, first and foremost, it was a Rocket Raccoon story, but it was also so much more. It felt not unlike SMOKIN' ACES or SNATCH...only on another planet, with aliens and an augmented raccoon! Writer Al Ewing is clearly a fan of pulp noir novels, and it shows throughout. Ah, if only Marvel would realize what a great film this mini would make!
If you like the wise-cracking, sometimes edgy wit of RR - basically, the RR of the MCU - then this is a book for you! Rocket has a great scheme in here, as well as some good intentions, all of which amounts to a double-cross and an ending that effectively resolves everything with a somewhat bittersweet ending. Bravo, Mr. Ewing! I truly hope Marvel lets him helm another RR solo mini!
And, if that does happen, allowed for another Ewing-helmed outing with RR, I hope that brings along artist Adam Gorham and colorist Michael Garland. Those two brought this fun li'l space heist to life ever so well! I was a big fan of Sara Pichelli's GOTG art for Rocket, but as good as she was, I feel these two were just as good, if not better! Definitely artists (and colorists) to keep an eye out for!
End of the day, you could do a whole lot worse that reading ROCKET: THE BLUE RIVE SCORE. *cough* CIVIL WAR II *cough* Bendis' ALL-NEW X-MEN run *cough cough*
LeftSideCut (3778 KP) rated Captain America: The Winter Soldier (2014) in Movies
Oct 15, 2020
This first sequel to Captain America: The First Avenger is everything a sequel should be. It has bigger and better set pieces, it has a bigger emotional centre, it brings in already established MCU characters and introduces new ones, and is arguably one of the best entries into the MCU to date.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
Chris Evans does nothing more than tighten his grip around his most famous role. He joins Robert Downey Jr. in the category of irreplaceable actors for these characters.
Scarlett Johansson is once again great as Black Widow, and newcomer Anthony Mackie as Sam Wilson/Falcon provides Cap with a likeable new ally. The three of them as a sort of mini Avengers in this movie are fantastic.
Sebastian Stan plays The Winter Soldier with aplomb, and gives us a truly dangerous antagonist. The dude is fucking terrifying, yet his relationship with Steve Rogers gives us the heart of this movie. It's a tragic story which of course will be further explored in Civil War further down the line.
The cast is rounded off with Samuel L. Jackson returning as Nick Fury, Robert Redford as Alexander Pierce, Emily VanCamp as Agent 13, Frank Grillo as Brock Rumlow, and some smaller roles for Cobie Smulders and Hayley Atwell.
It's a really solid cast all in all, an area that Marvel Studios rarely missteps.
The set pieces are hugely high octane and thrilling. The opening scene on the barge is a highlight, as well as the teams fight with the Winter Soldier midway through. Even Nick Fury gets a banger of an action sequence. Also, this film boasts probably the biggest plot twist gut punch in the whole MCU with the SHIELD/Hydra reveal. It's an extremely well crafted, ballsy narrative that impacts the shape of the MCU going forward.
There's honestly nothing bad to say about this one. It's top tier comic book cinema.
Ryan Hill (152 KP) rated The Last Samurai (2003) in Movies
Jun 23, 2019
" I will tell you, how he lived"
The honour and code of the samurai has always been enticing to a Western civilisation that is far removed from such customs, which perhaps makes The Last Samurai such an enticing, enigmatic film. Edward Zwick crafts quite an epic adventure rich in mythology & thematic resonance that while traditionally Hollywood in its construction still manages to exist a cut above many such movies of its ilk, a touch of class surrounding how the story of Captain Nathan Algren is put together, based as it is on several real life legendary American figures who played key roles in the Satsuma Rebellion in Japan during the late 19th century. This isn't a direct re-telling of those events but serves as a leaping off point to construct a tale about a stranger in a strange land, of a man haunted by fighting an unjust war who rediscovers his honour & place in the world through a dying culture. Zwick's film is slick, sweeping, beautifully shot and frequently involving, backed up by a strong performance by Tom Cruise in one of those roles that remind you just what a good actor he can be.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
Gareth von Kallenbach (968 KP) rated The Magnificent Seven (2016) in Movies
Jul 15, 2019
Full disclosure, I have never seen The 1960s Magnificent Seven film, nor do I care that at its core it is a retelling of the Japanese legend of the Seven Samurai. This is not a comparison review. Instead this is a simple review of what I watched on screen. Not beholden to anything other than itself as film and it being a western.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
That being said, I thoroughly enjoyed this film. The Magnificent Seven hits all the appropriate marks you would expect from a classic western. The sprawling landscapes, big gunfights against all odds, character musical cues, honor bound good guys and dastardly bad guys. The Magnificent Seven is an entertaining gallop for western fans both old and new alike.
