Search
Search results
Bloomz: For Teachers & Schools
Education and Social Networking
App
One app for all your parent communication. Bloomz is the FREE award-winning app that saves teachers...
HelloTalk Language Exchange
Education and Social Networking
7.0
Rate It
App
HelloTalk, the 1st global language and culture exchange community, connects you with native speakers...
Bob Mann (459 KP) rated Censor (2021) in Movies
Sep 3, 2021
Niamh Algar is fabulous (1 more)
Novel story and great direction
A genuinely original story (at last!)
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
Michael Mitcheson (16 KP) rated the PlayStation 4 version of Apex Legends in Video Games
Feb 27, 2019
Solid game but will it survive the long run.
Apex legends is another battle royal game that has taken the world by storm. Some would say its a watered down genre however apex legends redefines the format adding its own spin on the mode.
Graphically it is stunning. A good amount of fauna, desert, buildings and caverns to showcase different textures whilst not quite being as cartoon like as fortnite.
The player handling is fantastic with vaulting, sliding and using zip lines. It does not feel clunky but rather smooth and fluid.
Sound is fantastic. Weapons sound so good and you can distinguish weapons prior to a fight just from hearing them. Footsteps alter from the terrain that is being ran on and dulled by crouching.
Currently the game is 3 person squads and has a max player count at 60 lower than the 4 person squad and 100 player count. This works well for the pace of the game and map size. You are never too far away from getting in the action should you wish after surviving the initial 5 minute onslaught for areas and that sweet precious loot.
You'll notice I put squad / team work in both positive and negative. The positive is it semi forces you to land as a squad. This can be cancelled by those who aren't the jump master and want to go rogue. I have noticed this but not is often as other games of the genre. 3 players allows for a good amount of mutual support, mixing and matching legend abilities to secure a win and having a diverse amount of weapons to cover all ranges. I have also negatived it due to the rogues, item/weapon/ammo stealing, lack of pinging (more on this after) and absolute lack of microphone communication. That last one is not a fault of the game or dev but merely an observation for the ps4 platform.
The ping system is the single point that makes this game fantastic. If you have a child or a broken mic you can opt to ping. Let's travel here, I'm watching here, enemy sighted and so forth. If you're not talking use the feature it's fantastic and also ends the classic e emy over there, where? There group conversation.
Legends have unique abilities but in a nutshell play what you like. Pick a character that has perks that fit your style. You can pick up that elusive 'dub' in any combination of legends. I still haven't settled. On one but enjoy 3-4 that I switch around. Its also good to have that incase someone rudely steals your character.
Minor bugs so far that I've encountered are falling through the floor (now patched allegedly and in fairness it hasn't happened to me in a while), items fallingb, through building/ dropship floor, death boxes dissapearing and falling through floors. The devs are however extremely good currently at updating and listening to the community.
Weapon balance is pretty damn bad (personal opinion). Peacekeeper is a beast shotgun at close range and mid range. The range for me needs dropping and that's prior to finding the attachment hop ups to strengthen it. The Mozambique is just a dreadful shotgun that you will find left on the floor to rust by just about everyone.
Very quickly on microtransactions. They are cosmetic only. You can warn everything including new legends in time but prepare to grind. Real money does not need to be used.
Time will tell if this game will survive the test of time as the devs release the battle pass and future content. Currently I'd give it 7/10. Solid game and worth a try by anyone. It is free after all.
Graphically it is stunning. A good amount of fauna, desert, buildings and caverns to showcase different textures whilst not quite being as cartoon like as fortnite.
The player handling is fantastic with vaulting, sliding and using zip lines. It does not feel clunky but rather smooth and fluid.
Sound is fantastic. Weapons sound so good and you can distinguish weapons prior to a fight just from hearing them. Footsteps alter from the terrain that is being ran on and dulled by crouching.
