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Lee (2222 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Saint Maud is a psychological horror about a young nurse (Morfydd Clark) who, following ‘an incident’ while working for the NHS, something horrific that is alluded to in the opening scene, now finds herself working in palliative care.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.
Movie Metropolis (309 KP) rated Coco (2017) in Movies
Jun 10, 2019
Has pixar got it's mojo back?
Pixar has been on something of a downward trend of late, and that’s something I never thought I’d say. As much as it hurts, films like Cars 3, Finding Dory and The Good Dinosaur just don’t cut the mustard when compared to some of the studio’s greats.
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
Movies like Up, Inside Out and Wall.E as well as The Incredibles, which we’re finally getting a sequel to this year, are up there with the best animations ever produced, never mind just from Pixar. Hoping to get back on the right track this year, Pixar has released Coco. But are we back up to scratch?
Before we begin. Did you know you can now vote in the third annual Movie Metropolis Alternative Oscars? Vote for your favourite films from last year!
Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colourful Land of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal), the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
The first thing of note is just how stunning Coco is to look at. Director Lee Unkrich (Toy Story 3) creates what could be Pixar’s finest looking film to date, it really is that staggering to watch. The colourful world of the Land of the Dead is astounding and it’s pleasing that he chooses to spend the majority of the film’s runtime here. Populated by vibrant animals and the living dead, it grabs attention from scene to scene and isn’t afraid to hold on.
The animation itself is spot on, but come on, this is Pixar we’re talking about, we expect nothing less. They really are getting very good at this photo-realistic scenery business and aside from the naturally carnival-esque Land of the Dead, it reeks of realism. The characters too are rendered in ridiculously detailed CGI with the work done on Coco herself being absolutely exquisite. Every well-deserved wrinkle and the remaining twinkle in her eyes – it’s all there.
Aside from all the spectacle though, at its heart, Coco is a film about family, and the importance of family no matter how annoying or frustrating they can be. This may sound a little straightforward in comparison to some of Pixar’s more mature themes, but it’s worth noting that the plot has more twists and turns in it than some of the best thrillers – it’s a brilliant story full of laughs and emotion.
The voice work done by the entire cast is absolutely sublime, but Anthony Gonzalez’s portrayal of Miguel is beautiful. His performance is perfectly integrated into the film as Miguel slowly unravels who he truly is – it’s a testament to the actors and actresses who lent their voices that it speaks to absolutely everyone in the audience.
Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story
Naturally, Pixar’s trademark wit and heart are here in spades. There are some genuinely funny moments that are beautifully juxtaposed with some more sombre scenes that make you realise just how important family is. Correctly awarded a PG certification by the BBFC means that smaller children may find some of the more adult themes a little hard to watch. In fact, there were a few children in floods of tears as I left the cinema.
Pacing wise, Coco is just about right for a family friendly film. At a shade under 110 minutes, it zips along smoothly, very rarely letting up pace. But Pixar films have never really been about moving from one set piece to another and what keeps Coco interesting is the constant shifts in tone, colour and story. In this respect, it’s up there with the very best the studio has to offer us.
It is unfortunate however that there is no Pixar Short attached to Coco. Films like Inside Out and Toy Story 3 had brilliant pre-movie films to get the kids interested in what they were about to see on screen. It’s not clear why Pixar chose to snub Coco like this, but that’s one of the only negative points in a film filled to the brim with memorable moments.
Overall, Pixar is well and truly back on track with Coco. They’ve managed to create a film that not only creates some new classic characters for the studio to bring back in a sequel, but they discuss life and death in a way that adults and children alike will enjoy. Couple this with a beautiful soundtrack with some gorgeous original songs, stunning animation and a heartfelt story and they’ve definitely recovered the animation crown. What a way to start 2018.
https://moviemetropolis.net/2018/01/13/coco-review-has-pixar-got-its-mojo-back/
So Pretty
I received this book for free through Goodreads First Reads.