That is not to say that this film is anything more thought provoking then a typical “White hats vs Black Hats” western story. However it is the performance of the actors and their portrayal of somewhat typical characters that is the soul and charm of the film. Led by Denzel Washington who plays Sam Chisolm, the deputized bounty hunter hired to free a simple town from under the tyranny of a rich minor who uses violence and intimidation to take what he wants. Chisolm puts together an unlikely posse of the jokester gun-shooter Josh Faraday (Chris Pratt), the civil war veteran sharpshooter Goodnight Robicheaux (Ethan Hawke), his knife welding companion Billy Rocks (Byung-hun Lee), the outlaw Vasquez (Manuel Garcia-Fulfo), the grizzly frontiersman Jack Horne (Vincent D’Onofrio) and the native warrior Red Harvest (Martin Sensmeier). Together they take on the dastardly greedy Bartholomew Bogue (Peter Sarsgaard) and his army of paid mercenaries. The entire ensemble gives solid and entertaining performances, however it is the chemistry among the cast that creates the feeling that they had a blast making this film together, much to our delight.
When we put these elements together the film works on an entertaining level. While some may find it forgettable once it is over, they will no doubt enjoy the ride along the way. In a year where the summer blockbusters have been mostly disappointing and forgettable, The Magnificent Seven is a bright spot on the film landscape than most big budget films this year.
Gareth von Kallenbach (968 KP) rated Jonah Hex (2010) in Movies
Aug 8, 2019
DC is at it again spinning comic book heroes, or better yet anti-heroes, into film adaptations. Moreover, the company is maintaining their one-of-a-kind knack for providing lead characters with bad vocals. In this case the raspy voice belongs to the traumatized lead character, a Bounty Hunter named Jonah Hex (Josh Brolin), who has a story to tell, in brutal and confusing detail.
The film mixes the lore of the Old West, vaguely historical aspects of post-Civil War America, and weapons from a very steampunk-the-Industrial-Revolution. The resulting environment is more explosive than the dynamite that is apparently everywhere.
Filled with ideas that trail off into the dust, it quickly becomes clear that this film was finished in a rush. There are too many characters that lack compelling, if any, back-story. The tale that remains is disjointed and drags. All the buzz about the leading lady, Lilah (Megan Fox), was over minimal participation in the film. Sure she looks nice, and wears a steampunky outfit while performing a few quick stunts, but the resulting character (and poor acting) is not worth the media hype.
The few well-played and interesting characters, aside from the brash but tends-to-grow-on-you Jonah, all have bit parts. Among the best performances are Hex’s best friend, Jeb Turnbull (Jeffery Dean Morgan), one of President Grant’s cohorts, Lieutenant Grass (Will Arnett), and the store owner and gun-runner, Smith (Lance Riddick). Most surprising is that the frequent scenes with screen veteran John Malkovich, as lead bad guy Quentin Turnbull, result in a drab uninterested character that completely fails to engage the audience. It is almost a shockingly poor performance for Malkovich.
But hey, the melding of comic book history with actual film shots in the beginning was some of the best work out there for explaining a complex and multi-media adapted back-story. Additionally, the bold uses of color, costume, sets and scenery made the film visually interesting to watch. But with a budget as big as this film had it is hard to accept there wasn’t a better story to tell.