Currently the game is 3 person squads and has a max player count at 60 lower than the 4 person squad and 100 player count. This works well for the pace of the game and map size. You are never too far away from getting in the action should you wish after surviving the initial 5 minute onslaught for areas and that sweet precious loot.
You'll notice I put squad / team work in both positive and negative. The positive is it semi forces you to land as a squad. This can be cancelled by those who aren't the jump master and want to go rogue. I have noticed this but not is often as other games of the genre. 3 players allows for a good amount of mutual support, mixing and matching legend abilities to secure a win and having a diverse amount of weapons to cover all ranges. I have also negatived it due to the rogues, item/weapon/ammo stealing, lack of pinging (more on this after) and absolute lack of microphone communication. That last one is not a fault of the game or dev but merely an observation for the ps4 platform.
The ping system is the single point that makes this game fantastic. If you have a child or a broken mic you can opt to ping. Let's travel here, I'm watching here, enemy sighted and so forth. If you're not talking use the feature it's fantastic and also ends the classic e emy over there, where? There group conversation.
Legends have unique abilities but in a nutshell play what you like. Pick a character that has perks that fit your style. You can pick up that elusive 'dub' in any combination of legends. I still haven't settled. On one but enjoy 3-4 that I switch around. Its also good to have that incase someone rudely steals your character.
Minor bugs so far that I've encountered are falling through the floor (now patched allegedly and in fairness it hasn't happened to me in a while), items fallingb, through building/ dropship floor, death boxes dissapearing and falling through floors. The devs are however extremely good currently at updating and listening to the community.
Weapon balance is pretty damn bad (personal opinion). Peacekeeper is a beast shotgun at close range and mid range. The range for me needs dropping and that's prior to finding the attachment hop ups to strengthen it. The Mozambique is just a dreadful shotgun that you will find left on the floor to rust by just about everyone.
Very quickly on microtransactions. They are cosmetic only. You can warn everything including new legends in time but prepare to grind. Real money does not need to be used.
Time will tell if this game will survive the test of time as the devs release the battle pass and future content. Currently I'd give it 7/10. Solid game and worth a try by anyone. It is free after all.
Sassy Brit (97 KP) rated Love, Secrets and Absolution in Books
Jun 6, 2019
Contains spoilers, click to show
I’m reviewing Love, Secrets and Absolution, by K.L. Lovely. Here are my thoughts:
^^ Told from alternative viewpoints, Love, Secrets and Absolution is an emotional story revolving around the lives of a couple, Grace and Paul, who are trying to come to terms with the stresses and strains of bringing up an autistic child. But what makes this story different is how it’s set at a time which coincides with the Nottingham miners strikes of the 80s, where pit closures and pay restraints led to unofficial strikes, job losses and violence. Harsh times to say the least. This added a new dimension to the story, and of course, more pressure for Paul, and ultimately the whole family. They were terrible times in Britain, a lot of families suffered because of it.
^^ Right from the beginning we see young Alfie is different to other children. The author, K. L.oveley, helps show us this, by what I thought was a highly unusual technique- giving baby and toddler versions of Alfie his own voice.
^^ I must admit at first I was thinking, this doesn’t sound like a baby. After all, very young babies are not able to communicate in such a coherent manner. However, as I read further, I saw how Alfie’s voice as a child — seeing things differently from his POV — really helped to provide a deeper look into his inner thoughts and feelings. A fresh and unique approach, which revealed his own perspective of how he didn’t fit in with other kids, even if he was unable to understand the “why” himself. Very clever. It certainly made things clearer for me and highlighted aspects of autism I may have missed otherwise.
^^ Taking the time-period into consideration, I found the portrayal of the teachers and the way they behaved cruelly and professionally towards Alfie and Grace shocking, yet realistic. Back in those days many professionals were not trained to spot differences and learning difficulties in the way they are today. To outsiders who didn’t understand what Alfie was going though and thinking, he did just look like a trouble maker. Nowadays we know better and there is an ever-growing awareness and understanding of the many different spectrums of autism.