“Effortless inspiration for a happier life.” It has been scientifically proven that gratitude can be beneficial to both mental and physical wellbeing. It is also acknowledged that being thankful is difficult for many people due to negative circumstances or pessimistic personalities. Gratitude is a little, hardback book by writer and graphic designer, Dani DiPirro, whose purpose is to encourage the reader to show and feel more gratitude in their lives. In a way, this is a self-help book.
Using quotes, written insights and activity suggestions, DiPirro guides the reader through a number of situations in which one can be grateful. The author’s insights are sensitive but to the point, suggesting that everyone faces these problems, and does not isolate individuals. The quotes help to emphasise the points she makes and the activities are simple and relevant.
The activities themselves are nothing to be afraid of; they are not strenuous or difficult, they merely require you to think or complete a task that does not require you to go out of your way: “ Reflect on the last time you experienced compassion or forgiveness.”
The book itself is simply yet beautifully designed. The red colour theme makes it feel bright and positive; however will be more attractive to women than it would be to men. The print is large, clear and easy to read; suitable for all ages and backgrounds.
Although roughly 130 pages, it only takes ten minutes to read from cover to cover. However, this is not the intention of the author. To get the most out of the book, each section/task should be tackled individually in order to experience the outcome you are hoping for: feeling a sense of gratitude. This is a book that you can return to time and time again, whether you feel motivated or need a little pick me up.
At the back of the book DiPirro has provided lists of top ten ways to be grateful in different environments. These are useful for when you are experiencing problems in the home, or at work, and need help stepping back and seeing the bigger picture.
Overall, Gratitude is a lovely, inexpensive guide to help people gain a more positive outlook on life. There are also other books in this series that focus on different areas of life that people struggle with; e.g. forgiveness and living in the moment. Gratitude is the ideal book to give as a gift to a loved one, or even to keep on your own bookshelf or bedside table, accessible when needed.
“Effortless inspiration for a happier life.” It has been scientifically proven that gratitude can be beneficial to both mental and physical wellbeing. It is also acknowledged that being thankful is difficult for many people due to negative circumstances or pessimistic personalities. Gratitude is a little, hardback book by writer and graphic designer, Dani DiPirro, whose purpose is to encourage the reader to show and feel more gratitude in their lives. In a way, this is a self-help book.
Using quotes, written insights and activity suggestions, DiPirro guides the reader through a number of situations in which one can be grateful. The author’s insights are sensitive but to the point, suggesting that everyone faces these problems, and does not isolate individuals. The quotes help to emphasise the points she makes and the activities are simple and relevant.
The activities themselves are nothing to be afraid of; they are not strenuous or difficult, they merely require you to think or complete a task that does not require you to go out of your way: “ Reflect on the last time you experienced compassion or forgiveness.”
The book itself is simply yet beautifully designed. The red colour theme makes it feel bright and positive; however will be more attractive to women than it would be to men. The print is large, clear and easy to read; suitable for all ages and backgrounds.
Although roughly 130 pages, it only takes ten minutes to read from cover to cover. However, this is not the intention of the author. To get the most out of the book, each section/task should be tackled individually in order to experience the outcome you are hoping for: feeling a sense of gratitude. This is a book that you can return to time and time again, whether you feel motivated or need a little pick me up.
At the back of the book DiPirro has provided lists of top ten ways to be grateful in different environments. These are useful for when you are experiencing problems in the home, or at work, and need help stepping back and seeing the bigger picture.
Overall, Gratitude is a lovely, inexpensive guide to help people gain a more positive outlook on life. There are also other books in this series that focus on different areas of life that people struggle with; e.g. forgiveness and living in the moment. Gratitude is the ideal book to give as a gift to a loved one, or even to keep on your own bookshelf or bedside table, accessible when needed.
Hazel (1853 KP) rated Where Are You Hiding, God? in Books
Jul 5, 2017
Cute
This eBook was provided by the publisher via NetGalley in exchange for an honest review
Where Are You Hiding, God? is a children’s picture book by the Austrian illustrator Elisabeth Zartl. Originally published in 2013 under the German title Wo versteckst du dich, lieber Gott? it has been translated into English in order to reach a wider audience. Primarily targeted at children of Christian families, the book attempts to explain the concept of God.
