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Gareth von Kallenbach (980 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 (5884 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.
Goddess in the Stacks (553 KP) rated Dread Nation in Books
Jul 24, 2018
So, as a general rule, I don't read zombie stories. Zombies are the one monster that will almost invariably give me nightmares. This book, however, had such hype built up around it that I decided to bend my rule.
I should not have.
Before I start in on this, let me say it's a good story. It's well-written, the plot is paced nicely, and it's entertaining. All that said, it's quite problematic in many ways. I knew some of this before I read it; there was a Twitter thread about some of the issues, namely that in the Author's Note she describes the Native American boarding schools (where the government forced Native American children to go, and tried to destroy their heritage and culture in the name of "civilizing" them) as "well-meaning." The Twitter thread does an excellent job of dissecting that passage, and it's worth reading.
There's also the incredibly unrealistic scene where Jane gets flogged eleven times, walks back to where she's staying, has a coherent conversation where she lays out a plan she has formed, and then puts a shirt on. That last part especially got me. Like, what? You're going to be in more pain than that! Being flogged barely seems to slow Jane down. She asks for laudanum - for her plan. Not to take for the pain.
I don't know. There's a lot about the book that set my teeth on edge. There's the absurd amount of racism, but the protagonist is a black woman and it's civil war era, so that's to be expected. And it's coming from characters, not from narration. Jane lies. A lot. So it's hard to trust that she's even a reliable narrator.
I guess it's okay. I didn't care for it. I found it really hard to get past the author's "well-meaning" comment about the Native American boarding schools. And the plot of "as soon as they're old enough, black children get sent to combat schools." Especially with what's going on lately with the jailing of migrant children, it feels tone-deaf, ignorant, and genocidal.
One good point was the oh-so-casual mention of bisexuality (a female friend taught her "everything she knows about kissing") but it was only two sentences and never mentioned again. Not nearly enough to make up for the rest of the book.
You can find all my review at http://goddessinthestacks.wordpress.com
I should not have.
Before I start in on this, let me say it's a good story. It's well-written, the plot is paced nicely, and it's entertaining. All that said, it's quite problematic in many ways. I knew some of this before I read it; there was a Twitter thread about some of the issues, namely that in the Author's Note she describes the Native American boarding schools (where the government forced Native American children to go, and tried to destroy their heritage and culture in the name of "civilizing" them) as "well-meaning." The Twitter thread does an excellent job of dissecting that passage, and it's worth reading.
There's also the incredibly unrealistic scene where Jane gets flogged eleven times, walks back to where she's staying, has a coherent conversation where she lays out a plan she has formed, and then puts a shirt on. That last part especially got me. Like, what? You're going to be in more pain than that! Being flogged barely seems to slow Jane down. She asks for laudanum - for her plan. Not to take for the pain.
I don't know. There's a lot about the book that set my teeth on edge. There's the absurd amount of racism, but the protagonist is a black woman and it's civil war era, so that's to be expected. And it's coming from characters, not from narration. Jane lies. A lot. So it's hard to trust that she's even a reliable narrator.
I guess it's okay. I didn't care for it. I found it really hard to get past the author's "well-meaning" comment about the Native American boarding schools. And the plot of "as soon as they're old enough, black children get sent to combat schools." Especially with what's going on lately with the jailing of migrant children, it feels tone-deaf, ignorant, and genocidal.
One good point was the oh-so-casual mention of bisexuality (a female friend taught her "everything she knows about kissing") but it was only two sentences and never mentioned again. Not nearly enough to make up for the rest of the book.
You can find all my review at http://goddessinthestacks.wordpress.com
LilyLovesIndie (123 KP) rated The Assassin's Mark in Books
Nov 5, 2018
Firstly I must thank Ebsworth not only for providing a complimentary copy of this book in return for an honest review, but also for having immense patience in waiting for me to provide him with that review. I must also point out how much I have enjoyed reading this book, even if I did struggle to get into the book at first.
There are several aspects which I feel to be major strengths in this book, particularly the characterisation. The assembled cast of characters are all extravagantly wonderful in their own ways, working well together and being entirely believable in the context of the text. In addition, it is worth commenting that they work as well individually as they do collectively, a great testament to Ebsworth's writing style. Jack Telford, as the main character, is a wonderful example of manhood and his cynicism in the tour breathes a breath of fresh air, prompting much thought by the reader on the matters discussed.