^^ Alfie’s father, Paul, may not have won the best dad of the year award, but I felt he was a realistic representation of a man living and working in a very masculine environment, where men were largely regarded as the breadwinners of the household and job scarcity was a huge issue. He didn’t know how to handle Alfie, and in a way you can’t blame him for that. Not everyone is capable of being a really good parent, especially when their own life has turned upside down in a blink of an eye.
^^ There’s also a really good story line around a girl called Magenta, which I felt helped strengthen both Alfie and Grace’s bond. A lovely touch. As was Grace’s newfound strength and courage, which really made this story become more than just gloom and doom. Her steadfast devotion to her son is both amazing and commendable, and I enjoyed seeing how she turned her life around.
Overall: This thought-provoking book is as much about relationships, as it is autism. We see the hopes and dreams of a young family shattered by a lack of communication, misunderstandings and even betrayal. Yet, despite all the struggles and heartache this family go through, we discover the true power of love; how it can heal, comfort and carry us forward through the toughest of times. A heart-warming, memorable and most satisfying read.
^^ Told from alternative viewpoints, Love, Secrets and Absolution is an emotional story revolving around the lives of a couple, Grace and Paul, who are trying to come to terms with the stresses and strains of bringing up an autistic child. But what makes this story different is how it’s set at a time which coincides with the Nottingham miners strikes of the 80s, where pit closures and pay restraints led to unofficial strikes, job losses and violence. Harsh times to say the least. This added a new dimension to the story, and of course, more pressure for Paul, and ultimately the whole family. They were terrible times in Britain, a lot of families suffered because of it.
^^ Right from the beginning we see young Alfie is different to other children. The author, K. L.oveley, helps show us this, by what I thought was a highly unusual technique- giving baby and toddler versions of Alfie his own voice.
^^ I must admit at first I was thinking, this doesn’t sound like a baby. After all, very young babies are not able to communicate in such a coherent manner. However, as I read further, I saw how Alfie’s voice as a child — seeing things differently from his POV — really helped to provide a deeper look into his inner thoughts and feelings. A fresh and unique approach, which revealed his own perspective of how he didn’t fit in with other kids, even if he was unable to understand the “why” himself. Very clever. It certainly made things clearer for me and highlighted aspects of autism I may have missed otherwise.
^^ Taking the time-period into consideration, I found the portrayal of the teachers and the way they behaved cruelly and professionally towards Alfie and Grace shocking, yet realistic. Back in those days many professionals were not trained to spot differences and learning difficulties in the way they are today. To outsiders who didn’t understand what Alfie was going though and thinking, he did just look like a trouble maker. Nowadays we know better and there is an ever-growing awareness and understanding of the many different spectrums of autism.
^^ Alfie’s father, Paul, may not have won the best dad of the year award, but I felt he was a realistic representation of a man living and working in a very masculine environment, where men were largely regarded as the breadwinners of the household and job scarcity was a huge issue. He didn’t know how to handle Alfie, and in a way you can’t blame him for that. Not everyone is capable of being a really good parent, especially when their own life has turned upside down in a blink of an eye.
^^ There’s also a really good story line around a girl called Magenta, which I felt helped strengthen both Alfie and Grace’s bond. A lovely touch. As was Grace’s newfound strength and courage, which really made this story become more than just gloom and doom. Her steadfast devotion to her son is both amazing and commendable, and I enjoyed seeing how she turned her life around.
Overall: This thought-provoking book is as much about relationships, as it is autism. We see the hopes and dreams of a young family shattered by a lack of communication, misunderstandings and even betrayal. Yet, despite all the struggles and heartache this family go through, we discover the true power of love; how it can heal, comfort and carry us forward through the toughest of times. A heart-warming, memorable and most satisfying read.