The short story begins with an anonymous little girl searching for God in a manner that resembles a game of Hide and Seek. She looks in her bedroom, the bathroom and the garden before giving up in defeat. As she sits desolately alone, a gust of wind and a falling leaf prompt her to realise that God does not have a corporeal body, but is, in fact, everywhere. Exhilarated by her newfound understanding, she exclaims that God was in all the places she looked and that he is inside her, too. God is everywhere.
Aimed at children ages three and over, Where Are You Hiding, God? explores the confusion a child may have in comprehending the idea of God. For a child, knowing something or someone is there but not being able to see them is a difficult idea to grasp. This book, through the demonstration of someone their own age, helps to explain their questions and uncertainties.
Elizabeth Zartl’s illustrations capture the attention of those reading or looking at the pages. Filling each page with a full-colour palette, the drawings are child-friendly but realistic, making it easy to process, and accurately creates a visual narrative of the written words. The language is also suitable for the intended demographic and, although three-year-olds may not be able to read it themselves, they will certainly understand the story.
From a design point of view, the text and illustrations do not quite match up. The full-page artworks make it difficult to place the short sentences in a way that both elements can work together. This, however, is not the fault of the author/illustrator who would have originally been working with a German text.
Overall, Where Are You Hiding, God? is a sweet, short story that can be read to children or grandchildren over and over again. As well as being a source of entertainment, it introduces them to the beliefs they will encounter during their Christian upbringing and prepares them to develop a greater understanding of God.
Where Are You Hiding, God? is a children’s picture book by the Austrian illustrator Elisabeth Zartl. Originally published in 2013 under the German title Wo versteckst du dich, lieber Gott? it has been translated into English in order to reach a wider audience. Primarily targeted at children of Christian families, the book attempts to explain the concept of God.
The short story begins with an anonymous little girl searching for God in a manner that resembles a game of Hide and Seek. She looks in her bedroom, the bathroom and the garden before giving up in defeat. As she sits desolately alone, a gust of wind and a falling leaf prompt her to realise that God does not have a corporeal body, but is, in fact, everywhere. Exhilarated by her newfound understanding, she exclaims that God was in all the places she looked and that he is inside her, too. God is everywhere.
Aimed at children ages three and over, Where Are You Hiding, God? explores the confusion a child may have in comprehending the idea of God. For a child, knowing something or someone is there but not being able to see them is a difficult idea to grasp. This book, through the demonstration of someone their own age, helps to explain their questions and uncertainties.
Elizabeth Zartl’s illustrations capture the attention of those reading or looking at the pages. Filling each page with a full-colour palette, the drawings are child-friendly but realistic, making it easy to process, and accurately creates a visual narrative of the written words. The language is also suitable for the intended demographic and, although three-year-olds may not be able to read it themselves, they will certainly understand the story.
From a design point of view, the text and illustrations do not quite match up. The full-page artworks make it difficult to place the short sentences in a way that both elements can work together. This, however, is not the fault of the author/illustrator who would have originally been working with a German text.
Overall, Where Are You Hiding, God? is a sweet, short story that can be read to children or grandchildren over and over again. As well as being a source of entertainment, it introduces them to the beliefs they will encounter during their Christian upbringing and prepares them to develop a greater understanding of God.
Paul Kellett (118 KP) rated Gloom of Kilforth: A Fantasy Quest Game in Tabletop Games
May 1, 2019
Over 250 unique pieces of high quality artwork (3 more)
Solo play using one character
Massive replayability
An evolving story that's different every time
Can take 4-5 hours with 4 players (1 more)
Can be brutally hard if the dice roll bad
An Epic Narrative Adventure Game for 1 to 4 heroes
Gloom of Kilforth is an epic narrative adventure where you try to complete your saga and defeat the ancient evil bringing the land into gloom.
You start by choosing a character, class and a saga to tell. Your character and class give you your starting stats (combat, knowledge, sneak and influence) while the sagas are 4 chapters long and each chapter requires 2 (or 3 if only playing 1-2 players) keywords to complete. Completing a chapter levels up your character giving you more health and a new skill.