The film mixes the lore of the Old West, vaguely historical aspects of post-Civil War America, and weapons from a very steampunk-the-Industrial-Revolution. The resulting environment is more explosive than the dynamite that is apparently everywhere.
Filled with ideas that trail off into the dust, it quickly becomes clear that this film was finished in a rush. There are too many characters that lack compelling, if any, back-story. The tale that remains is disjointed and drags. All the buzz about the leading lady, Lilah (Megan Fox), was over minimal participation in the film. Sure she looks nice, and wears a steampunky outfit while performing a few quick stunts, but the resulting character (and poor acting) is not worth the media hype.
The few well-played and interesting characters, aside from the brash but tends-to-grow-on-you Jonah, all have bit parts. Among the best performances are Hex’s best friend, Jeb Turnbull (Jeffery Dean Morgan), one of President Grant’s cohorts, Lieutenant Grass (Will Arnett), and the store owner and gun-runner, Smith (Lance Riddick). Most surprising is that the frequent scenes with screen veteran John Malkovich, as lead bad guy Quentin Turnbull, result in a drab uninterested character that completely fails to engage the audience. It is almost a shockingly poor performance for Malkovich.
But hey, the melding of comic book history with actual film shots in the beginning was some of the best work out there for explaining a complex and multi-media adapted back-story. Additionally, the bold uses of color, costume, sets and scenery made the film visually interesting to watch. But with a budget as big as this film had it is hard to accept there wasn’t a better story to tell.
ClareR (5577 KP) rated The Smallest Man in Books
Jun 20, 2021
As soon as I read the synopsis of this book, I knew that I had to read it. I haven’t read many books set during this period, and as a big historical fiction fan, I could see that i needed to rectify this! To be quite honest, I didn’t even know the name of Charles I’s wife (it’s Henrietta Maria, by the way).
The queen’s dwarf, Nat Davy, leads an incredibly lucky life, even though his size would, under normal circumstances have potentially led to a life of being manipulated and used for others financial advantage. Nat misses his mother and brother in the time after he arrives at the palace, and had tried all sorts of stretching exercises to stay with them, but his father sees him as useless, pointless, a waste of his money. And when Nat’s father sells him to the Duke of Buckingham, he doesn’t know that he’s being sold into a life of privilege.
Although he’s terrified, and believes at one point that he’s going to be eaten, Nat is a very brave child. He does what’s asked of him, and is rewarded for his courage. He has an education, food, comfort and beautiful clothes.
Nat grabs his new life with both hands and begins to enjoy it - until he finds himself fleeing the country with the queen at the start of the Civil War. This must have been a pretty terrifying period to have been living in. Soldiers seemed to swap sides depending on who was winning - but Nat remains loyal to the queen.
I thoroughly enjoyed reading about Nat and his adventures. He’s a wonderful character, and he certainly lived an amazing life. Whilst Nat is an imagined character based on the real ‘dwarf’ Jeffrey Hudson, his imagined life was actually very tame in comparison to that of the real person. But I fell for Nat Davy. There’s no wonder that he had so many good friends who loved and respected him. Have I said that I loved this book? Well, I’ve said it again - I’d highly recommend it too!
The queen’s dwarf, Nat Davy, leads an incredibly lucky life, even though his size would, under normal circumstances have potentially led to a life of being manipulated and used for others financial advantage. Nat misses his mother and brother in the time after he arrives at the palace, and had tried all sorts of stretching exercises to stay with them, but his father sees him as useless, pointless, a waste of his money. And when Nat’s father sells him to the Duke of Buckingham, he doesn’t know that he’s being sold into a life of privilege.
Although he’s terrified, and believes at one point that he’s going to be eaten, Nat is a very brave child. He does what’s asked of him, and is rewarded for his courage. He has an education, food, comfort and beautiful clothes.
Nat grabs his new life with both hands and begins to enjoy it - until he finds himself fleeing the country with the queen at the start of the Civil War. This must have been a pretty terrifying period to have been living in. Soldiers seemed to swap sides depending on who was winning - but Nat remains loyal to the queen.