A further strength of this book is it's intricate and well developed plot. It is brilliantly put together, with mystery and thought provoking elements all combined with some humour and great history. I can't compliment enough the many well written twists and turns in this novel, whether it's sudden and unexpected deaths or mysterious figures appearing at odd intervals, there's always something that keeps the reader on the edge of their seats and thinking of what could be happening behind closed doors. It's a fantastic read for making you think about what you are reading, however, this is an occasional downside as it makes it a difficult book to read when you only have a few minutes spare.
Perhaps, for me, the best aspect of this book is the detailed research that shines through on every page. It is evident, even to someone with a limited knowledge of the Spanish Civil War, that there is much to learn in this book and that it has been incredibly well researched. Clearly, Ebsworth put much time into his research, and to his credit, as it adds an extra dimension to this story.
Finally, there is little else for me to say other than to recommend this book to all who enjoy history, a good mystery and a strong leading character.
There are several aspects which I feel to be major strengths in this book, particularly the characterisation. The assembled cast of characters are all extravagantly wonderful in their own ways, working well together and being entirely believable in the context of the text. In addition, it is worth commenting that they work as well individually as they do collectively, a great testament to Ebsworth's writing style. Jack Telford, as the main character, is a wonderful example of manhood and his cynicism in the tour breathes a breath of fresh air, prompting much thought by the reader on the matters discussed.
A further strength of this book is it's intricate and well developed plot. It is brilliantly put together, with mystery and thought provoking elements all combined with some humour and great history. I can't compliment enough the many well written twists and turns in this novel, whether it's sudden and unexpected deaths or mysterious figures appearing at odd intervals, there's always something that keeps the reader on the edge of their seats and thinking of what could be happening behind closed doors. It's a fantastic read for making you think about what you are reading, however, this is an occasional downside as it makes it a difficult book to read when you only have a few minutes spare.
Perhaps, for me, the best aspect of this book is the detailed research that shines through on every page. It is evident, even to someone with a limited knowledge of the Spanish Civil War, that there is much to learn in this book and that it has been incredibly well researched. Clearly, Ebsworth put much time into his research, and to his credit, as it adds an extra dimension to this story.
Finally, there is little else for me to say other than to recommend this book to all who enjoy history, a good mystery and a strong leading character.
David McK (3562 KP) rated Lost Stars (Star Wars) in Books
Jan 28, 2019
Earlier this year, I read the first of the 'new' Star Wars books leading up the The Force Awakens, following Disney's abolition of the old Expanded Universe (said book was [a:Chuck Wendig|17152|Chuck Wendig|https://d.gr-assets.com/authors/1294919586p2/17152.jpg] 's [b:Aftermath|25131600|Aftermath (Star Wars Aftermath, #1)|Chuck Wendig|https://d.gr-assets.com/books/1426620007s/25131600.jpg|44828548] ).
While th ebook was all right, it didn't (I felt) live up the 'original' (now no longer canon) continuation of [a:Timothy Zahn|12479|Timothy Zahn|https://d.gr-assets.com/authors/1215545810p2/12479.jpg]'s 'Heir to the Empire' trilogy, or of some of the books that came after.
I only discovered recently, when I read an article released just before the second of Wendig's Star Wars books, that he is actually a screen-writer rather than a novelist, which goes some way (I felt) towards explaining the choppy structure of the novel.
In the comments on that article, a couple of the contributors had mentioned other 'new' Star Wars books they had read, with most stating this was one of the best, so I decided to give it a go :)
Starting roughly 8 years after 'Revenge of the Sith', this novel follows the exploits of 2 childhood friends (who grow up to be more than friends) from a backwater planet, who end up fighting on different sides of the Galactic Civil War. As such, this takes in all the key events of the original trilogy - The Tantive IV chase, destruction of Alderaan, blowing up of the first Death Star, attack on Hoth, Asteroid chase, Bespin, the space battle above Endor/second Death Star - and goes slightly beyond into explaining why there is a crashed Star Destroyer on the planet Jakku (from the start of The Force Awakens).
Remember in the movies, the lines 'There goes another one / hold your fire' right at the start of the original, with the jettison of an escape pod that holds R2-D2 and C3PO? The character who utters those (NOT either of the two main character here) is given a background, as is that who has 'analysed their attack, and has found a danger'.