Keywords are found on the cards you encounter as you search the map and are colour coded to give you a hint to where they are most likely to be found.
The map is a 5x5 grid of cards with Sprawl City in the centre and a mix of Forests, Mountains, Plains and Badlands arranged randomly around it.
Every time you enter an empty location, you draw a card from the relevant terrain deck and interact with it.
Encounters are won by rolling a number of d6 dice equal to your skill in the stat list d on the encounter. Success is on a 5 or 6 so playing to your character's strengths is paramount.
Each player starts with 4 health and at the start of each round, you gain action points equal to your current health which makes strategy and stealth the key to early success.
It also means that the game starts slowly but starts to snowball as you complete the chapters of your saga and level up.
At the end of each round, you make camp and draw a night card which causes a location to fall into gloom and possibly trigger an event. A character ending the day on a gloom location will suffer 1 health point loss.
This is the game timer, so you have 25 days to complete your saga, gain more skills and equipment and confront the big bad.
Despite the random encounter draws and the size of each terrain deck (30+ cards each), every card has been carefully designed to fit into the game and let you narrate a unique story as you play.
If you want a unique narrative adventure game with a solid depth of strategy, look no further.
You start by choosing a character, class and a saga to tell. Your character and class give you your starting stats (combat, knowledge, sneak and influence) while the sagas are 4 chapters long and each chapter requires 2 (or 3 if only playing 1-2 players) keywords to complete. Completing a chapter levels up your character giving you more health and a new skill.
Keywords are found on the cards you encounter as you search the map and are colour coded to give you a hint to where they are most likely to be found.
The map is a 5x5 grid of cards with Sprawl City in the centre and a mix of Forests, Mountains, Plains and Badlands arranged randomly around it.
Every time you enter an empty location, you draw a card from the relevant terrain deck and interact with it.
Encounters are won by rolling a number of d6 dice equal to your skill in the stat list d on the encounter. Success is on a 5 or 6 so playing to your character's strengths is paramount.
Each player starts with 4 health and at the start of each round, you gain action points equal to your current health which makes strategy and stealth the key to early success.
It also means that the game starts slowly but starts to snowball as you complete the chapters of your saga and level up.
At the end of each round, you make camp and draw a night card which causes a location to fall into gloom and possibly trigger an event. A character ending the day on a gloom location will suffer 1 health point loss.
This is the game timer, so you have 25 days to complete your saga, gain more skills and equipment and confront the big bad.
Despite the random encounter draws and the size of each terrain deck (30+ cards each), every card has been carefully designed to fit into the game and let you narrate a unique story as you play.
If you want a unique narrative adventure game with a solid depth of strategy, look no further.
Sassy Brit (97 KP) rated Shinrin Yoku: The Art of Japanese Forest Bathing in Books
Jun 5, 2019
Do you like slowly wandering around the woods with no particular aim than to take in the surrounding beauty, breathe in the fresh air and be present and at one with nature? Then this book Shinrin-yoku: The Japanese Way of Forest Bathing for Health and Relaxation by Yoshifumi Miyazaki, should definitely be on your bookshelf! Honestly, if you’d asked me if there was such as thing a couple of weeks ago, I would have laughed at you and told you, you were just lazy. But it really is a thing.
Shinrin Yoku or ‘forest bathing’ was developed in Japan in the 1980s and brings together ancient ways and wisdom with cutting edge environmental health science. Believe it not, (oh, you must!) there are now forest bathing stations and walkways scattered throughout Japan, but you don’t have to all the way over there (although I would love to) to experience this simple, calming practice. No! With this book you can learn the art, strap on your walking shoes and get on out there and start your own Shinrin Yoku pathway.
Although, reading the book, it’s got a certain appeal and much more “hippyish” in China, including an itinerary of forest therapy (and tree-hugging), soba-noodle making, pottery workshops and stargazing – and that’s just day one! Can also include mediation, yoga, aromatherapy and forest concerts.