Gareth von Kallenbach (980 KP) rated Hostage (2005) in Movies
Aug 14, 2019
Chief of Police Jeff Talley (Bruce Willis) is a man filled with turmoil. A former S.W.A.T. officer and top hostage negotiator for the Los Angeles Police Department, Talley now toils away in a quite California town where crime is light and very infrequent. The change in locales was made necessary for Jeff in the aftermath of a hostage negotiation where things did not go accordingly leaving Jeff with more questions than answers.
As if this is not bad enough, Talley is having difficulties with his wife Jane (Serena Scott Thomas), and his daughter Amanda (Rumer Willis), who is not happy with their relocation to the quiet locale or the strain that is amongst her parents as it is clear that they still love each other very much.
The quiet town is disrupted when a robbery of a successful locale business man goes horribly wrong and ends up with a dead police officer and three hostages being held in a high tech, high security home.
Jeff responds to the incident and soon finds himself dealing with the three young men who are clearly in over their head and very dangerous due to the instability of the situation. Jeff decides to call in the Sheriff’s office as he believe his police force is not suited for this sort of situation and essentially decides to wash his hands of the situation and go home.
While driving home, Jeff is carjacked by a group of individuals who show Jeff that they have taken his wife and daughter hostage and instruct him not to let anyone in or out of the house where the hostage crisis is taking place. Jeff is also instructed to not deviate in any way from his instructions under pain of immediate death for his wife and daughter. His only communication with his new handlers will be via a cell phone, and he is to resume control of the negotiations.
It is learned that there is something in the house that the people holding Jeff’s family need and are willing to resort to very extreme measure to get it.
It is at this point that the very, very gripping and entertaining setup to the film begins to slide, as the second half of the film does not come close to matching the quality of the opening segments.
There are some very good cat and mouse moments as the men in the house start to argue amongst themselves, and interact with the family inside the house. The supporting performances are solid especially those of Jennifer (Michelle Horn), who plays the daughter held captive by the trio and the eerie performance of Ben Foster as the twisted Hostage taker Mars.
Sadly the film decides to turn to a series of brutal images and sequences rather than continue to develop the characters and work the story. The characters often embark on some inane courses of action and do things that not only contradict what we know about their characters but also fly into the lapse of logic as people in their situations would never do. I would love to expand on this by referencing a segment of the film but in the interest of not spoiling the film, I will explain it as when characters are told not to do something, why would they repeatedly do it, and then continue to do so without any consequences?
It is the continued lack of common sense and the and the very over the top and lazy finale to the film that sinks what could have and should have been a much better movie as the film is clearly sunk by the awful final 40 minutes of the show. Willis does a solid job with his role but the last act of the script let him down as even a star of his magnitude and talents cant make up for the films numerous shortcomings.
As if this is not bad enough, Talley is having difficulties with his wife Jane (Serena Scott Thomas), and his daughter Amanda (Rumer Willis), who is not happy with their relocation to the quiet locale or the strain that is amongst her parents as it is clear that they still love each other very much.
The quiet town is disrupted when a robbery of a successful locale business man goes horribly wrong and ends up with a dead police officer and three hostages being held in a high tech, high security home.
Jeff responds to the incident and soon finds himself dealing with the three young men who are clearly in over their head and very dangerous due to the instability of the situation. Jeff decides to call in the Sheriff’s office as he believe his police force is not suited for this sort of situation and essentially decides to wash his hands of the situation and go home.
While driving home, Jeff is carjacked by a group of individuals who show Jeff that they have taken his wife and daughter hostage and instruct him not to let anyone in or out of the house where the hostage crisis is taking place. Jeff is also instructed to not deviate in any way from his instructions under pain of immediate death for his wife and daughter. His only communication with his new handlers will be via a cell phone, and he is to resume control of the negotiations.
It is learned that there is something in the house that the people holding Jeff’s family need and are willing to resort to very extreme measure to get it.
It is at this point that the very, very gripping and entertaining setup to the film begins to slide, as the second half of the film does not come close to matching the quality of the opening segments.