Of the two leading-into-The Force Awakens novels I've read so far this year, this is the better
While th ebook was all right, it didn't (I felt) live up the 'original' (now no longer canon) continuation of [a:Timothy Zahn|12479|Timothy Zahn|https://d.gr-assets.com/authors/1215545810p2/12479.jpg]'s 'Heir to the Empire' trilogy, or of some of the books that came after.
I only discovered recently, when I read an article released just before the second of Wendig's Star Wars books, that he is actually a screen-writer rather than a novelist, which goes some way (I felt) towards explaining the choppy structure of the novel.
In the comments on that article, a couple of the contributors had mentioned other 'new' Star Wars books they had read, with most stating this was one of the best, so I decided to give it a go :)
Starting roughly 8 years after 'Revenge of the Sith', this novel follows the exploits of 2 childhood friends (who grow up to be more than friends) from a backwater planet, who end up fighting on different sides of the Galactic Civil War. As such, this takes in all the key events of the original trilogy - The Tantive IV chase, destruction of Alderaan, blowing up of the first Death Star, attack on Hoth, Asteroid chase, Bespin, the space battle above Endor/second Death Star - and goes slightly beyond into explaining why there is a crashed Star Destroyer on the planet Jakku (from the start of The Force Awakens).
Remember in the movies, the lines 'There goes another one / hold your fire' right at the start of the original, with the jettison of an escape pod that holds R2-D2 and C3PO? The character who utters those (NOT either of the two main character here) is given a background, as is that who has 'analysed their attack, and has found a danger'.
Of the two leading-into-The Force Awakens novels I've read so far this year, this is the better
Movie Metropolis (309 KP) rated X-Men: Apocalypse (2016) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Another case of threequel-itis
“At least we can agree the third one is always the worst” barks a young Jean Grey in X-Men: Apocalypse. And whilst the film stays well away from the poor efforts of Spider-Man 3 and The Last Stand, there’s more truth to that statement here than director Bryan Singer would want you to believe.
X-Men: Apocalypse picks up after the events of its brilliant predecessor, Days of Future Past, as mutants and humans continue to live alongside each other, not necessarily in peace – but not in war either.
The film begins with an introduction to our titular villain, played by Oscar Issac, in Cairo as he aims to recruit four followers – the four horsemen of the apocalypse if you will. Soon after, the audience is whisked away to a more familiar sight, Charles Xavier’s school for gifted youngsters.
After the awakening of Oscar Issac’s villain, and his recruitment of Storm, Magneto, Angel and Psylocke, the X-Men must unite to save humans and mutants alike from being destroyed.
The majority of the ‘younger’ cast return in this instalment with some exciting, and some not so exciting additions. Game of Thrones’ Sophie Turner joins the series as Jean Grey, channelling Famke Janssen reasonably well. Kodi Smit-McPhee is fantastic as Nightcrawler and Tye Sheridan finally does away with James Marsden’s whiney Cyclops.
Apocalypse belongs to Evan Peters and Quicksilver. As with Days of Future Past, he brings the screen to life and as with its predecessor, stars in the film’s standout sequence. However, in an effort to improve on what came before it, the writers have tried too hard to make it bigger and better – the finished product lacks finesse with some poorly finished CGI detracting from the overall effect.
Elsewhere, Michael Fassbender is the perfect man to play Magneto but James McAvoy remains miscast as Charles Xavier. It’s only once he loses his hair that we start to see the character he should’ve been right from the beginning. Jennifer Lawrence finally gets into her groove as Mystique after failing to make an impact in First Class and Days of Future Past.
The story is a little underdeveloped, especially after the great writing brought to life in Captain America: Civil War. Despite constantly being told about the stakes never being higher, it doesn’t really feel like anything awful is going to happen. This is, in part, not helped by Apocalypse being a little bit of a wet lettuce when it comes to superhero villains.
Unfortunately, the abundance of CGI only hampers the film further. There is far too much green screen and certain scenes feel unbelievable as a result. The finale in particular is incredibly underwhelming and becomes an ugly mix of special effects.