Involving all the senses, and taking all the greenery around you (and green is a very relaxing colour) you will find Shinrin Yoku benefits you in ways you didn’t know were possible. Numerous tests and studies have been made for this book. One example I’d like to share was how subjects were monitored (and properly measured) after just 15 mins walking in the morning, and 15 mins sitting and viewing the greenery in the afternoon. This short break in everyday life – reduced stress, blood pressure, pulse rate and cortisol, and increased a whole range of feelings from comfort and calmness with a decrease in anxiety.
Another great example showed the effects of just staring at a Bonsai tree for 60 seconds. Well, I tell you, I’m getting everyone I know who needs de-stressing a Bonsai tree for Christmas! It will be the best bloody present they could ask for – even if they do look at me as if I’m going mad when I ask them to just do one thing for me. Sit and stare at it for 60 seconds every day…
Now. Are there any Bonsai specialists in the UK? I want one or two.
Shinrin Yoku or ‘forest bathing’ was developed in Japan in the 1980s and brings together ancient ways and wisdom with cutting edge environmental health science. Believe it not, (oh, you must!) there are now forest bathing stations and walkways scattered throughout Japan, but you don’t have to all the way over there (although I would love to) to experience this simple, calming practice. No! With this book you can learn the art, strap on your walking shoes and get on out there and start your own Shinrin Yoku pathway.
Although, reading the book, it’s got a certain appeal and much more “hippyish” in China, including an itinerary of forest therapy (and tree-hugging), soba-noodle making, pottery workshops and stargazing – and that’s just day one! Can also include mediation, yoga, aromatherapy and forest concerts.
Involving all the senses, and taking all the greenery around you (and green is a very relaxing colour) you will find Shinrin Yoku benefits you in ways you didn’t know were possible. Numerous tests and studies have been made for this book. One example I’d like to share was how subjects were monitored (and properly measured) after just 15 mins walking in the morning, and 15 mins sitting and viewing the greenery in the afternoon. This short break in everyday life – reduced stress, blood pressure, pulse rate and cortisol, and increased a whole range of feelings from comfort and calmness with a decrease in anxiety.
Another great example showed the effects of just staring at a Bonsai tree for 60 seconds. Well, I tell you, I’m getting everyone I know who needs de-stressing a Bonsai tree for Christmas! It will be the best bloody present they could ask for – even if they do look at me as if I’m going mad when I ask them to just do one thing for me. Sit and stare at it for 60 seconds every day…
Now. Are there any Bonsai specialists in the UK? I want one or two.
Hazel (1853 KP) rated Where Are You Hiding, God? in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review
Where Are You Hiding, God?</i> is a children’s picture book by the Austrian illustrator Elisabeth Zartl. Originally published in 2013 under the German title <i>Wo versteckst du dich, lieber Gott?</i> it has been translated into English in order to reach a wider audience. Primarily targeted at children of Christian families, the book attempts to explain the concept of God.
The short story begins with an anonymous little girl searching for God in a manner that resembles a game of Hide and Seek. She looks in her bedroom, the bathroom and the garden before giving up in defeat. As she sits desolately alone, a gust of wind and a falling leaf prompt her to realise that God does not have a corporeal body, but is, in fact, everywhere. Exhilarated by her newfound understanding, she exclaims that God was in all the places she looked and that he is inside her, too. God is everywhere.
Aimed at children ages three and over, <i>Where Are You Hiding, God?</i> explores the confusion a child may have in comprehending the idea of God. For a child, knowing something or someone is there but not being able to see them is a difficult idea to grasp. This book, through the demonstration of someone their own age, helps to explain their questions and uncertainties.
Elizabeth Zartl’s illustrations capture the attention of those reading or looking at the pages. Filling each page with a full-colour palette, the drawings are child-friendly but realistic, making it easy to process, and accurately creates a visual narrative of the written words. The language is also suitable for the intended demographic and, although three-year-olds may not be able to read it themselves, they will certainly understand the story.