There are some very good cat and mouse moments as the men in the house start to argue amongst themselves, and interact with the family inside the house. The supporting performances are solid especially those of Jennifer (Michelle Horn), who plays the daughter held captive by the trio and the eerie performance of Ben Foster as the twisted Hostage taker Mars.
Sadly the film decides to turn to a series of brutal images and sequences rather than continue to develop the characters and work the story. The characters often embark on some inane courses of action and do things that not only contradict what we know about their characters but also fly into the lapse of logic as people in their situations would never do. I would love to expand on this by referencing a segment of the film but in the interest of not spoiling the film, I will explain it as when characters are told not to do something, why would they repeatedly do it, and then continue to do so without any consequences?
It is the continued lack of common sense and the and the very over the top and lazy finale to the film that sinks what could have and should have been a much better movie as the film is clearly sunk by the awful final 40 minutes of the show. Willis does a solid job with his role but the last act of the script let him down as even a star of his magnitude and talents cant make up for the films numerous shortcomings.
A Bibliophagist (113 KP) rated The Toll (Arc of a Scythe, #3) in Books
Feb 5, 2020
Characters (3 more)
Worldbuilding
Plot
Pacing
A fantasic finale
After the amazing cliffhanger of Thunderhead, I rushed to pick up this because I just HAD TO KNOW. This cover is even prettier, they really nailed this series (sans the transformers font) and I hope it inspires more YA books to hire illustrators and not photo manip garbage. I'm an Illustrator though, so I'm biased. This review will have spoilers for Thunderhead, so don't read if you haven't read that!
The Toll picks up immediately after Thunderhead. Goddard has returned the MidMerica, no one knows that he was demoted to apprentice and with the death of Scythe Curie he stands uncontested for replacing Xenocrates. Anastasia and Rowan rest at the bottom of the ocean, and Goddard has made the site a site of remembrance to avoid any evidence being drudged up. The sinking of Endura is also squarely blamed on Rowan, and the world suffers as the Thunderhead punishes everyone, marking them unsavory. Cutting off communication with all but one, our former unsavory, Greyson.
With the rise of Goddard, the Schism amongst the Scythedom widens. He seizes more power, overturns rules and makes new ones and slowly starts taking control of other nations. Dubbing himself the Overblade. The story arches over 3 years post Thunderhead, and we jump around a little bit. During the three years Goddard continues to take a chokehold on the world, Greyson suddenly finds himself a living god amongst the tonists and humanity, as the only one able to speak to the thunderhead, he takes on the role of the Tonist's mythological figure, The Toll. Acting as a go-between, and manipulating those around him to fulfill the Thunderhead's goals.
Meanwhile, Faraday continues his search for the land of nod, making serious headway and discovering something that makes the Thunderhead uncertain. So the Thunderhead starts making plans. Faraday finds himself stranded with his helper, far away from the Scythedom, the Thunderhead and the horrible things that have been happening far away. He knows nothing of the fate of Marie, Goddard, Citra, Rowan, or the world. Finally, in the third year since the sinking of Endura, Rowan and Citra are raised from the depths, squirreled away by the Amazonian Scythes before Goddard knows they aren't dead. Being raised from the dead did wonders for Goddard's cause, so can Anastaisa's return do wonders for the plight of the old guard? But first Anastasia must plan and play her cards right, digging deep in the Thunderheads back brain to piece together mysteries long since written off and uncover the secrets of the Scythedom.