There’s a problem with the pacing too. After spending nearly an hour introducing the audience to the new mutants; Apocalypse takes a scalpel to the ending with, well the results you’d expect. It’s choppily edited and hastily stitched back together
Nevertheless, this is not a bad film. For the most part, it’s exciting, well-acted, nicely choreographed and beautifully shot with exotic locations brilliantly juxtaposed with the lush landscape of Xavier’s school.
Overall, X-Men: Apocalypse falls some way short of the standard set by its predecessor. In yet another case of threequel-itis, the film is hampered by an underdeveloped story, poor pacing and a ridiculous amount of CGI. Bigger isn’t always better, and unfortunately, this is the case here.
https://moviemetropolis.net/2016/05/20/another-case-of-threequel-itis-x-men-apocalypse-review/
X-Men: Apocalypse picks up after the events of its brilliant predecessor, Days of Future Past, as mutants and humans continue to live alongside each other, not necessarily in peace – but not in war either.
The film begins with an introduction to our titular villain, played by Oscar Issac, in Cairo as he aims to recruit four followers – the four horsemen of the apocalypse if you will. Soon after, the audience is whisked away to a more familiar sight, Charles Xavier’s school for gifted youngsters.
After the awakening of Oscar Issac’s villain, and his recruitment of Storm, Magneto, Angel and Psylocke, the X-Men must unite to save humans and mutants alike from being destroyed.
The majority of the ‘younger’ cast return in this instalment with some exciting, and some not so exciting additions. Game of Thrones’ Sophie Turner joins the series as Jean Grey, channelling Famke Janssen reasonably well. Kodi Smit-McPhee is fantastic as Nightcrawler and Tye Sheridan finally does away with James Marsden’s whiney Cyclops.
Apocalypse belongs to Evan Peters and Quicksilver. As with Days of Future Past, he brings the screen to life and as with its predecessor, stars in the film’s standout sequence. However, in an effort to improve on what came before it, the writers have tried too hard to make it bigger and better – the finished product lacks finesse with some poorly finished CGI detracting from the overall effect.
Elsewhere, Michael Fassbender is the perfect man to play Magneto but James McAvoy remains miscast as Charles Xavier. It’s only once he loses his hair that we start to see the character he should’ve been right from the beginning. Jennifer Lawrence finally gets into her groove as Mystique after failing to make an impact in First Class and Days of Future Past.
The story is a little underdeveloped, especially after the great writing brought to life in Captain America: Civil War. Despite constantly being told about the stakes never being higher, it doesn’t really feel like anything awful is going to happen. This is, in part, not helped by Apocalypse being a little bit of a wet lettuce when it comes to superhero villains.
Unfortunately, the abundance of CGI only hampers the film further. There is far too much green screen and certain scenes feel unbelievable as a result. The finale in particular is incredibly underwhelming and becomes an ugly mix of special effects.
There’s a problem with the pacing too. After spending nearly an hour introducing the audience to the new mutants; Apocalypse takes a scalpel to the ending with, well the results you’d expect. It’s choppily edited and hastily stitched back together
Nevertheless, this is not a bad film. For the most part, it’s exciting, well-acted, nicely choreographed and beautifully shot with exotic locations brilliantly juxtaposed with the lush landscape of Xavier’s school.
Overall, X-Men: Apocalypse falls some way short of the standard set by its predecessor. In yet another case of threequel-itis, the film is hampered by an underdeveloped story, poor pacing and a ridiculous amount of CGI. Bigger isn’t always better, and unfortunately, this is the case here.
https://moviemetropolis.net/2016/05/20/another-case-of-threequel-itis-x-men-apocalypse-review/
BankofMarquis (1832 KP) rated Ant-Man and the Wasp (2018) in Movies
Jul 8, 2018
In a word - fun
By this time, either you are "in" on the Marvel Cinematic Universe or you are "out". If you are "out", there's not a whole lot that I (or any other reviewer) will be able to do to change your mind. Which is too bad, for the Marvel Cinematic Universe is a pretty fun ride. The folks at Marvel "have it down" and I can't remember the last time that I was disappointed by a Marvel movie.
And that goes for the latest installment - ANTMAN AND THE WASP.
Starring Paul Rudd and Evangaline Lilly as the titular characters, ANT-MAN AND THE WASP is the follow-up to 2015's ANT-MAN and (more directly) 2016's CAPTAIN AMERICA: CIVIL WAR. It also answers the question as to why these characters were not involved in the other Marvel movie this summer - AVENGERS: INFINITY WAR, Part 1.