From a design point of view, the text and illustrations do not quite match up. The full-page artworks make it difficult to place the short sentences in a way that both elements can work together. This, however, is not the fault of the author/illustrator who would have originally been working with a German text.
Overall,<i> Where Are You Hiding, God?</i> is a sweet, short story that can be read to children or grandchildren over and over again. As well as being a source of entertainment, it introduces them to the beliefs they will encounter during their Christian upbringing and prepares them to develop a greater understanding of God.
Where Are You Hiding, God?</i> is a children’s picture book by the Austrian illustrator Elisabeth Zartl. Originally published in 2013 under the German title <i>Wo versteckst du dich, lieber Gott?</i> it has been translated into English in order to reach a wider audience. Primarily targeted at children of Christian families, the book attempts to explain the concept of God.
The short story begins with an anonymous little girl searching for God in a manner that resembles a game of Hide and Seek. She looks in her bedroom, the bathroom and the garden before giving up in defeat. As she sits desolately alone, a gust of wind and a falling leaf prompt her to realise that God does not have a corporeal body, but is, in fact, everywhere. Exhilarated by her newfound understanding, she exclaims that God was in all the places she looked and that he is inside her, too. God is everywhere.
Aimed at children ages three and over, <i>Where Are You Hiding, God?</i> explores the confusion a child may have in comprehending the idea of God. For a child, knowing something or someone is there but not being able to see them is a difficult idea to grasp. This book, through the demonstration of someone their own age, helps to explain their questions and uncertainties.
Elizabeth Zartl’s illustrations capture the attention of those reading or looking at the pages. Filling each page with a full-colour palette, the drawings are child-friendly but realistic, making it easy to process, and accurately creates a visual narrative of the written words. The language is also suitable for the intended demographic and, although three-year-olds may not be able to read it themselves, they will certainly understand the story.
From a design point of view, the text and illustrations do not quite match up. The full-page artworks make it difficult to place the short sentences in a way that both elements can work together. This, however, is not the fault of the author/illustrator who would have originally been working with a German text.
Overall,<i> Where Are You Hiding, God?</i> is a sweet, short story that can be read to children or grandchildren over and over again. As well as being a source of entertainment, it introduces them to the beliefs they will encounter during their Christian upbringing and prepares them to develop a greater understanding of God.
Neon's Nerd Nexus (360 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 8, 2020 (Updated Feb 12, 2020)
SWING BATTER BATTER BATTER!
Birds Of Prey is yet another win for the DC universe and a huge step up from one of the most hated films of all time Suicide Squad. Right off the bat Birds Of Prey is an absolute blast and what you will notice immediately is just the sheer amount of explosive energy it has has to offer. Its this energy that constantly gives you the feeling of being on a rollar coaster travelling through a circus of pure amusement, the visuals are loud, the colour pallet is striking and vibrant, the sound is immersive/atmospheric and the soundtrack brings everything together beautify using old classic songs that have been remixed with a modern day kick which help to really give the film pace. Fight scenes are really fun, violent and also well choreographed with a nice crunch to all the impacts too. Infact fights do all feel very John Wick inspired becoming more of a beautifully synchronised dance routine flowing perfectly like the ice skating scenes from itonya rather than using messy quick cuts. BOP also seemingly borrows from Deadpool too as far as plot, humour and mature content go but im happy to report it works really well and manages to feel much more at home/gritty and adult here and less forced/childish than it is in Deadpool in my opinion. Margot robbie shines as Harley Quinn even more so than she did in suicide squad, she really has got this character down to a T now and its so so satisfying to see her own the screen as her again as she struggles to find her independence and make a name for herself. Ewan Mcgregor is also magnificent in a part that he clearly enjoyed playing beacuse boy was he entertaining as hell as a guy thats almost an obsessive man child whose only feared and powerul because of his status and money. Hes also unpredictable with a spoilt brat like temper and the way the film shifts in tone when he becomes angry can be chilling especially when its mixed with such savage and brutal violence. Plot is fairly basic and not the most intresting but that doesnt matter here because the movie holds its own with the constant thrills/variety it provides and just like a looney tunes carton its such pure addictive madness that it will suck you right in and leave you with a chelsea smile from ear to ear. Possibly the most enjoyable and visually awsome comic book adaptations yet well worth seeing.