This book was really good, and a very satisfying finale to the series. The already rich worldbuilding is made richer by his choice to cut the world off from the Thunderhead, showing us what happens when people lose their connection to the world. He believably shows the influence one charismatic politician can have, and how easy it is for things to fall into disarray. You can tell he had a gameplan when he wrote these books, because everything comes together just right, not loose ends, everything had a purpose. Characters are tested, grow and develop. New parts of the world are further explored, completing the picture he begun in the other two books. I thoroughly enjoyed his take on the age-old sci-fi trope of "How does the benevolent computer protect humans from themselves". Well written, and elevated, especially in terms of other YA fiction. Shusterman really wrote a fantastic series. Once again, the romance is understated, but the emotions run deep enough at this point to pull at your heartstrings and make you believe in their love, even if it came from somewhat unbelievable beginnings.
This series is well worth the read, and a breath of fresh air in an otherwise stale and formulaic YA world.
The Toll picks up immediately after Thunderhead. Goddard has returned the MidMerica, no one knows that he was demoted to apprentice and with the death of Scythe Curie he stands uncontested for replacing Xenocrates. Anastasia and Rowan rest at the bottom of the ocean, and Goddard has made the site a site of remembrance to avoid any evidence being drudged up. The sinking of Endura is also squarely blamed on Rowan, and the world suffers as the Thunderhead punishes everyone, marking them unsavory. Cutting off communication with all but one, our former unsavory, Greyson.
With the rise of Goddard, the Schism amongst the Scythedom widens. He seizes more power, overturns rules and makes new ones and slowly starts taking control of other nations. Dubbing himself the Overblade. The story arches over 3 years post Thunderhead, and we jump around a little bit. During the three years Goddard continues to take a chokehold on the world, Greyson suddenly finds himself a living god amongst the tonists and humanity, as the only one able to speak to the thunderhead, he takes on the role of the Tonist's mythological figure, The Toll. Acting as a go-between, and manipulating those around him to fulfill the Thunderhead's goals.
Meanwhile, Faraday continues his search for the land of nod, making serious headway and discovering something that makes the Thunderhead uncertain. So the Thunderhead starts making plans. Faraday finds himself stranded with his helper, far away from the Scythedom, the Thunderhead and the horrible things that have been happening far away. He knows nothing of the fate of Marie, Goddard, Citra, Rowan, or the world. Finally, in the third year since the sinking of Endura, Rowan and Citra are raised from the depths, squirreled away by the Amazonian Scythes before Goddard knows they aren't dead. Being raised from the dead did wonders for Goddard's cause, so can Anastaisa's return do wonders for the plight of the old guard? But first Anastasia must plan and play her cards right, digging deep in the Thunderheads back brain to piece together mysteries long since written off and uncover the secrets of the Scythedom.
This book was really good, and a very satisfying finale to the series. The already rich worldbuilding is made richer by his choice to cut the world off from the Thunderhead, showing us what happens when people lose their connection to the world. He believably shows the influence one charismatic politician can have, and how easy it is for things to fall into disarray. You can tell he had a gameplan when he wrote these books, because everything comes together just right, not loose ends, everything had a purpose. Characters are tested, grow and develop. New parts of the world are further explored, completing the picture he begun in the other two books. I thoroughly enjoyed his take on the age-old sci-fi trope of "How does the benevolent computer protect humans from themselves". Well written, and elevated, especially in terms of other YA fiction. Shusterman really wrote a fantastic series. Once again, the romance is understated, but the emotions run deep enough at this point to pull at your heartstrings and make you believe in their love, even if it came from somewhat unbelievable beginnings.
This series is well worth the read, and a breath of fresh air in an otherwise stale and formulaic YA world.
Kids Safe YouTube Kids App - yt kids videos
Entertainment, Education and Stickers
8.5
Rate It
App
Every week 100 new Youtube kids videos (yt kids) hand selected by moms & dads in categories like...
NIV Study Bible
Book and Reference
App
Welcome to the all new, full-color NIV Study Bible! The world's bestselling, most comprehensive...
Tra câu Việt - Anh
Reference and Education
App
CHÀO MỪNG BẠN ĐẾN VỚI TRA CÂU - CÔNG CỤ TÌM KIẾM CẶP CÂU SONG NGỮ ANH VIỆT...