I thoroughly enjoyed reading about Nat and his adventures. He’s a wonderful character, and he certainly lived an amazing life. Whilst Nat is an imagined character based on the real ‘dwarf’ Jeffrey Hudson, his imagined life was actually very tame in comparison to that of the real person. But I fell for Nat Davy. There’s no wonder that he had so many good friends who loved and respected him. Have I said that I loved this book? Well, I’ve said it again - I’d highly recommend it too!
Hazel (1853 KP) rated Janna of Castle Ambrose in Books
Sep 10, 2019
Janna of Castle Ambrose is the first book in The Serpent Riders series by the versatile Jordan Elizabeth. Set in the fictional land of Hamlin, Janna, who lives in Castle Ambrose, loses her father, brother and sister when an usurper invades the kingdom and slaughters hundreds of people. From then on, Janna has vows that the new king will be destroyed, however, it is not until she is 18 and discovers two of her friends are alive and imprisoned in the capital city that Janna finds the will-power to escape her tattered home and put the world to rights.
With the aid of a secret ability to freeze people and being the only person in the country to know of the existence of sea serpents, Janna sets off to the capital where she worms her way into the castle by becoming the apothecary's apprentice. To save her friends and defeat the usurper, Janna must round up rebels across Hamlin. Yet, as she adjusts to her life in the city, Janna realises there are two sides to every story and she may not be on the right side after all. With the rebels rallying troops from across the sea, she may be too late to prevent another civil war.
The story ends with one side becoming the victors and Janna's sea serpents earning their right to come out of hiding and being accepted by human society. The narrative is fast-paced with days, weeks and months speeding past within each chapter. There is an eclectic mix of characters whose personalities pull the story in different directions.
Janna of Castle Ambrose contains some adult scenes that may be unsuitable for younger readers. Although no sex scenes occur per se, they are eluded to in heavy detail. This is a new aspect to Jordan Elizabeth's writing, however, the young adult writing style clashes with the adult material.
Being the first book in a series, it is clear the story is going to continue, however, as the main issue has been resolved, the plot of the next book is unguessable. We shall just have to wait and see.
With the aid of a secret ability to freeze people and being the only person in the country to know of the existence of sea serpents, Janna sets off to the capital where she worms her way into the castle by becoming the apothecary's apprentice. To save her friends and defeat the usurper, Janna must round up rebels across Hamlin. Yet, as she adjusts to her life in the city, Janna realises there are two sides to every story and she may not be on the right side after all. With the rebels rallying troops from across the sea, she may be too late to prevent another civil war.
The story ends with one side becoming the victors and Janna's sea serpents earning their right to come out of hiding and being accepted by human society. The narrative is fast-paced with days, weeks and months speeding past within each chapter. There is an eclectic mix of characters whose personalities pull the story in different directions.
Janna of Castle Ambrose contains some adult scenes that may be unsuitable for younger readers. Although no sex scenes occur per se, they are eluded to in heavy detail. This is a new aspect to Jordan Elizabeth's writing, however, the young adult writing style clashes with the adult material.
Being the first book in a series, it is clear the story is going to continue, however, as the main issue has been resolved, the plot of the next book is unguessable. We shall just have to wait and see.
Hazel (1853 KP) rated Welcome to Nowhere in Books
May 24, 2017
Contemporary War
This ARC was provided by the publisher via NetGalley in exchange for an honest review
The eximious children’s author, Elizabeth Laird, is continuing with her magnificent streak of prize-worthy novels. Her soon to be published book Welcome to Nowhere will be eagerly consumed by fans and new-readers alike. With a contemporary setting and shocking truths, young readers will become more aware of the events happening near and far.
Omar is only twelve, yet has a life style that will seem alien to the majority of readers. Living in Syria, Omar works to earn a wage as well as attends school, whilst also helping to care for his Cerebral-Palsy-suffering brother and three other siblings. Although Omar’s life is not easy, it is preferable to the events he is soon about to witness.