But, like most of the Marvel films, the plot doesn't really matter, it is the characters and the situations they are put in that matter. And, in the case of this film, the word I would use for both is FUN.
Starting with bickering stars Rudd and Lilly. They do the "frenemies with a no-doubter mutual attraction" thing very well. They play off each other smartly, with Lilly's common sense, physicality and "cut the crap" attitude in vast contrast to Rudd's "man-child". Both are winning presences on the screen, with Rudd's natural charm jumping at you in places where (if it didn't) his character would seem like a jerk.
Joining in the fun is Michael Douglas as, basically, the referee for these two. He looks like he's having fun - despite himself - and really comes into his own with his character. Randall Park does a fun turn as a Federal Agent charged with keeping an eye on Rudd's character and Lawrence Fishburne brings "Morpheus-like" gravitas to his role as a fellow scientist.
But...like in the first Ant-Man film...the characters that steal the film are Michael Pena and his two dim-witted assistants, David Dastmalchian and T.I. When any one of these three (but, especially Pena) are on the screen, the maniacal, fun energy of this film rises dramatically. They had me wishing that they would have their own film to themselves. But..maybe I like them so much because they are being fed to us in very small doses.
Unfortunately, Judy Greer and Bobby Canavale (from the first film) and Walton Goggins (new to this film) don't really have enough to do - and when they are given something to do, it pales in comparison to the others - and to the action.
And what terrific action there is! Filmmaker Peyton Reed (he also Directed Ant Man) does a nice job of keeping the action simple (enough) that you always knew what was going on and playing with size (now they're BIG, now they're SMALL, now they're NORMAL size...) was used wisely to always drive the film - and the action - forward.
As with all Marvel films, this one has a place in the larger Marvel Cinematic Universe (a place I won't spoil here), but I was satisfied with how they dealt with this film as a stand alone, "chase" movie, yet still connected to the rest.
A good time was had.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
And that goes for the latest installment - ANTMAN AND THE WASP.
Starring Paul Rudd and Evangaline Lilly as the titular characters, ANT-MAN AND THE WASP is the follow-up to 2015's ANT-MAN and (more directly) 2016's CAPTAIN AMERICA: CIVIL WAR. It also answers the question as to why these characters were not involved in the other Marvel movie this summer - AVENGERS: INFINITY WAR, Part 1.
But, like most of the Marvel films, the plot doesn't really matter, it is the characters and the situations they are put in that matter. And, in the case of this film, the word I would use for both is FUN.
Starting with bickering stars Rudd and Lilly. They do the "frenemies with a no-doubter mutual attraction" thing very well. They play off each other smartly, with Lilly's common sense, physicality and "cut the crap" attitude in vast contrast to Rudd's "man-child". Both are winning presences on the screen, with Rudd's natural charm jumping at you in places where (if it didn't) his character would seem like a jerk.
Joining in the fun is Michael Douglas as, basically, the referee for these two. He looks like he's having fun - despite himself - and really comes into his own with his character. Randall Park does a fun turn as a Federal Agent charged with keeping an eye on Rudd's character and Lawrence Fishburne brings "Morpheus-like" gravitas to his role as a fellow scientist.
But...like in the first Ant-Man film...the characters that steal the film are Michael Pena and his two dim-witted assistants, David Dastmalchian and T.I. When any one of these three (but, especially Pena) are on the screen, the maniacal, fun energy of this film rises dramatically. They had me wishing that they would have their own film to themselves. But..maybe I like them so much because they are being fed to us in very small doses.
Unfortunately, Judy Greer and Bobby Canavale (from the first film) and Walton Goggins (new to this film) don't really have enough to do - and when they are given something to do, it pales in comparison to the others - and to the action.
And what terrific action there is! Filmmaker Peyton Reed (he also Directed Ant Man) does a nice job of keeping the action simple (enough) that you always knew what was going on and playing with size (now they're BIG, now they're SMALL, now they're NORMAL size...) was used wisely to always drive the film - and the action - forward.
As with all Marvel films, this one has a place in the larger Marvel Cinematic Universe (a place I won't spoil here), but I was satisfied with how they dealt with this film as a stand alone, "chase" movie, yet still connected to the rest.
A good time was had.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)