Emeli Sande recommended track Angel of Mine by Eternal in Greatest Hits by Eternal in Music (curated)
LeftSideCut (3778 KP) rated Dawn of the Dead (1978) in Movies
Oct 27, 2020
Dawn of the Dead is considered by many to be the cream of the crop when it comes to zombie movies.
George Romero upped the ante with his second entry into the Living Dead series - bigger set pieces, more gore, more zombies (this time in colour!)
The true star of Dawn is the setting for a couple of reasons. The shopping mall is a fun and striking place to set a zombie film in, and plays a huge part in this films classic status, but most importantly, it's the epicenter of commentary running through the narrative, pointing fingers at capitalism and consumerism. A friend of mine (who deeply loves this movie) rightly pointed out that there's more to it than that, with the opening dealing with classism, and ultimately leading to discontent after the characters are comfortable in their situation, and have all they need. They're left with nothing left to do, nowhere to go, and it's genuinely quite bleak in that respect.
One of the greatest things for me about Dawn is the screenplay. It's pretty much air tight, it's clever, and has a handful of all time great lines. It also has some fine performances from the main cast, in particular Ken Foree. That dude is great in pretty much anything.
Also, the practical effects on display are fantastic (the zombie walking under the helicopter blades is a highlight) and is another example at Tom Savini's prowess.
However, despite all the positives, I just LIKE Dawn of the Dead, but I don't LOVE it. The main thing that turns me off is how goofy it is in parts. It verges on comedy at times (which I get, this being a semi-satire after all) but the silly music is a bit much for me. The film drags a fair bit during the mid section, and although I like all the actors, I find the characters they play hard to care about. I just don't think it's aged particularly well (although the message it carries is still as relevant as ever) and it's my least favourite of the original trilogy.
Although I have reservations, I still recognise how seminal Dawn of the Dead is. Without it, so many great movies wouldn't exist today, and it's easy to see why it was so groundbreaking at the time. I'm thankful it's exists, but it's ultimately a mixed bag for me (and I desperately hope my aformentioned friend doesn't hate me forever for feeling this way!)
George Romero upped the ante with his second entry into the Living Dead series - bigger set pieces, more gore, more zombies (this time in colour!)
The true star of Dawn is the setting for a couple of reasons. The shopping mall is a fun and striking place to set a zombie film in, and plays a huge part in this films classic status, but most importantly, it's the epicenter of commentary running through the narrative, pointing fingers at capitalism and consumerism. A friend of mine (who deeply loves this movie) rightly pointed out that there's more to it than that, with the opening dealing with classism, and ultimately leading to discontent after the characters are comfortable in their situation, and have all they need. They're left with nothing left to do, nowhere to go, and it's genuinely quite bleak in that respect.
One of the greatest things for me about Dawn is the screenplay. It's pretty much air tight, it's clever, and has a handful of all time great lines. It also has some fine performances from the main cast, in particular Ken Foree. That dude is great in pretty much anything.
Also, the practical effects on display are fantastic (the zombie walking under the helicopter blades is a highlight) and is another example at Tom Savini's prowess.
However, despite all the positives, I just LIKE Dawn of the Dead, but I don't LOVE it. The main thing that turns me off is how goofy it is in parts. It verges on comedy at times (which I get, this being a semi-satire after all) but the silly music is a bit much for me. The film drags a fair bit during the mid section, and although I like all the actors, I find the characters they play hard to care about. I just don't think it's aged particularly well (although the message it carries is still as relevant as ever) and it's my least favourite of the original trilogy.
Although I have reservations, I still recognise how seminal Dawn of the Dead is. Without it, so many great movies wouldn't exist today, and it's easy to see why it was so groundbreaking at the time. I'm thankful it's exists, but it's ultimately a mixed bag for me (and I desperately hope my aformentioned friend doesn't hate me forever for feeling this way!)