In March 2011, Syria broke out in civil war after the daring behaviour of a couple of schoolboys. After these vandals scrawled the phrase “the people want the regime to change” onto a wall, the government decided to fight back. With shootings regularly occurring in the streets, and bombs falling on houses, Omar and his family flee their city home to live with family in the countryside. However, they cannot stay there for long before danger finds them again. Running from the enemy, Omar and family find themselves on the streets with thousands of other refugees. But, where can they go when they have nowhere to call home?
Although Welcome to Nowhere is set before the development of the extreme Muslim group, ISIS, Elizabeth Laird provides an accurate description of the lives of Syrians and refugees at this present moment. Most young readers, and possibly many adults, may not understand what caused the current refugee crisis and may even regard them as the enemy. This book will open hearts and minds after revealing the terror and destruction thousands of people have faced, their experience of refugee camps and their desperation to be able to live in safety.
As well as revealing truths about the situation in the Middle East, Welcome to Nowhere educates the reader on the customs and beliefs of average Muslim families. Although slightly antiquated – men dominate over women – they are not all that different to the Western world. Omar wants to become a successful businessman, whilst his sister is desperate to go to school and university. Laird also writes of scenarios that are not unique to Syrian citizens, in particular medical conditions such as Cerebral Palsy and the way these people are attacked by social stigmas.
Whilst not labeling this book as ‘exciting’, Welcome to Nowhere is a story that will engage the readers’ attention. As a book with both entertainment and educational value, Elizabeth Laird’s latest book is worthy of significant praise. It is not often that a writer will dare to reveal the gritty truth about the current situation in the world, and thus Laird must be commended for persevering with such a difficult, challenging story. Although targeted at young adults (ages 12+), older readers will also enjoy and learn from this exceptional novel.
The eximious children’s author, Elizabeth Laird, is continuing with her magnificent streak of prize-worthy novels. Her soon to be published book Welcome to Nowhere will be eagerly consumed by fans and new-readers alike. With a contemporary setting and shocking truths, young readers will become more aware of the events happening near and far.
Omar is only twelve, yet has a life style that will seem alien to the majority of readers. Living in Syria, Omar works to earn a wage as well as attends school, whilst also helping to care for his Cerebral-Palsy-suffering brother and three other siblings. Although Omar’s life is not easy, it is preferable to the events he is soon about to witness.
In March 2011, Syria broke out in civil war after the daring behaviour of a couple of schoolboys. After these vandals scrawled the phrase “the people want the regime to change” onto a wall, the government decided to fight back. With shootings regularly occurring in the streets, and bombs falling on houses, Omar and his family flee their city home to live with family in the countryside. However, they cannot stay there for long before danger finds them again. Running from the enemy, Omar and family find themselves on the streets with thousands of other refugees. But, where can they go when they have nowhere to call home?
Although Welcome to Nowhere is set before the development of the extreme Muslim group, ISIS, Elizabeth Laird provides an accurate description of the lives of Syrians and refugees at this present moment. Most young readers, and possibly many adults, may not understand what caused the current refugee crisis and may even regard them as the enemy. This book will open hearts and minds after revealing the terror and destruction thousands of people have faced, their experience of refugee camps and their desperation to be able to live in safety.
As well as revealing truths about the situation in the Middle East, Welcome to Nowhere educates the reader on the customs and beliefs of average Muslim families. Although slightly antiquated – men dominate over women – they are not all that different to the Western world. Omar wants to become a successful businessman, whilst his sister is desperate to go to school and university. Laird also writes of scenarios that are not unique to Syrian citizens, in particular medical conditions such as Cerebral Palsy and the way these people are attacked by social stigmas.
Whilst not labeling this book as ‘exciting’, Welcome to Nowhere is a story that will engage the readers’ attention. As a book with both entertainment and educational value, Elizabeth Laird’s latest book is worthy of significant praise. It is not often that a writer will dare to reveal the gritty truth about the current situation in the world, and thus Laird must be commended for persevering with such a difficult, challenging story. Although targeted at young adults (ages 12+), older readers will also enjoy and learn from this exceptional novel.
Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.